The settlement history of the Vredefort Dome can be described as a process of cultural development. The Vaal River hydrosphere, which was for many years a prestigious settlement site, initially attracted large scale game and later livestock farmers. The drifts were a central part of a network of early strategic communication routes and outspans. From 1838, pioneer settlement, farm occupation and agricultural development followed, and the area eventually entered an agriculture-mining era. Gold-mining stimulated the regional economy and also played a significant role in the development of towns in the area. The Vaal River did not play a significant role from a mining perspective, but featured more prominently in the development of villages and, in a sense, served as a political boundary. The location of the water source often determined where people settled permanently. It also decided the position of the house and yard. From the outset, riparian dwellers attempted to manipulate the flow of the river by creating dams and utilising water for irrigation and domestic purposes. Drought conditions also left historical traces; water management projects upstream transformed the Vaal River into a steadily flowing stream, which led to the economic and cultural segregation of north and south. Man's fear associated with drought (too little water), floods (too much water), meteorology (the necessity of water), and the role of the supernatural (divining water) and superstition (the water snake stories) were expressed in the interaction between people and this water environment. A wide variety of people with distinct cultures lived alongside each other in the area. Western and African cultural goods, as well as customs and beliefs, were mutually adopted by these different cultural groups as a result of this contact. The way land has been used in the Dome area has evolved over the years. The culling of game made way for the permanent establishment of the livestocktravelling farmer. Hereafter prolonged drought conditions destroyed pastures and, consequently, large areas of land were ploughed for agricultural use. Agriculture, which is more labour intensive and needs more water for irrigation, was replaced by game farming, which is less labour intensive and requires less water This world heritage site has drawn global interest and ecotourism has attracted visitors to the Vaal River area. The riparian dwellers, however, remain victims of up-stream industrial and sewage pollution; in future, they are likely to fall prey to acid mine water pollution, with disastrous consequences. / PhD (History), North-West University, Vaal Triangle Campus, 2013

This thesis examines the political pop art of contemporary Chinese artist Wang Guangyi in light contemporaneous shifts within the political, economic, and artistic space of China from 1978 until the present. Through an analysis of the work of art as an historically determined antagonistic aesthetic praxis, this thesis attempts to reveal the sedimented traces of the alternative modernity which the Chinese government is actively attempting to construct. With its evocative juxtaposition of contrasting ideological forms, the artwork of Wang Guangyi seeks to deconstruct the normative and teleological narratives encountered within the dialectic interplay between state sponsored transnational capitalism and Marxist-Leninist communism. An understanding of the discursive structure upon which these dual modernising narratives has been based, and of the fragmented artistic space they have engendered, should serve to enliven the debate concerning the role of cultural production in questioning and revealing narratives of the nation, of the Self, and of modernity.

Thèse--Universit́e de Paris. / "Bibliographie": p. [5]-10; "Liste des ouvrages cités dans cette étude": p. [373]-381.

