A la suite du Congrès panafricain de Manchester (octobre 1945), puis de son indépendance en mars 1957, le Ghana a été jusqu'en 1966 le centre de dynamiques transnationales trouvant leur origine dans la transformation sociale et politique de l'espace franco-africain. Considérant que l'indépendance du Ghana était liée à la libération totale du continent africain, Kwame Nkrumah a travaillé à construire la jeune nation africaine en tant que porte-drapeau du panafricanisme et embryon d'une union d'États africains indépendants et affranchis des cadres hérités de la période coloniale. C'est dans ce but qu'il a tissé un réseau d'alliances politiques et accueilli nombre de militants et intellectuels francophones qui ont contribué à nourrir une réflexion sur la transformation des empires, le panafricanisme, le néo-colonialisme, la lutte armée et la Révolution africaine. La construction d'un appareil de propagande à même de produire et de diffuser un imaginaire panafricain mobilisateur tant à l'intérieur qu'à l'extérieur du pays a été l'une des principales réalisations de l'époque. Dans le même temps, de grandes difficultés ont été rencontrées dans l'organisation politique des populations migrantes originaires de l’espace franco-africain et résidant au Ghana. Devenu un carrefour de la Révolution africaine, le Ghana a été progressivement amené à devenir un laboratoire où se discutaient et se construisaient une praxis et une idéologie reposant sur l'analyse des conditions politiques issues des indépendances africaines. La jeune nation a ainsi offert un lieu favorable à l'observation et l'étude du croisement des dynamiques qui ont traversé les anciens empires britannique et français. / Following the Pan-African Congress in Manchester in October 1945 and then its independence in March 1957, until 1966, Ghana became the center of transnational dynamics, which had their roots in the social and political transformation of French Africa. Convinced that the independence of Ghana was linked to the total liberation of the African continent, Kwame Nkrumah worked towards building this young African nation as a standard bearer of Pan-Africanism and as the nucleus of a union of independent African States, which would be freed from the structures inherited from the colonial period. To this end, Ghana formed a number of political alliances, and provided shelter and work for many francophone militants and intellectuals who, in turn, contributed to the reflex ions on the transformation of empires, Pan-Africanism, neo-colonialism, armed struggle and the African Revolution. The establishment of a propaganda machine able to produce and to widen a Pan-African imagined community in order to mobilise inside as well as outside Ghana was one of the main realizations of the period. Meanwhile, there were great difficulties regarding the political organization of the migrant populations coming from French Africa and living in Ghana. As a crossroads of the African Revolution, Ghana was progressively pushed to become a testing ground where a praxis and an ideology based upon an analysis of the political conditions coming from the newly independent African states were being discussed and built. The young nation proved to be a place where the intersection of the dynamics, which crossed both the former French and British empires, can be observed and studied.

Nesta dissertação, busca-se analisar os elementos dramatúrgicos constituintes da polêmica peça Shopping and Fucking (1996), do dramaturgo britânico Mark Ravenhill, relacionando suas características de forma e conteúdo e seus decorrentes imbricamentos. O ponto de partida dessa empreitada encontra-se não somente em obras teóricas importantes da crítica de literatura, teatro e cultura de autoria de Peter Szondi, Anatol Rosenfeld, Roberto Schwarz e Fredric Jameson, mas também nas de autores mais estreitamente vinculados às ciências econômicas e à crítica do sistema mundial como Ernst Mandel e Robert Kurz. Podemos, por meio dessa análise, concluir que Ravenhill é capaz de retratar por meio da configuração da peça aspectos simultaneamente relacionados tanto à subjetividade quanto à sociedade contemporâneas ambas em estado de crise permanente. Na primeira parte da dissertação, procura-se introduzir historicamente a peça, o teatro In-yer-face e o período Thatcher. Na segunda parte, destacam-se principalmente os temas presentes abordados em relação à forma. Na terceira, há uma predominância da análise formal e observa-se a presença de elementos épicos que, algumas vezes desvirtuados, desestruturam a forma puramente dramática. Constatação essa que, segundo levantamento bibliográfico realizado, ainda não havia sido defendida por críticos que se debruçaram sobre a obra desse dramaturgo. E, na quarta parte, nas considerações finais, procura-se entender a forma e a sua respectiva correspondência com o contexto sócio-histórico segundo as considerações analíticas levantadas nos capítulos anteriores. / In this dissertation, our goal is to analyze the theatrical elements that constitute the controversial play Shopping and Fucking (1996), by the British playwright Mark Ravenhill, relating its characteristics of form and content and their resulting intersections. The focus lies not only on the important theoretical works of literature, theatre and culture critique by Peter Szondi, Anatol Rosenfeld, Roberto Schwarz and Fredric Jameson, but also on those of authors more closely tied to economics and world system critics such as Ernst Mandel and Robert Kurz. The analysis concludes that Ravenhill simultaneously relates aspects of subjectivity and the contemporary society both in a state of permanent crisis. The first part of the dissertation introduces the play, the In-yer-face theatre and the Thatcher period. The second part emphasizes the themes presented addressed in relation to the form. The third part stresses the predominance of formal analysis, in which epic elements, somewhat garbled, deconstruct the dramatical form. Nevertheless, according to bibliographical research, such an analysis has not been developed, to the present day, by critics familiar with Ravenhill\'s theatrical works. In the concluding chapter an understanding is sought towards the plays form and its correspondences with the socio-historical context following our previous analysis.

