Submitted by Cássio da Cruz Nogueira (cassionogueirakk@gmail.com) on 2017-01-03T11:43:10Z No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertacao_NovoPorvirLiteratura.pdf: 2341196 bytes, checksum: 844ff4dfeb4a70d37ca73dc6d7a906f4 (MD5) / Approved for entry into archive by Edisangela Bastos (edisangela@ufpa.br) on 2017-01-04T15:08:14Z (GMT) No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertacao_NovoPorvirLiteratura.pdf: 2341196 bytes, checksum: 844ff4dfeb4a70d37ca73dc6d7a906f4 (MD5) / Made available in DSpace on 2017-01-04T15:08:14Z (GMT). No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertacao_NovoPorvirLiteratura.pdf: 2341196 bytes, checksum: 844ff4dfeb4a70d37ca73dc6d7a906f4 (MD5) Previous issue date: 2016-08-03 / A presente dissertação busca compreender Literatura e Cooperativismo como dois aspectos fundamentais da experiência social do literato Bento Bruno de Menezes Costa (1893-1963). Nesse sentido, o engajamento no campo das letras nos serviu de ponto de partida para percepção de um sujeito social que fez da experiência constitutiva das suas obras, um grande espaço para refletir a condição do povo paraense. Não se tratava de um mero adorno aquilo que levava aos textos ficcionais e as reflexões cultuais, daí que a retratação que muitas de suas poesias dinamizavam, diziam respeito à confluência de um poeta que fez da vivência acumulada em suas andanças, presente nos termos de um sujeito que não ia simplesmente ao povo, mas de fato o era. Com isso, ao analisarmos a produção cooperativista de Bruno de Menezes, pesquisamos inúmeros textos esparsos, tanto pela sequência dos anos, na primeira metade do século XX, com ênfase a década de 1950, pelo desdobramento da atividade pública a frente do S.A.C. - Serviço de Assistência ao Cooperativismo, órgão criado pelo governo estadual paraense, o qual ocupou por dez anos, entre 1945 a 1955. Consideramos ainda, que a obra Candunga, publicada em 1954 constitui um importante espaço para divulgação da doutrina cooperativista, uma vez que uma reflexão ficcional foi concedida ao assunto. A criação da “Colonia Novo Porvir” ao final da narrativa demonstrava um horizonte distinto aos lavradores da Zona Bragantina, Nordeste do Estado do Pará, através da fomentação do associativismo agrícola entre os mesmos. Assim, ao trabalhar com a execução de projetos dessa matéria, acrescentava ingredientes de experiência política e percepções acerca da natureza, considerando importantes as mudanças históricas no espaço Amazônico. O grau de especialização que detinha sobre o assunto lhe facultou a multiplicação das ações cooperativistas, por conseguinte, a apresentação de resultados práticos a sociedade paraense. / The present dissertation aims to understand Literature and Cooperativism as two fundamental aspects of the social experience of the literate Bento Bruno de Menezes Costa (1893-1963). In this sense, his engagement in the field of arts was used as a starting point to the perception of a social subject who had made of the constitutive experiences of his works a huge space to reflect the condition of parense people. It is not merely an ornament what he expressed on the fictional texts and cultural reflexions, so the retraction many of his poetries dynamized and told about the confluence of a poet who made from his accumulated life experiences on his wanderings present issues in terms of a subject who not only went to the people, but was people himself. Therefore, when we analyse the cooperativist production of Bruno Menezes, we researched abundant sparse texts, even by the sequence of the years – first half of XX century, especially the 50´s – thru the deployment of his public activities commanding S.A.C. (Service of Assistance to Cooperativism) organ created by Para State Government in which he worked for ten years, from 1945 to 1955. We also consider that the work Candunga, published in 1954, constitutes an important space to the diffusion of Cooperativism doctrine once a fictional reflection has been conceded to such theme. The creation of “Colonia Novo Porvir1” by the end of the storyline established a different horizon to the peasants from Bragantine Zone in the Northeast of Para State through fomenting agricultural associacionism among them. Thus, when working with the execution of projects in this matter, he added ingredients such as political experience and perceptions about nature, considering important the historical changes in Amazonian spaces. The specialization grade he detained about this theme helped him to multiply the cooperativist actions, and then, to present practical results to Paraense society.

