Made available in DSpace on 2014-06-11T19:22:30Z (GMT). No. of bitstreams: 0 Previous issue date: 2004Bitstream added on 2014-06-13T19:48:50Z : No. of bitstreams: 1 martini_frs_me_ia.pdf: 6530425 bytes, checksum: 488d5f2b90e42c9541ceaf8ee9505801 (MD5) / Universidade Estadual Paulista (UNESP) / Nos anos 1960 a 1980, alguns artistas seguiram na contramão da chamada arte de vanguarda ou da arte dos ismos, pintando principalmente casarios - seqüências de casas geminadas, freqüente no estilo arquitetônico colonial brasileiro - um assunto empregado em determinadas pinturas de paisagens urbanas. O tema foi amplamente consumido, ainda que possa ter sido considerado ultrapassado no período. Os artistas viveram de sua arte e participavam ativamente das exposições promovidas pelas principais galerias e mostras oficiais, assim como dos leilões de arte fomentados pelos mais importantes leiloeiros. Até o pesente, a pintura referente à atmosfera colonial é mencionada nos cursos de arte, prossegue comercialmente viável e é explorada nas grandes mostras. A nossa investigação partiu da proposta de valorização e do resgate do tema, observando a produção de alguns artistas paulistas, os quais constituíram o 'Grupo Tapir'. Através do cenário artístico paulista, inserimos os nomes dos mestres responsáveis pela formação do grupo. Esboçamos uma biografia dos cinco integrantes do 'Grupo Tapir' e a respectiva análise de suas obras a partir dos preceitos de iconografia de Erwin Panofsky (1892-1968), em Significado das Artes Visuais. Buscamos assim definir os valores perceptivos simbólicos, expressivos e emocionais dos casarios, como obra de arte no contexto da pintura de paisagens, relecionando os devaneios e sonhos relativos aos significado das casas, segundo as obras filosóficas de Gaston Bachelard (1884-1962). / From 1960 to 1980 some artists followed the wrong way in the called vanguard art or the art of the 'ismos', painting mainly casarios - sequence of houses, constantly old a topic used in cetain urban landscape's paintings. The theme was throughly consumed, however it can be considered outdated in the period. The artists lived their art and participated actively of the exhibitions promoted by the main galleries and official shows, as well as the auctions fomented by the most important auctioneers. Until now, the painting regarding the colonial atmosphere is reference in the art courses, it continues commercially viable and it is explored in the great displays. Our investigation began with the proposal of valorization and rescue of the theme, observing some artist's production fom São Paulo production, who constitued the Group Tapir. Through the paulista artists scenery we insert the responsible masters name for the formation of gourp.Sketched a biography about the five members of Group Tapir and athe respective analysis of their works starting from the iconography deductions of Erwin Panofsky(1892-1968), in Meaning in the Visual Arts. With this, we intend to define the perceptive, symbolic, expressive and emotional values of the casarios, as work of art in the context of the landscape's painting relating the dream and the relative dreams to the meaning of the houses, according to the philosophical works of Gaston Bachelard (1884-1962).

