本論文主在以軍備管制、經濟互動、及歐洲安全三項指標評估自一九六九年尼克森政 府始，迄現任雷根政府上，美蘇兩國在和解政策下的關係發展。 第一章─「戰後美蘇冷戰之回顧」：除檢討冷戰的變數，並以三項指標說明蘇聯戰後 的擴張與美國的圍堵。 第二章─「和解的起源」：除剖析影響和解的國際、國內因素，並檢討美蘇外交決策 人對和解的意識認知。 第三章─「尼克森、福特政府和解的發展」：主以三項指標說明此階段美蘇和解的進 展。 第四章─「卡寺政府和解的衰退」：主以三項指標說明此階段美蘇和解的衰退。 第五章─「雷根政府和解的幻滅」：主以三項指標說明此階段美蘇和解的幻滅。 第六章─「和解演進的評估」：除檢討和解的正負功能，並以三項指標檢討三任政府 在和解政策上的成敗。

主要從理論模型及實證研究兩方面著手，探討貨幣的作用過程，以及貨幣政策的有效 性。 首先在理論模型方面，分別介紹了以小型開放體系為背景的五個貨幣與成長模型，並 做一綜合性的探討，得到的共同結論是貨幣對經濟成長的項獻是正的，其作用過程為 間接。 其次，在實證研究方面，以台灣的統計資料，利用簡單的簡單的計量方法來做分析。 主要的特點有三，即（一）時間上採用民國五一年至六九年。（二）引進虛擬變數。 （三）修正華里奇（H. C. Wallich 教授的實證模型。實證的結果與理論模型前後呼 應。 再其次，將本文的實證結果與華里奇教授及國內陳友明碩士的實證結果做比較分析， 得出本實證的結果較具可接受性的結論。 最後，提出嘗試性的政策建議，以及指出研究限制與未來的研究方向。

The American Projectivist verse of Jack Spicer, Charles Olson, and Robert Duncan contains within its poetics many epistemological assumptions shared by quantum physics. These assumptions exist in three broad categories: perception, process, and wholeness. In physics, the epistemology of perception has been profoundly altered by the Heisenberg Uncertainty Relation, which creates a symbiotic relationship between the observer and the observed. At least one photon of light is necessary to observe an electron; one photon is sufficient to alter the electron's momentum or position; therefore, a physicist affects an electron's "fate" in the act of observing it. Similarly, in Projectivist poetics, the perceptions of the reader are often enlisted to help "compose" the poem which is offered to him in "pieces," or, as in Robert Duncan's poetry especially, in self-reflexive segments. By "self-reflexive," we further mean that the Projectivist poem often "mirrors itself" as an electron "mirrors itself" as wave or as particle, while it is paradoxically both. A Projectivist poem may pause halfway through and "unravel" itself, i.e., study its own etymology. The reader thus must participate in "putting the poem back together," as the physicist participates in the phenomena he observes. The second epistemological model in physics and poetry stresses becoming, rather than being. Matter at the subatomic level has been defined as energy-in-flux. Similarly, the Projectivist poems of Charles Olson especially often exist as "fields" with no syntactical beginnings or endings. Moreover, the "I" of the Maximus Poems is often seen in a perpetual process of becoming the world of spacetime in the poems, creating a system similar to the being-and-becoming model of particle-and-field in quantum mechanics. Third, wholeness is a premise governing poetry and physics separately and together. Jack Spicer's thematics blend matter and consciousness, as "love and death matter/Matter as wave and particle." Similarly, Robert Duncan's poetics describes a "dancing organization between personal and cosmic identity." In physics, wholeness is seen primarily in an "implicate order" which attempts to overturn the old paradigms of fragmentation and connect matter and consciousness, including language, as interrelated systems of information.