Criado na cidade de Nova Iorque no início dos anos sessenta, o Bread & Puppet Theater estabeleceu-se em meio à vanguarda artística norte-americana do século XX, tornando-se célebre nas apresentações e paradas de rua em protesto contra a guerra do Vietnã. Quatro décadas de teatro mais tarde, em plena guerra no Iraque, o grupo dirigido por Peter Schumann, agora radicado em Vermont, prossegue com seu teatro de papel-maché, em protesto contra os impérios vis e injustos do mundo globalizado. Esta pesquisa compara o espetáculo Portões do Inferno, último \"Circo de Ressurreição Doméstica\" (1998), espetáculo anual apresentado a dezenas de milhares de pessoas, a O Mundo de Pernas para o Ar, uma nova versão do Circo - \"Circo de Insurreição do Primeiro Mundo\" (2004), analisando relações entre forma e história. Observaremos que, em nossa atual civilização, fundada na lógica da mercadoria, na comercialização da arte, na espetacularização da vida (no sentido debordiano), e no embrutecido e fragmentário deslumbramento pós-moderno frente aos mesmos paradigmas exaltados como inovações (ou no esmaecimento do afeto, na expressão de Jameson), o teatro histórico, épico e dialético do Bread and Puppet segue resistindo efetivamente, na contramão da sociedade de consumo, na insurreição contra o mundo globalizado, a insurreição \"da mente contra a supremacia do dinheiro e a insurreição de toda a alma do teatro de bonecos contra a estupidez do maravilhamento pós-moderno\". / Originated in the city of New York in the 1960s, the Bread & Puppet Theater established itself amidst the North American artistic vanguard of the 20th century. It was especially known for its demonstrations and protests against the Vietnam war. Four decades later, during the Iraq war, the group leaded by Peter Schumann, now established in Vermont, continues with their papier-maché theater, demonstrating and protesting against the evil and unfair empires of the globalized world. This study compares Gates of Hell (1998) - the final \"Domestic Resurrection Circus\"- an annual show presented to thousands of people, to Upside Down World - a new version of the circus called \"First World Insurrection Circus\" (2004) - analyzing the relationships between form and history. The analysis reveals that in our current civilization, which is largely based on the logic of commodities, in the commercialization of art, in the \"spectacularization\" of life (in debordian sense) and in the brutalized and fragmented post-modern wonderfulness, which presents and glorifies the same paradigms as innovations (or in its waning of affect, in Fredric Jameson\'s sense), Bread and Puppet\'s historical, epic and dialectic theater effectively resists, going the opposite direction of consumer society, in the insurrection against globalized world, the insurrection \"of the mind against the supremacy of money and the insurrection of the whole soul of puppetry against the stupidity of post-modern wonderfulness\".

The Arab Spring of 2011 revealed stark variation in the durability of different types of authoritarian regimes. Kings and emirs demonstrably outperformed their republican peers. This paper provides a qualitative study of the Moroccan monarchy in order to better explain this pattern. The findings of an original media content analysis support the paper's thesis that Morocco's King Mohammed VI maintained his throne by effectively using a historically derived position of concentrated power and immense wealth to manipulate potential opposition and dominate public discourse. This multi-causal mechanism of manufactured consent helped create and sustain the monarch's domestic legitimacy while alienating his opponents. Importantly, the illusion of a free media bolsters his image with Western political elites, thus, drawing greater external support and reducing the cost of repression.

À travers l'étude de deux romans fondamentaux issus de la production narrative néoréaliste de l'après-guerre portant sur la Résistance italienne, Il sentiero dei nidi di ragno de Italo Calvino et Una questione privata de Beppe Fenoglio, la présente étude explore un moment historique précis, soit la guerre civile italienne s'étalant de 1943 à 1945, et la manière de la raconter par l'écrivain. L'étude de la représentation de l'Histoire dans une œuvre romanesque constitue l'arrière-plan théorique du mémoire, qui s'oriente ensuite sur le propos de la tension entre l'affirmation d'une mémoire individuelle - s'articulant au moyen de la création romanesque - et la consolidation d'une mémoire collective - reposant sur les tribulations d'un événement historique majeur. Alors que l'historiographie de l'époque tente d'expliquer les sociétés humaines de manière objective et qu'elle s'intéresse principalement aux événements politiques suivant une organisation chronologique, le roman recherche l'histoire « vécue », sollicitant les sensations et les expériences individuelles déployées dans l'ambiance de divers contextes historiques ou sociaux. Le lieu de la Résistance italienne, c'est l'espace du territoire, l'étendue du paysage, et les deux romans à l'étude évoquent de manière singulière une fusion entre les paysages et leurs personnages. Dans Il sentiero dei nidi di ragno, aussi bien que dans Una questione privata, le personnage intègre le paysage, qui n'est plus visuel, éloigné, statique et cristallin, mais qui devient plutôt sensoriel, rapproché, chaotique et bigarré. Par la représentation du paysage, mais aussi du dépaysement, le roman sur la Résistance partisane exprime la volonté de la reprise en charge du pays par le sujet. L'étude du paysage et des symboles présents dans le roman sur la Résistance italienne, témoigne d'un mode de représentation sensoriel des états intérieurs du personnage, bien sûr, mais aussi de la révélation poétique accablante d'un territoire dévasté, dénaturé et dévoyé. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Néoréalisme, Représentation, Résistance, Italie.

