Made available in DSpace on 2016-04-25T20:22:59Z (GMT). No. of bitstreams: 1 Carlos Eduardo Riberi Lobo.pdf: 1955985 bytes, checksum: c0bcbd59e7d23d772c612797429a873a (MD5) Previous issue date: 2009-10-21 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The present work has the objective to analyze the transformations occurred in Brazilian and Southern Cone countries Fire Departments Argentina, Chile, Paraguay e Uruguay between 1972 and 2008 through the process of internationalization suffered by these institutions, as well as a larger americanization of them. Also, this work will approach the pathway of these countries´ Police Departments in their Civil Defense missions. The pathway of São Paulo State Fire Department and the institution where the São Paulo State Military Police belongs will also be studied in the same period, because it is through the modernization politics of São Paulo Fire Department that international and american standards of Civil Defense will reach other Fire Departments in the region, making possible a larger internationalization of these services / O presente trabalho tem por objetivo analisar as transformações nos Corpos de Bombeiros entre 1972 e 2008 no Brasil e países do Cone Sul Argentina, Chile, Paraguai e Uruguai através do processo de internacionalização sofrido por essas instituições, como também uma maior americanização das mesmas. Também será abordada a trajetória das Polícias desses países em suas missões de Defesa Civil. A trajetória do Corpo de Bombeiros do Estado de São Paulo e a instituição da qual faz parte a Polícia Militar do Estado de São Paulo, também serão estudados no mesmo período, pois é através das políticas de modernização do Corpo de Bombeiros de São Paulo que padrões internacionais e americanos de Defesa Civil irão alcançar outros Corpos de Bombeiros na região, possibilitando uma maior internacionalização desses serviços na região

Made available in DSpace on 2016-04-26T14:57:53Z (GMT). No. of bitstreams: 1 Carlos Eduardo Riberi Lobo.pdf: 1955985 bytes, checksum: c0bcbd59e7d23d772c612797429a873a (MD5) Previous issue date: 2009-10-21 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The present work has the objective to analyze the transformations occurred in Brazilian and Southern Cone countries Fire Departments Argentina, Chile, Paraguay e Uruguay between 1972 and 2008 through the process of internationalization suffered by these institutions, as well as a larger americanization of them. Also, this work will approach the pathway of these countries´ Police Departments in their Civil Defense missions. The pathway of São Paulo State Fire Department and the institution where the São Paulo State Military Police belongs will also be studied in the same period, because it is through the modernization politics of São Paulo Fire Department that international and american standards of Civil Defense will reach other Fire Departments in the region, making possible a larger internationalization of these services / O presente trabalho tem por objetivo analisar as transformações nos Corpos de Bombeiros entre 1972 e 2008 no Brasil e países do Cone Sul Argentina, Chile, Paraguai e Uruguai através do processo de internacionalização sofrido por essas instituições, como também uma maior americanização das mesmas. Também será abordada a trajetória das Polícias desses países em suas missões de Defesa Civil. A trajetória do Corpo de Bombeiros do Estado de São Paulo e a instituição da qual faz parte a Polícia Militar do Estado de São Paulo, também serão estudados no mesmo período, pois é através das políticas de modernização do Corpo de Bombeiros de São Paulo que padrões internacionais e americanos de Defesa Civil irão alcançar outros Corpos de Bombeiros na região, possibilitando uma maior internacionalização desses serviços na região

Au début du vingtième siècle, un nouveau média à la mesure de l’Amérique voit le jour : le cinéma. Forme d’expression visuelle nouvelle, divertissement populaire égalitaire, véhicule privilégié du modèle américain dans le pays et à l’étranger, le cinéma s’affirme, dès ses premières années d’existence, comme un acteur majeur de l’américanisation du monde. Un de ses thèmes de prédilections est l’espace américain, et par extension ses paysages, qui ravit et fascine les spectateurs d’un bout à l’autre de la planète. Les mises en scène du territoire national et de sa géographie spécifique sont complexes car elles intègrent des éléments réalistes et une dimension imaginaire. Cette représentation polymorphe des États-Unis permet de promouvoir les valeurs américaines dans une société internationale moderne, transformée par l’essor de l’urbanisation et de l’industrialisation. L’Amérique filmique, élaborée par l’industrie cinématographique des premières décennies, offre des repères à un spectateur quelque peu perdu dans le nouvel ordre du monde se dessinant alors. / At the dawn of the twentieth century, a new media, in tune with American goals, was born: the motion pictures. It was a new kind of visual expression, an egalitarian form of popular entertainment and the best vehicle to convey the American way of life in the US and abroad. Therefore, cinema became, from its inception, a key participant in the Americanization of the world. One of its favorite topics was American space and its landscapes, which pleased and amazed movie-goers around the world. The way in which national territory and its specific geography were staged in films was complex because it intertwined realistic elements and a mythical dimension. That kaleidoscopic representation of the United States enabled the promotion of American values in a modern international society, transformed by the rise of urbanization and industrialization. Cinematic America, as it was created by the early motion pictures industry, offered landmarks to the spectator, somewhat lost in the emerging new world order.