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This thesis is the about the life of Rudder. The emphasis of this work, however, is that Rudder was successful primarily because of his character and leadership style. Much of the study was drawn from primary sources. Secondary sources were also consulted. This thesis opens with a brief Introduction, which discusses the need for this work. Chapter 1 discusses Rudder's life prior to WW II, emphasizing particular characteristics that benefited his leadership ability. Chapter 2 examines the 2nd Ranger Battalion's transformation under Rudder's leadership and guidance. Chapter 3 chronicles the 2nd Ranger Battalion's assault on the Pointe du Hoc battery, ending in December 1944, when Col. Rudder was reassigned to the 109th Infantry Regiment. Moreover, the controversy surrounding the Ranger's mission is also examined in this chapter. Chapter 4 describes Col. Rudder's leadership with the 109th in the Battle of the Bulge. A chapter accounting Rudder's political career and leadership follows. Chapter 6 examines his term as chancellor and president of the Texas A&M University system, until his death in 1970, and the major institutional changes that he enacted during his tenure, which resulted in A&M becoming the respected research university it is today. This significance and recapitulation of Rudder's life and leadership will follow in the Conclusion.

Frank C. Laubach made substantial contributions both to literacy education and the Christian life. There were between sixty and one hundred million people who learned to read through his literacy campaigns. He traveled to 130 countries developing literacy primers in 312 languages. At the same time, Laubach was a missionary mystic, spiritual experimenter and leader among Protestant Christians. The purpose of this study was to examine the relationship between two important parts of Laubach's life: his Christian development and literacy education. The study presents an overview of the family and social background of Frank C. Laubach from a chronological framework. Additional chapters examine: the importance of i-he Christian disciplines in Laubach's life, the impact of the missionary call and Laubach's concern for Christian social responsibility. The final chapter summarizes and evaluates the research. Both the Laubach collection, found in the George Arents Research Library at Syracuse University in Syracuse, New York, and the library at Laubach Literacy International in Syracuse, provided the resources for comprehensive research in the life of Frank C. Laubach.

Esta dissertação visa investigar o circuito fotográfico paulistano da década de 1970 a partir das matérias publicadas no jornal O Estado de S. Paulo. Esta fonte mostrou-se particularmente propícia para o estudo do intenso processo de transformação pelo qual passou a fotografia no período. O objetivo não é reconstituir os eventos passados descritos nas matérias, mas antes, defender a hipótese de que é possível identificar uma cultura fotográfica paulistana característica da década de 1970 que viria a ter importantes desdobramentos nos anos seguintes. Os textos analisados foram reunidos em quatro núcleos temáticos representativos dos discursos a respeito da fotografia proferidos pelos agentes que atuavam no jornal, a saber: a história da fotografia no Brasil, a identidade da fotografia brasileira, o estabelecimento do mercado fotográfico e a constituição de uma crítica especializada. Tais textos são examinados em sua natureza discursiva, levando-se em conta não apenas os seus conteúdos informativos, mas a forma como foram escritos e a autoridade que detinham os seus autores. Para tanto são considerados os consensos, as tensões e as disputas materializadas nos discursos veiculados nas páginas de um influente veículo da grande imprensa e o modo como chegavam ao público não especializado. O resultado dessa pesquisa contribui para o entendimento de um período em que a fotografia expandiu-se de forma até então inédita no Brasil e que constitui um passado recente ainda pouco estudado. / This dissertation aims to investigate the São Paulo photographic circuit of the 1970s from the articles published in the newspaper O Estado de S. Paulo. This source proved to be particularly conducive to study of the intense transformation process through which the photograph passed in the period. The objective is not to reconstitute past events described in the stories, but rather to defend the hypothesis that it is possible to identify a photographic culture typical of the 1970s that would have important developments in the following years. The texts analyzed were grouped in four thematic nuclei, representative of the speeches about photography by the agents who worked in the newspaper, namely: the history of photography in Brazil, the identity of Brazilian photography, the establishment of the photographic market and the constitution of a specialized criticism. Such texts are examined in their discursive nature, taking into account not only their informative contents but the way they were written and the authority held by their authors. For this, the consensuses, tensions and disputes materialized in the speeches on the pages of an influential vehicle of the great press and the way in which they were received by the non-specialized public are taken into account. The result of this research contributes to the understanding of a period in which photography has expanded in a way previously unpublished in Brazil and that constitutes a recent past still little investigated.