This study aims at presenting the results of Research Project History of Colégio Agrícola de Uberlândia: from the school foundation to the first professional degree in the Curso Técnico em Agropecuária (Farm Technician Aprenticeship Program) (1957- 1972). The research was sponsored by Capes, and carried out during the Master s Course in Education Program. The area of concentration is History and Historiography of the Federal University at Uberlândia, having as advisor Professor Doctor Sandra Cristina Fagundes Lima. The main concern is to analyze the history of Colégio Agrícola at Uberlândia, a public technical-professional teaching high school, studying from its creation and foundation to the first course degree in Técnicos em Agropecuária , (Farm Technician Aprenticeship Program) from 1957-1972. The period of study is from the beginning of the school construction to the professional degree awarded to the first group of students, once the construction took twelve years, until 1969. In order to analyze the first group of students the following categories were employed: school architecture, time and space, knowledge and pedagogical practices, and teachers/students profiles. Former students were investigated to understand if their formation has reached the expectations and objectives of the school. The documents collected and used as base for the research analysis are stored in the Public Archive at Uberlândia (ArPU), in the Association of Commerce and Industry at Uberlândia (Aciub), and in the school archive as well. From the press we investigated the newspapers Correio de Uberlândia , O Triângulo and 7 Dias ; records of the City Council were used once they are sources that, through the alderman speeches, represent the politics context of the time. Fourteen former students of the first group were interviewed, based on oral history. A bibliographical study was conducted based on pictures, enrollment forms, and students and teachers personal data found in the school archive. The sources allowed the analysis and understanding the events and educational discussions on a national/regional level. The results were compared to the specialist literature according to the Brazilian reality. We have carried out a descriptive study of the institution, and developed a dialogue based on history and theory. Our intention was also to look for inter-relations with the Brazilian education issues, mainly on what refers to farm teaching. The results show the importance of the foundation of Colégio Agrícola at Uberlândia once it has contributed to modernize the primary sector both in the city and countryside. / Este trabalho visa apresentar os resultados finais do Projeto de Pesquisa História do Colégio Agrícola de Uberlândia: da criação à formatura da primeira turma do curso Técnico em Agropecuária (1957-1972) financiado pela Capes, desenvolvido no curso de Mestrado em Educação na linha de História e Historiografia da Universidade Federal de Uberlândia, sob a orientação da Profª. Drª. Sandra Cristina Fagundes Lima. A preocupação central constitui-se em analisar a história do Colégio Agrícola de Uberlândia, instituição pública de ensino técnico-profissionalizante de nível médio, por meio do estudo de sua criação e instalação até a formatura da primeira turma de Técnicos em Agropecuária, no período de 1957 a 1972. O recorte temporal abrange o ano em que as obras para a construção da escola se iniciaram até a formação da primeira turma, visto que essa construção se arrastou por doze anos, sendo concluída somente em 1969. Para a análise da história da primeira turma empregamos as seguintes categorias: arquitetura da escola, tempo e espaço, saberes e práticas pedagógicas e perfil docente e discente. A trajetória dos egressos também foi traçada com o intuito de entender se a formação que receberam atendeu às expectativas e aos objetivos da fundação do Colégio. A documentação catalogada e utilizada como base nas análises da pesquisa se encontra armazenada no Arquivo Público de Uberlândia (ArPU), na Associação Comercial e Industrial de Uberlândia (Aciub) e no arquivo da escola selecionada: da imprensa foram pesquisados os jornais Correio de Uberlândia , O Triângulo e 7 Dias ; as atas da Câmara Municipal foram utilizadas, pois são fontes que representam o contexto político da época a partir dos discursos dos vereadores; foram entrevistados quatorze ex-alunos da primeira turma empregando como base a história oral; no arquivo da escola, foram encontrados fotos, fichas de matrícula, dados pessoais dos alunos e dos professores; e foi feito levantamento bibliográfico. Estas fontes possibilitaram a análise e a compreensão dos fatos e discussões educacionais em nível nacional e regional e permitiram contrapô-los com aqueles descritos pela literatura especializada para a realidade brasileira. Buscou-se não fazer somente um estudo descritivo da instituição, mas, sim, estabelecer um diálogo com bases históricas e teóricas e também buscar interrelações com as questões da educação brasileira, principalmente as que se referem ao ensino agrícola. Com relação aos resultados, ressalta-se a importância da criação do Colégio Agrícola de Uberlândia, no sentido de ter contribuído na modernização do setor primário não só no município, mas também no País. / Mestre em Educação

This work examines the actions of the Joint Chiefs of Staff during the first year of the Korean War. Officially created in 1947, the Joint Chiefs saw their first true test as an institution during the conflict. At various times, the members of the JCS failed to issue direct orders to their subordinate, resulting in a divide between the wishes of President Truman and General MacArthur over the conduct of the war. By analyzing the interaction between the Joint Chiefs and General Douglas MacArthur, the flaws of both the individual Chiefs as well as the organization as a whole become apparent. The tactical and strategic decisions faced by the JCS are framed within the three main stages of the Korean War.