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Le 21 octobre 2010, l'ex-colonel David Russell Williams, alors colonel des Forces aériennes et commandant de la base militaire de Trenton en Ontario (la plus importante base aérienne canadienne), a été reconnu coupable du meurtre de deux femmes, assassinées à leur domicile respectif, d'agressions sexuelles et de 82 accusations de vols et entrées par effraction dans les villes de Tweed, Belleville, Orleans. David Russell Williams représente un cas emblématique de masculinité hégémonique militaire. Cette recherche s'intéresse ainsi au mécanisme de construction de la masculinité hégémonique militaire et utilise les événements liés à l'ex-colonel nous servent de porte d'entrée pour explorer les violences perpétrées contre les femmes par les agents de l'État canadien. Cette recherche remémore, en premier lieu, différents cas de violence contre les femmes perpétrés par des militaires afin de dresser un portrait général, mais non exhaustif, de la problématique. Ce mémoire s'attarde dans un second temps à la perception des médias par rapport aux événements et, par le fait même, à la perception que le public en a eu. Nous procédons à une analyse des médias, précisément des quotidiens La Presse, Le Devoir, The Globe and Mail, et The Belleville Intelligencer. Les événements ont largement marqué l'année médiatique. Bien que David Russell Williams soit reconnu comme un des pires meurtriers de l'histoire du Canada, nous avançons que la couverture médiatique, notamment par la mise en scène des événements, a participé à maintenir le tueur sériel à caractère sexuel comme un modèle de masculinité hégémonique militaire et à occulter les violences contre les femmes et la misogynie sous-jacente aux crimes. L'occultation se fait à travers quatre tactiques (personnification, psychologisation, séparation d'une même personne, évitement). À travers cette analyse, nous émettons l'hypothèse que les médias sont restés sourds à la socialisation militaire et ont ainsi été la voix des institutions étatiques. Finalement, cette recherche propose une réflexion féministe des événements. Basé sur les écrits féministes matérialistes, ce mémoire permet de voir les fondements de l'identité masculine militaire, les effets de la violence sur les femmes en termes de contrôle et les impacts sur les rapports sociaux de sexe. Nous défendons l'idée selon laquelle Williams a retenu l'attention médiatique, non pas parce qu'il a volé, violé puis tué des femmes, mais bien parce qu'il a transgressé les normes de la masculinité hégémonique militaire en se travestissant. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Masculinité, masculinité hégémonique militaire, David Russell Williams, violences, Forces canadiennes.

At the end of the 1920s in Kenya, Protestant Missionaries, government authorities and Christian Kikuyu clashed when missionaries sought to prohibit female circumcision among their adherents. The mission discourse emphasised the negative moral and physical effects of female circumcision on individual women, while that of the government stressed the function of female circumcision in maintaining the body-politic. The colonial discourse, as whole, is marked by a striking division between issues concerning women and those deemed political. Thus, women seldom appear as actors in historical narratives of the female circumcision controversy, which is generally represented as a nationalist movement initiated by, and of concern to, men. / This thesis presents alternate readings of the relevant colonial records. By examining the processes that functioned to exclude women from the political discourse it provides a different interpretation of the controversy as one in which women did indeed play a central political role, indirectly controlling the issue through men, who were regarded by the colonialists as the legitimate representatives of tribal interests. The thesis explores indirect methods of eliciting the perspectives of women which are muted or absent from the historical record.

Zugl.: Berlin, Freie Univ., Diss., 2004