Este estudo objetivou evidenciar a atuação de Mario Schenberg na organização das Bienais Internacionais de São Paulo enquanto crítico de arte, nas décadas de 1960 e 1970. Foi analisado o envolvimento do crítico na Sala Especial do pintor Alfredo Volpi na VI Bienal (1961), bem como sua participação no júri de seleção da representação brasileira na VIII, IX e X Bienais (1965, 1967 e 1969). Foi examinada, ainda, a participação de Schenberg nas Mesas Redondas promovidas pela Associação Internacional de Críticos de Arte junto às edições de 1969 e 1971 (X e XI Bienais). A investigação tomou por fontes primárias as críticas originais do Centro Mario Schenberg de Documentação da Pesquisa em Arte ECA/USP escritas no período delimitado, bem como os demais livros, artigos e entrevistas do crítico; acrescente-se a esse material as entrevistas realizadas com artistas, curadores e cientistas que conviveram com Mario Schenberg nessas duas décadas. Além disso, foi realizado um levantamento documental no Arquivo Histórico Wanda Svevo, da Fundação Bienal. A presença do crítico no certame se deu, em primeiro lugar, por conta de sua proximidade com os artistas e seu interesse pela arte e, em segundo lugar, por sua capacidade de trazer um novo olhar para com as obras de arte, que poderia agregar a singularidade da figura de Mario Schenberg aos quadros da Bienal. Ao entender que era função do certame promover visibilidade para os novos artistas que começavam a desenvolver seu trabalho e a definir novos caminhos para a arte, o crítico assumiu o papel de facilitador da aceitação de novos artistas e tendências na representação brasileira das Bienais. / This study had the objective of highlighting Mario Schenberg\'s action in the Sao Paulo\'s International Biennial organization while art critic, in the decades of 1960 and 1970. It was analysed the critic\'s involvement in the painter Alfredo Volpi\'s Special Room in the VI Biennial (1961), as well as his participation on the selection jury of the brazilian representation on the VIII, IX and X Biennials (1965, 1967, 1969). It was examined, still, Schenberg\'s participation on the round tables promoted by the International Association of Art Critics on the 1969 and 1971 (X e XI Biennials) editions. The investigation considered by primary sources the original critics of the Mario Schenberg\'s Center of Documentation Research in Art - ECA/USP written in the defined period, as well as the other books, articles and interviews from the critic; add to this material the interviews with artists, curators and scientists who lived with Mario Schenberg in these two decades. In addition to that, a documental survey was carried out in the Wanda Svevo\'s Historical Archive from the Biennials Foundation. The critic\'s presence in the field was due, in first place, by his proximity to the artists and his interest for the art and, in second place, for his capacility of bringing a new view to works of art, which could add the singularity of Mario Schenberg\'s figure to the Biennial\'s work of art. In understanding that it was the fields function to promote visibility to the new artists who were starting to develop their work and define new ways for the art, the critic took upon him the role of facilitator on the acceptance of new artists and tendencies on the brazilian representation of the Biennials.