This dissertation examines the political and business career of H. R. “Bob” Haldeman. Scholars studying Richard M. Nixon’s presidency and administration have given very little attention to Haldeman’s career before and after his time as chief of staff. This dissertation argues that in order to understand Haldeman’s actions as chief of staff one needs to have a firm understanding of his career before he entered Nixon’s White House. In contrast to what many have argued, an overt interest in politics and overriding ambition to serve Nixon did not solely drive Haldeman. Instead, the development of Haldeman’s career is best understood through his consistent search for opportunities and activities in which he could alter, reform, or improve existing processes and organizations. Only a study of his entire career brings this motivation to the forefront. Using Haldeman’s recollections, his White House diaries, archival records relating to his business and political career, assessments of the Nixon presidency, and the recently published memoir of his wife, this dissertation provides an in-depth study of his career as a manager in business and politics. This study answers important questions regarding Haldeman’s background, intellectual makeup, and the trajectory of his career by reexamining Haldeman’s work for Nixon and his career in the advertising industry and analyzing how each of these experiences informed his life, skillset, and his managerial behavior. Providing the scholarship with a more complete picture of Haldeman’s life and career augments the understanding of Richard Nixon’s political career and presidency, by filling a critical void with a more comprehensive overview of a close aide and a major figure at the center of the Watergate scandal. An examination of Haldeman’s entire career, moreover, illuminates how significant developments in twentieth century United States political and business history impacted one individual.

Literary Dependents focuses on diverse discourses on childhood that informed and impacted Japanese literature and society in the modern era. Through an analysis of magazines, literary works, and related media, this dissertation traces the ways childhood has been constructed and utilized in literary, social, political, and cultural discourse from the late nineteenth century to the present. As Japan strove to establish itself as a modern nation in the late nineteenth century, children and youth became a focal point of development as future citizens and leaders of the nation. Hence, images of children in print media were directly tied to Japan’s national identity in the modern world. The development did not stop in the twentieth century, and the concept of childhood underwent many shifts and changes. Taishō Democracy, the Second World War, the Allied Occupation, and the economic boom all brought about changes in the meaning and value of childhood to society, and in each period, new depictions of childhood abounded in print media. By exploring these developments, Literary Dependents seeks to understand how modern Japanese society has represented and utilized childhood as a way of shaping its visions and ideals regarding gender, family, life, art, and the future. The materials covered in Literary Dependents are publications that were intended for both children and adults, in which complex relationships between children and adults played out. The first chapter analyzes the Meiji period (1868-1912) women’s magazine Jogaku zasshi (Women’s Education Magazine, 1885-1904), showing how notions of the wise mother, hardworking wife, as well as a model language for women were constructed through its reading material for children. Chapter 2 centers around the translation of the American children’s novel Little Lord Fauntleroy (1885-1886) by Wakamatsu Shizuko, serialized from 1890 to 1892 in Jogaku zasshi, which provided an idealized image of the child, mother, and family, and was meant to show young women, rather than children, how to be mothers and how to create an ideal family. Chapter 3 discusses the literary space shared by children and adults in the children’s magazine Akai tori (Red Bird, 1918-1936), in which about one fifth of the pages were allotted to writings in prose and verse by children from across the empire. This chapter discusses the unique kind of authorship that arose from the collaboration between adults and children as the child writers themselves strove to fit the standards established by Akai tori. Chapter 4 further explores the issue of child authorship through the example of Toyoda Masako (1922-2010), whose elementary school compositions were repeatedly published in Akai tori, and in 1937, were published in a book titled Tsuzurikata kyōshitsu (Composition Class). This chapter rereads Toyoda’s writing in Tsuzurikata kyōshitsu intertextually, juxtaposing her own expressions with the critique and interpretations by educators and literary writers, as well as referencing her autobiographical writings from the postwar period. The juxtaposition elucidates the arbitrariness of the ideals that were attributed to children’s writing in 1920s and 30s Japan. Chapter 5 deals with the depiction