邢福增 = Christian doctrine and national salvation : the cases of Xu Qian, Feng Yu Xiang & Zhang Zhi Jiang / Ying Fuk-tsang. / 論文(博士) -- 香港中文大學硏究院歷史學部, 1995. / 參考文献 : leaves [308]-327. / Xing Fuzeng = Christian doctrine and national salvation : the cases of Xu Qian, Feng Yu Xiang & Zhang Zhi Jiang / Ying Fuk-tsang. / 致謝 --- p.i / 目錄 --- p.ii / 導論 --- p.1 / Chapter 第一章 --- 啓蒙與敌亡：民初基督教救國主義的萌生 --- p.11 / Chapter 第一節 --- 「救國」的狂飆 --- p.11 / Chapter 第二節 --- 五四前後的基督敎救國論 --- p.15 / 第一部分 徐謙一基督救國主義 / Chapter 第二章 --- 基督徒革命家與基督敎救國主義 --- p.24 / Chapter 第一節 --- 清末的季世儒者 --- p.24 / Chapter 第二節 --- 從儒者到基督徒革命家 --- p.26 / Chapter 第三節 --- 基督徒革命家與信敎自由會 --- p.29 / Chapter 第四節 --- 基督敎救國主義的萌生與實現 --- p.33 / Chapter 第三章 --- 基督（教〉救國主義析論（1917´ؤ1924) --- p.41 / Chapter 第一節 --- 理論基礎：救人、救國、救世 --- p.41 / Chapter 第二節 --- 基督敎解決方案 --- p.49 / Chapter 第三節 --- 趨於沉寂：基督（敎）救國會的限制 --- p.57 / Chapter 第四節 --- 基督敎救國：直通？曲成？ --- p.64 / Chapter 第四章 --- 革命家徐謙與基督敎（1924´ؤ1940) --- p.69 / Chapter 第一節 --- 思想激化之路 --- p.69 / Chapter 第二節 --- 反帝國主義革命家（1925 ´ؤ1927) --- p.75 / Chapter 第三節 --- 反帝國主義與基督敎 --- p.94 / Chapter 第四節 --- 晚年（1932´ؤ1940) --- p.99 / 小結´ؤ´ؤ基督救國的困局 --- p.103 / 第二部分 馮玉祥一一「基督將軍」 / Chapter 第五章 --- 「基督將軍」的皈信前後 --- p.106 / Chapter 第一節 --- 「基督將軍」的皈信（1900 ´ؤ1913) --- p.106 / Chapter 第二節 --- 「基督將軍」的形象 --- p.111 / Chapter 第六章 --- 馮玉祥與基督教救國論 --- p.123 / Chapter 第一節 --- 基督敎救國論 --- p.123 / Chapter 第二節 --- 基督教救國的同志們 --- p.126 / Chapter 第三節 --- 基督化軍隊 --- p.130 / Chapter 第七章 --- 基督教、三民主義與共產主義 --- p.139 / Chapter 第一節 --- 「基督將軍」與「五卅」 --- p.139 / Chapter 第二節 --- 三民主義與基督敎 --- p.152 / Chapter 第三節 --- 共產主義與基督敎 --- p.174 / Chapter 第八章 --- 基督敎救國論的再思 --- p.190 / Chapter 第一節 --- 抗日戰爭與基督敎（1936 ´ؤ1945) --- p.190 / Chapter 第二節 --- 反内戰與基督敎（1945 ´ؤ1948) --- p.207 / 小結 一位「救國」的「用敎」者 --- p.220 / 第三部分 張之江´ؤ´ؤ信行救國 / Chapter 第九章 --- 「基督將軍」的皈信前後 --- p.223 / Chapter 第一節 --- 從參軍到革命 --- p.223 / Chapter 第二節 --- 「基督將軍」的皈信（1915´ؤ1918) --- p.224 / Chapter 第三節 --- 「基督將軍」的形象 --- p.226 / Chapter 第十章 --- 國家與信仰的平衡與整合（1928´ؤ1931) --- p.235 / Chapter 第一節 --- 「信敎自由」的捍衛 --- p.235 / Chapter 第二節 --- 基督教、帝國主義、三民（孫文）主義 --- p.239 / Chapter 第三節 --- 信敎自由的確立 --- p.244 / Chapter 第四節 --- 整合的努力 --- p.245 / Chapter 第十一章 --- 「信行救國」論與中華基督徒信行救國十人團 --- p.249 / Chapter 第一節 --- 「信行救國」的背景 --- p.249 / Chapter 第二節 --- 「信行救國」的理論基礎 --- p.252 / Chapter 第三節 --- 中華基督徒信行救國十人團的團務發展（1932´ؤ1937) --- p.258 / 小結´ؤ´ؤ另一種抉擇 --- p.268 / 結論基督敎救國主義的全面評檢 --- p.270 / 附錄 --- p.280 / Chapter 1´Ø --- 徐謙遺像 / Chapter 2´Ø --- 基督教救國會三位政界發起人 / Chapter 3´Ø --- 徐謙為基督教刊物題字 / Chapter 4´Ø --- 浦化人著（基督教救國論〉 / Chapter 5 ´Ø --- 陳崇桂著〈馮上將軍傳〉封面 / Chapter 6´Ø --- 馮軍進行洗禮的情況 / Chapter 7´Ø --- 古約翰牧師 / Chapter 8´Ø --- 馮玉祥與張之江 / Chapter 9´Ø --- 馮玉祥軍隊的工廠 / Chapter 10´Ø --- 馮玉祥為南京漢中堂石碑題字 / Chapter 11´Ø --- 馮玉祥日記手稿 / Chapter 12´Ø --- 馮玉祥撰寫之「愛世人」詩 / Chapter 13´Ø --- 張之江將軍 / Chapter 14´Ø --- 張之江部隊查經的情況 / Chapter 15´Ø --- 張之江送贘《聖經》予山東省長韓復 / Chapter 16´Ø --- 張之江為《文社月刊》 封面題字 / Chapter 17´Ø --- 張之江與中外牧師的祈禱會 / Chapter 18´Ø --- 中華基督徒信行救國十人團總團一九三三年各省團員比較表 / Chapter 19´Ø --- 中華基督徒信行救國十人團發起人名單 / Chapter 20 ´Ø --- 中華基督徒信行救國十人團簡章草案 / 參考書目 --- p.308