Este trabalho analisa quatro peças brasileiras dos anos 1970: Um grito parado no ar (Gianfrancesco Guarnieri, 1973), Rasga coração (Oduvaldo Vianna Filho, 1974), Gota dágua (Chico Buarque e Paulo Pontes, 1975) e O último carro (João das Neves, 19641967-1976). Escritas por diferentes dramaturgos, essas peças são representantes de um projeto de teatro que se constituiu na década de 1970, marcado pelas tentativas de retomada dos palcos brasileiros com uma dramaturgia cujas principais características são a valorização da palavra como eixo estruturante das peças, o investimento na busca por uma síntese formal de acordo com a matéria histórica a ser representada e a reafirmação do compromisso com o engajamento. A análise das peças permitiu identificar a forte presença de elementos da cultura política comunista e a proximidade de seu discurso com o projeto político do Partido Comunista Brasileiro (PCB), o que permitiu caracterizá-las como dramaturgia de matriz comunista. As tentativas de retomada dos palcos se deram através de um processo de avaliação da prática teatral no qual os dramaturgos reafirmaram alguns dos pressupostos que haviam tido no horizonte de sua escrita dramatúrgica até então, ao mesmo tempo em que tentaram abandonar outros. Tentando deixar de lado o idealismo com que haviam lido a realidade brasileira e a teleologia revolucionária com que haviam representado os personagens populares, esses dramaturgos não abandonaram a defesa de uma estratégia de resistência ao regime militar através de uma frente ampla pela redemocratização. O frentismo, porém, surge reconfigurado, tendo seu foco deslocado de uma frente policlassista para uma frente entre membros de uma mesma classe social cujas estratégias de ação política divergiam. A busca por uma síntese formal sugere a constituição de uma \"frente estética\" em que diferentes matrizes teóricas foram conjugadas, evidenciando a importância da pesquisa formal para o teatro engajado. No entanto, apesar dessas características convergentes, as peças não deixam de expressar tensões entre si e expõem os impasses e contradições que marcaram a modernização do Brasil nos anos 1970. / This work analyzes four brazilian plays from the 1970s: Um grito parado no ar (Gianfrancesco Guarnieri, 1973), Rasga coração (Oduvaldo Vianna Filho, 1974), Gota dágua (Chico Buarque e Paulo Pontes, 1975) and O último carro (João das Neves, 1964/1967-1976). Written by different playwrights, these plays are representative of a theatre project constituted in the 1970s, marked by attempts to retake brazilian stages with a dramaturgy whose main characteristics are the valorization of the word as the structuring axis of the plays, the investment in the search for a formal synthesis according to the historical matter to be represented and the reaffirmation of commitment to political engagement. The analysis of the plays allowed to identify the strong presence of elements of the communist political culture and the proximity of its discourse with the Brazilian Communist Party (PCB)s political project, which allowed to characterize them as dramaturgy of communist matrix. The attempts to retake the stage took place through a evaluation of theatrical practice in which the playwrights reaffirmed some of the assumptions they had had in the horizon of their dramaturgical writing until then, while attempting to abandon others. Trying to put aside the idealism with which they had read the Brazilian reality and the revolutionary teleology with which they had represented the popular characters, these playwrights did not abandon the defense of a strategy of resistance to the military regime through a front for redemocratization. But the front strategy appears reconfigured, with its focus shifting from a polyclassist front to a front among members of the same social class whose strategies for political action diverged. The search for a formal synthesis suggests the constitution of an \"aesthetic front\" in which different theoretical matrices were conjugated, evidencing the importance of the formal research for the engaged theater. However, despite these convergent characteristics, the plays express tensions among themselves and expose the impasses and contradictions that marked the modernization of Brazil in the 1970s.