of children with disabilities during the Second World War through an analysis of Kawabata Yasunari’s Utsukushii tabi (A Beautiful Journey), serialized in Shōjo no tomo (Girls’ Friend, 1908-1955) from 1939 to 1942. The serialization took place during a time of significant political change, which impacted the contents of Shōjo no tomo and the novel. The difficulty of continuing to write about a deaf-blind girl at such a time is evident in the abrupt turns in direction that the novel took during this time, moving away from depicting the disabled child and ultimately expressing colonialist and nationalist ideals. The sixth and last chapter explores the role of children in systems of distribution and consumption. In the immediate post-WWII period, reading material for children were scarce, not only because it was a general time of lack even for food, but also because strong nationalist/militarist sentiments found in wartime publications needed to be eliminated, or at least repackaged to fit the new environment. Yoshino Genzaburō’s Kimitachi wa dō ikiru ka (How Will You Guys Live?, 1937) was one text that underwent multiple “repackagings” in the postwar period. This chapter examines the different ways an “ethics” book was promoted under the changing historical conditions of post-WWII Japan. Although the materials covered in Literary Dependents center around those published in Japan, they are inextricably tied to other cultures and traverse national boundaries, not only through translation and adaptation, but also through intercultural interaction, collaboration, or travel. Furthermore, the dissertation connects childhood to other identities of gender, sexuality, disability, race, and class. Publications for children are often a coalescence of society’s myriad of networks as well as its most pressing issues, packaged and issued to an imagined child reader, which is itself an idealized image of the members of that society. The child and all of the ways it is imagined in print media can provide a unique window onto society and history. Hence, this dissertation explores the topic of the child in publishing culture, not to arrive at some definition of the child, but to better understand history through it. As much as children are dependent on adults and encounter publications through the mediation of adults, many aspects of the publishing industry are also dependent on children as readers, writers, consumers, images in marketing, or ideological figures. Literary Dependents is an investigation of mutual dependencies between the child and adult, publishing and literature, and print media and society.

This thesis examines the relationship between the three artists' workshops Røde Mor (Red Mother), Folkets Ateljé (The People's Studio) and GRAS, who worked between 1968 and 1975 in Denmark, Sweden and Norway. Røde Mor was from the outset an articulated Communist graphic workshop loosely organised around collective exhibitions. It developed into a highly productive and professionalised group of artists that made posters by commission for political and social movements. Its artists developed a familiar and popular artistic language characterised by imaginative realism and socialist imagery. Folkets Ateljé, which has never been studied before, was a close knit underground group which created quick and immediate responses to concurrent political issues. This group was founded on the example of Atelier Populaire in France and is strongly related to its practices. Within this comparative study it is the group that comes closest to collective practises around 1968 outside Scandinavia, namely the democratic assembly. The silkscreen workshop GRAS stemmed from the idea of economic and artistic freedom, although socially motivated and politically involved, the group never implemented any doctrine for participation. The aim of this transnational study is to reveal common denominators to the three groups' poster art as it was produced in connection with a Scandinavian experience of 1968. By ‘1968' it is meant the period from the late 1960s till the end of the 1970s. It examines the socio-political conditions under which the groups flourished and shows how these groups operated in conjunction with the political environment of 1968. The thesis explores the relationship between political movements and the collective art making process as it appeared in Scandinavia. To present a comprehensible picture of the impact of 1968 on these groups, their artworks, manifestos, and activities outside of the collective space have been discussed. The argument has presented itself that even though these groups had very similar ideological stances, their posters and techniques differ. This has impacted the artists involved to different degrees, yet made it possible to express the same political goals. It is suggested to be linked with the Scandinavian social democracies and common experience of the radicalisation that took place mostly in the aftermath of 1968 proper. By comparing these three groups' it has been uncovered that even with the same socio-political circumstances and ideological stance divergent styles did develop to embrace these issue.