Nesta dissertação, busca-se analisar os elementos dramatúrgicos constituintes da polêmica peça Shopping and Fucking (1996), do dramaturgo britânico Mark Ravenhill, relacionando suas características de forma e conteúdo e seus decorrentes imbricamentos. O ponto de partida dessa empreitada encontra-se não somente em obras teóricas importantes da crítica de literatura, teatro e cultura de autoria de Peter Szondi, Anatol Rosenfeld, Roberto Schwarz e Fredric Jameson, mas também nas de autores mais estreitamente vinculados às ciências econômicas e à crítica do sistema mundial como Ernst Mandel e Robert Kurz. Podemos, por meio dessa análise, concluir que Ravenhill é capaz de retratar por meio da configuração da peça aspectos simultaneamente relacionados tanto à subjetividade quanto à sociedade contemporâneas ambas em estado de crise permanente. Na primeira parte da dissertação, procura-se introduzir historicamente a peça, o teatro In-yer-face e o período Thatcher. Na segunda parte, destacam-se principalmente os temas presentes abordados em relação à forma. Na terceira, há uma predominância da análise formal e observa-se a presença de elementos épicos que, algumas vezes desvirtuados, desestruturam a forma puramente dramática. Constatação essa que, segundo levantamento bibliográfico realizado, ainda não havia sido defendida por críticos que se debruçaram sobre a obra desse dramaturgo. E, na quarta parte, nas considerações finais, procura-se entender a forma e a sua respectiva correspondência com o contexto sócio-histórico segundo as considerações analíticas levantadas nos capítulos anteriores. / In this dissertation, our goal is to analyze the theatrical elements that constitute the controversial play Shopping and Fucking (1996), by the British playwright Mark Ravenhill, relating its characteristics of form and content and their resulting intersections. The focus lies not only on the important theoretical works of literature, theatre and culture critique by Peter Szondi, Anatol Rosenfeld, Roberto Schwarz and Fredric Jameson, but also on those of authors more closely tied to economics and world system critics such as Ernst Mandel and Robert Kurz. The analysis concludes that Ravenhill simultaneously relates aspects of subjectivity and the contemporary society both in a state of permanent crisis. The first part of the dissertation introduces the play, the In-yer-face theatre and the Thatcher period. The second part emphasizes the themes presented addressed in relation to the form. The third part stresses the predominance of formal analysis, in which epic elements, somewhat garbled, deconstruct the dramatical form. Nevertheless, according to bibliographical research, such an analysis has not been developed, to the present day, by critics familiar with Ravenhill\'s theatrical works. In the concluding chapter an understanding is sought towards the plays form and its correspondences with the socio-historical context following our previous analysis.