Este trabalho analisa filmes do cineasta Chris Marker que indagaram sobre a Unidade Popular do Chile nos anos 1970. Entre as produções abordadas, estão duas que foram remontadas a partir de documentários chilenos feitos durante o governo de Salvador Allende: La première année (1973) e On vous parle du Chili: ce que disait Allende (1973). Além disso, mais três filmes desse realizador se dedicaram ao tema: La Spirale (1976), Lambassade (1974) e O fundo do ar é vermelho (1977). Por meio do estudo dessa filmografia, identificaram-se quais foram as estratégias narrativas utilizadas e qual foi o discurso político sobre a chamada experiência chilena que essas estratégias elaboraram. A reflexão sobre o corpus permitiu verificar que o interesse por esse processo, visto desde a França, emergiu do espaço deixado pelas frequentes desilusões diante de uma referência política anterior, igualmente vinda da América Latina e que havia motivado os debates da esquerda francesa na década de 1960: a Revolução Cubana. Assim, optou-se por incluir também na pesquisa produções markerianas que nasceram do contato entre esse realizador e o Instituto Cubano del Arte e Industria Cinematográficos (ICAIC): Cuba si (1961), La bataille des dix millions (1970), On vous parle du Brésil: tortures (1969) e On vous parle du Brésil: Carlos Marighela (1970). A análise dos filmes elencados revela que, durante os anos da UP no poder, houve uma vontade de aproximação entre Chile e França que valorizava os caminhos empregados pela via chilena ao socialismo, apontando-os como possibilidades para uma Nova Esquerda europeia. Porém, com o golpe de Estado de 1973, essa postura passou por uma revisão, e a experiência chilena serviu à elaboração de leituras que apontassem um legado e lições que poderiam ser retirados da queda da Unidade Popular. Nesse sentido, as produções de Marker fazem uma denúncia das ações da direita que derrubaram Allende, bem como constroem uma visão autocrítica que indica os erros cometidos pela própria esquerda que possibilitaram essa derrota. Essa tentativa de atribuir um legado e lições buscava responder sobretudo aos anseios de uma esquerda francesa que dispunha de um programa comum de governo fortemente inspirado naquele da UP chilena, mas que deveria ser submetido a uma revisão após o fracasso de sua referência latinoamericana. Sob essa visão, esta tese propõe um estudo voltado à circulação de ideias culturais e políticas entre América Latina e França, que delega ao continente um papel central nessa relação durante os anos 1960 e 1970 e a Chris Marker a função de um mediador cinematográfico. / This work analyses the Chris Markers films that inquired about the Popular Unity in the 1970s. Among the productions approached, two of them have been reassembled from other Chilean documentaries that had been made during the Salvador Allendes government: La première année (1973) and On vous parle du Chili: ce que disait Allende (1973). Furthermore, three other films by Chris Marker have analysed this subject: La Spirale (1976), The embassy (1974) and The grin without a cat (1977). By studying his filmography, this research could identify the narratives strategies that had been used by the director, as well as the political discourse elaborated by them. The reflections about the corpus allowed verify how the interest for this Chilean process, viewed from France, has emerged from an empty space left by the usual delusion given by an earlier reference that had motivated the French left during the 1960s, also gone from Latin-American: the Cuban Revolution. So, we chose to also include in the research the Markers productions came from the relationship between this director and the Instituto Cubano del Arte e Industria Cinematográficos (ICAIC): Cuba si (1961), La bataille des dix millions (1970), On vous parle du Brésil: tortures (1969) and On vous parle du Brésil: Carlos Marighela (1970). The analysis of the films-selected shows that, during the UPs years in the power, there was a wish to approach Chile and France by valorising the Chileans way to the socialism and pointing it as a possibility to the European New Left. However, after the coup détat in 1973, this attempt has been revised and the Chilean experience has been used to elaborate lectures that pointed a legacy and lessons from the follow of Popular Unity. In this sense, the Markers productions denounce the rights actions to overthrow Allende, as well as built a self-criticism vision to indicate the lefts mistakes that had collaborated to the defeat. This wish to show a legacy and lessons has dialogued with the expectations of a Frenchs left that had have a common government programme tightly inspired in the Chileans UP ones, but that has required a revision after the failure of its Latin-American reference. From this point of view, this thesis proposes a study based on the circulation of cultural and political ideas between Latin American and France that delegated to this continent a central role in this relationship during the 1960s and the 1970s, and assigned to Chris Marker the function of a cinematographic mediator.