Qu’il s’agisse d’une signature monochrome ("tag"), de lettres rondes à deux couleurs ("throw-up") ou d’un enchevêtrement calligraphique multicolore ("piece"), les formes caractéristiques du graffiti hip-hop font aujourd’hui partie du paysage urbain des grandes villes du monde. Né aux États-Unis dans les années 1960 et diffusé à l’extérieur des frontières américaines dans les années 1980, le graffiti hip-hop peut être perçu comme un exemple à la fois de l’américanisation et de l’homogénéisation des pratiques culturelles des jeunes à travers le monde. À partir d'une comparaison entre des graffiteurs francophones de Montréal et des graffiteurs lusophones de São Paulo, cette thèse décrit le processus d'appropriation d'un mouvement culturel d’origine américaine et montre les similitudes et les différences retrouvées au niveau local de cette forme d'expression mondialisée. L’étude de l’appropriation culturelle proposée dans cette thèse se compose de deux niveaux d’analyse. Le premier – qualifié de micro – touche le domaine personnel et se penche sur le processus de production de graffitis de style hip-hop (type de graffitis d’origine new-yorkaise basé sur l’écriture de pseudonymes). Ce niveau d’analyse me permet de démontrer comment les mécanismes de l’imitation et de la transformation se mélangent et renvoient aux processus de l’apprentissage et de l’inventivité individuels. Pour l’analyse du second niveau – qualifié de macro –, je tiens compte de l’ensemble des forces qui, au plan de la collectivité, forge l’appropriation. Ceci me permet de tracer des liens causaux entre les particularités locales du graffiti hip-hop et certains paramètres relevant du politique, de l’économique, de l’histoire et du culturel. / I propose to examine the local appropriation of hip-hop graffiti, a transnational youth expression, that originated in the East-Coast of the United States, through a micro and a macro perspective applied to a multi-site ethnography of hip-hop graffiti in two cities of the Americas, Montreal (Canada) and São Paulo (Brazil), among, respectively, French and Portuguese speaking graffiti artists. The micro level analysis will focus on the creative process by which graffiti artists combine imitation and transformation; and the macro perspective will bring into relief the complex ensemble of dimensions which influences the appropriation process in a given locality. Based on this double-leveled analysis, I shall 1) describe the similarities and differences between the hip-hop graffiti scene in Montreal and São Paulo; 2) identify key elements of the process of cultural appropriation; and 3) reexamine the notion that globalization results in cultural homogenization.

No description available.

This study examines the progress of young adult (YA) literature in the twenty-first century, as influenced by Web 2.0 social networking technology and sliding structural temporalities of age and maturity in these digital times. The context is Stephenie Meyer’s popular Twilight saga, a pioneering example of an author purposefully engaging with online social networking communities and there encouraging derivative creativity, including Twilight fan fiction. This successful integration of YA literature with Web 2.0 is considered by first appraising tensions between traditional theoretical notions of the genre (and its readers) and contemporary manifestations of the same. Second is an investigation of the genre’s evolving readership and textual practices using the Twilight series, focusing on literary activities of Digital Natives (young adults) in online social arenas. A concentration on the integration of national identity into Canadian Twilight fan fiction examines such evolving practices in reference to an American product (a threat of Americanization) being re-coded in a Canadian reader’s personal, public and online spaces.

Thesis (Ed.D.)--Teachers College, Columbia University, 1996. / Typescript; issued also on microfilm. Sponsor: Ruth Vinz. Dissertation Committee: Olga Rubio. Includes bibliographical references (leaves 226-241).

Thesis (M.A.)--Miami University, Dept. of French and Italian, 2009. / Title from first page of PDF document. Includes bibliographical references (p. 34-40).

Thesis (Ph. D.)--Ohio State University, 2005. / Available online via OhioLINK's ETD Center; full text release delayed at author's request until 2006 Aug 12.

À partir des années 1890, la construction de l’identité nationale américaine et d’un citoyen moderne mobilise différentes définitions de la notion de folk music, issues de différents milieux intellectuels et fondées sur une multiplication des collectes, pour culminer à la fin du New Deal en l’établissement d’un consensus sur l’existence et le contenu de base de l'American Folk Music. Compositeurs et musicologues construisent l’American Folk Music pour tenter de fonder une école de composition américaine qui rivaliserait avec les écoles européennes. Les folkloristes universitaires l’abordent en tant qu’objet d’étude, selon une approche textualiste et donc nécessairement anglo-centrée. Des anthropologues se saisissent aussi de cette notion pour l'appliquer aux musiques amérindiennes, puis à celles des Noirs-Américains. Avec les psychologues, ils y introduisent les influences des approches évolutionniste, diffusionniste, fonctionnaliste et relativiste. Éducateurs progressistes et travailleurs sociaux l’emploieront dans des projets d’ingénierie sociale, notamment en relation avec le mouvement d'américanisation. Tous ces paradigmes coexistent et s’opposent ou s’influencent jusque dans les années 1930, moment où l’institutionnalisation de l’American Folk Music au sein de l’État fédéral conduit à une rencontre et une forme de synthèse de toutes ces approches. Cette thèse explore les travaux des inventeurs de l’American Folk Music autour du parcours d’une des collectrices qui établissent la synthèse new-dealienne, Sidney Robertson. / From the 1890's on, the construction of American national identity and of the modern citizen draws on various definitions of the notion of folk music, produced by various intellectual circles and supported by the development of field collecting, to result towards the end of the New Deal Era in a tentative consensus on the basic content and the very existence of American Folk Music. Composers and musicologists address American Folk Music as a tool to try and set up an American composition school to rival the european ones. Academic folklorists approach it as a scholarly object through a text-centered paradigm requiring its linguistic anglo-centeredness. Anthropologists apply the notion to Amerindian, then later on Black-American musics. Along with the psychologists, they introduce in its definition the new concepts and bias of the competing evolutionist, diffusionist, functionalist and relativist theoretical schools. Progressive educators and social workers use it in their social engineering programs, most importantly in the Americanization-related ones.These various paradigms coexist, compete, and influence each other until the 1930's, when the institutionalization of American Folk Music inside Federal State agencies encourages a synthesis of these different approaches. The present thesis aims to describe the works and ideas of these various contributors to the invention of the American Folk Music through the study of the life and career of one of the New Deal collectors instrumental in this synthesis, Sidney Robertson.