The thesis deals with scientific expeditions to the Tibetan plateau carried out by Chinese scientists from the 1950s. The whole thesis is framed by two models of the spread of Western science to an unknown land. Is it or is it not the spread of Western science into Tibet the form of colonial control? We will use these two models to answer this question. The thesis tracks the interests and the meaning of expeditions to China and Chinese science. It deals with the development of Chinese Academy of Sciences, which organized the Chinese expeditions. It also describes and summarizes the work and results of Chinese scientists which were presented at the international conference on Tibet in 1980, and examines their contributions to the Chinese and Western science. Part of the thesis deals with the reflection of otherness in the published interviews with participants which we use as primary sources for the thesis. Keywords: Chinese science, Chinese Academy of Sciences, China-Tibet relations, Tibetan plateau, geology, alternity.

No description available.

Orientador: Luiz Gonzaga de Mello Belluzzo / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Economia / Made available in DSpace on 2018-07-13T20:06:02Z (GMT). No. of bitstreams: 1 Braga_JoseCarlosdeSouza_M.pdf: 4519659 bytes, checksum: 2dc34637e0c8d0a704c6235a5901d5c7 (MD5) Previous issue date: 1978 / Resumo: Não informado / Abstract: Not informed / Mestrado / Mestre em Economia

The Town Where Mickey Mouse Has Lived is a documentary video program in which people talk about themselves and the life of a small town. The town is known as the boyhood home of Walt Disney, which he recalled as the most charming place in his life. The interviews explore the personal perspectives of the people and why they stay in Marceline despite the fact that Disneyland, full of Disney's memories of Marceline, attracts people while the town has been obsolescent for a long time.

Im Mittelpunkt dieser Arbeit stehen Christian Krachts Romane, die angesichts ihrer Vielfalt unter verschiedenen Perspektiven analysiert werden könnten, sei es wegen der Themen, die sie behandeln, sei es aufgrund ihrer stilistischen Eigenheiten. Die Entscheidung, Kracht unter dem Aspekt der Autoreninszenierung zu behandeln, wurde getroffen, weil die Faszination seines Werks, zumindest teilweise, durch die auβerliterarischen Äuβerungen Krachts in Interviews, auf Fotos oder durch sein Profil bei Facebook, als mehrdeutige Erweiterung seiner Texte fungieren und zur Projektion seines Images beitragen. Behandelt werden die Romane Faserland, 1979, Ich werde hier sein im Sonnenschein und im Schatten und Imperium; letzteres als Werk, das schon seit dem ersten Roman geplant war. Auβerdem analysieren wir die verschiedene Autorenfunktionen und ihre Veränderungen im Laufe der Jahrhunderte, sowie den Inszenierungsprozess in der Geschichte der Literatur seit dem Mittelalter. Sowohl der Begriff als auch die Debatte um die ,,Rückkehr des Autors” hängen mit der Idee der Autoreninszenierung zusammen. Obwohl mit diesem Begriff traditionell die öffentlichen Formen der Autorenpräsentation in den Medien verbunden werden, stellen wir fest, dass die jeweiligen Inszenierungen der Epoche angepasst sind und mit den Mitteln, die den Autoren historisch zur Verfügung stehen, realisiert werden. Nach der Beschäftigung mit einigen Autoren seit dem Mittelalter, widmen wir uns Karl May und den Legenden um seine fiktionale und reale Identität, Thomas Mann, dem Repräsentanten der Deutschen Nation, Rolf Dieter Brinkmann, der den Kritiker Reich-Ranicki zu töten drohte, und Christian Kracht. Bei Christian Kracht kann man feststellen, dass sowohl sein Werk als auch seine öffentlichen Erscheinungen ein gewisses Unbehagen verursachen, oft weniger aufgrund der Ressonanz seiner Werke, sondern überwiegend wegen der Äuβerungen des Autors. In dieser Studie versuchen wir zu verdeutlichen, dass die Inszenierungen Christian Krachts auf zwei Ebenen stattfinden: in der Selbstkonstituierung und in der Auflösung seiner Figur im Rahmen der Medien sowie im Spiel mit Referenzen in seinen Werken. / No centro deste trabalho, estão os romances de Christian Kracht, que poderiam ser analisados sob diversas perspectivas, considerando sua riqueza, tanto do ponto de vista dos assuntos de que tratam, quanto por suas características estilísticas. A decisão de abordar Kracht sob o ângulo da encenação autoral deve-se ao fato de a fascinação pela obra ser oriunda, pelo menos em parte, das manifestações extraliterárias de Kracht em entrevistas, em fotos ou em seu perfil no Facebook, que servem como extensão ambígua dos próprios textos e contribuem para projetar sua imagem. Estudamos as obras Faserland, 1979, Eu estarei aqui no sol e na sombra e Imperium; esta como obra que já havia sido concebida desde o primeiro romance. Analisamos, também, as diferentes funções do autor e suas transformações através dos séculos, bem como o processo da encenação do autor na história da literatura desde a Antiguidade. Tanto o conceito, como o debate envolvendo o “retorno do autor” estão atrelados à ideia das autoencenações. Apesar de, com frequência, relacionarmos formas públicas de autorrepresentação nas mídias ao conceito de “autoencenação”, observamos que as encenações se adaptam à sua época e aos recursos de que os autores dispõem para realizá-las. Depois de tratarmos de alguns autores desde a Idade Média, citamos Karl May e as lendas sobre a identidade ficcional e real criadas por ele; Thomas Mann, o representante da nação alemã; Rolf Dieter Brinkmann, que ameaçou o crítico Reich-Ranicki de morte, e Christian Kracht. No caso de Christian Kracht, observamos que, tanto a obra quanto as aparições em público causam certo desconforto, muitas vezes menos baseado na repercussão provocada pelas obras, do que pelos posicionamentos do autor. Nesta pesquisa, buscamos demonstrar que as autoencenações de Christian Kracht são desenvolvidas em dois níveis: na autoconstrução e na desconstrução de sua figura no ambiente midiático e no jogo de referências em suas manifestações literárias.

Typescript (photocopy). / Digitized by Kansas Correctional Industries