Submitted by Ronildo Prado (ronisp@ufscar.br) on 2017-08-23T18:10:34Z No. of bitstreams: 1 DissPSR.pdf: 1760628 bytes, checksum: bff18f1d2237484b892281281622ee78 (MD5) / Approved for entry into archive by Ronildo Prado (ronisp@ufscar.br) on 2017-08-23T18:10:44Z (GMT) No. of bitstreams: 1 DissPSR.pdf: 1760628 bytes, checksum: bff18f1d2237484b892281281622ee78 (MD5) / Approved for entry into archive by Ronildo Prado (ronisp@ufscar.br) on 2017-08-23T18:10:51Z (GMT) No. of bitstreams: 1 DissPSR.pdf: 1760628 bytes, checksum: bff18f1d2237484b892281281622ee78 (MD5) / Made available in DSpace on 2017-08-23T18:10:58Z (GMT). No. of bitstreams: 1 DissPSR.pdf: 1760628 bytes, checksum: bff18f1d2237484b892281281622ee78 (MD5) Previous issue date: 2016-02-26 / Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq) / This dissertation derives from the continuation of reflections started in previous researches (scientific initiation and term paper), when we use the discursive analysis of a “new” type of text, formed by short phrases published in social networks, such as Facebook. Those phrases present a particular formal structure, and their meanings play different roles in virtual interaction. We designate those “phrases” circling in the virtual environment, which are selected, highlighted, and have images added to help build a universal text, as shared messages. We focus, at this master’s research, therefore, to the analysis of constitution and sharing practices of some messages with pieces of text from books and interviews, which enunciation are related to contemporary literary authors renowned in Brazil – like Caio Fernando Abreu and Clarice Lispector, and others that although have fewer cultural prestige, show a wide renown between groups of young readers, i.e. Tati Bernardi. This way, our corpus is made of messages from three sharing pages: O Mundo De Caio Fernando Abreu e Clarice Lispector; Caio, Tati e Clarice o que me diz; and Trechos de Livros. All these pages dedicate to publish messages related to the authors in their names or that present a collection of pieces of text from various recent published books, from which is common posting messages with authorship given to Caio Fernando Abreu and Clarice Lispector, specifically. In this dissertation, evidences of how the authorship works along with the construction and sharing of those messages are analyzed, through a formal analysis of them, as well as an analysis of the readers’ comments about the authorship, under the theoretical-methodological perspective of two contemporary theories that allow us to study the question of reading: the french Discourse Analysis, and specially the theories from works of Michel Foucault about the “author function”; and the Cultural History of reading, mainly about the works of Roger Chartier about reading actually – theories that, in their articulation, allow us to list permanencies and mutations through which our actual reading practices go. We observe that, although recent, the production and sharing of those speeches are submitted to an authorship working mechanism relatively similar to printed order. About the readers’ comments, we notice two speaking forms: one that copy, in a certain way, the form and content expressed by the messages, applying aspects of the “poetic function”, at the author’s style at expressing its impressions about the message; and another one that focuses on questioning the authorship of those speeches, citing the original sources of the texts, or questioning and recognizing vestiges that allow the identification of a correct authorship attribution in those messages. This way, we can analyze some characteristics of this new reader’s/author’s profile that emerge with the creation and diffusion of new technologies. / Esta dissertação resulta da continuidade das reflexões iniciadas em pesquisas anteriores (Iniciação Científica e Trabalho de Conclusão de Curso), quando nos ocupamos da análise discursiva de um tipo de texto relativamente “novo”, constituído de frases curtas que circulam em sites de redes sociais como o Facebook. Estas apresentam uma estrutura formal peculiar, e aquilo que enunciam desempenha funções variadas na interação virtual. Designamos essas “frases” que circulam nesse ambiente virtual, que são selecionadas, destacadas e acrescidas de imagens que visam à construção de um texto sincrético, como mensagens compartilhadas. Dedicamo-nos, nesta pesquisa de mestrado, portanto, à análise das práticas de constituição e de compartilhamento de certas mensagens compostas com trechos de livros e entrevistas, cujos enunciados são atribuídos a autores literários contemporâneos e de renome no Brasil – como Caio Fernando Abreu e Clarice Lispector, e outros que, embora gozem de menor prestígio cultural, apresentam uma grande circulação entre segmentos do público jovem, como a escritora Tati Bernardi etc. Assim, nosso corpus é composto de mensagens de três páginas de compartilhamento: O Mundo De Caio Fernando Abreu e Clarice Lispector; Caio, Tati e Clarice o que me diz; e Trechos de Livros. Todas elas dedicam-se a publicações voltadas aos autores que as nomeiam ou apresentam uma seleta de trechos de diversas publicações de livros atuais, dentre as quais é recorrente a postagem de mensagens atribuídas a Caio Fernando Abreu e Clarice Lispector, especificamente. São analisados, nesta dissertação, indícios do funcionamento específico da autoria na construção e compartilhamento dessas mensagens, por meio da análise formal das mesmas, bem como pela análise dos comentários de seus leitores, e que tangenciem a questão da autoria, sob a perspectiva teórico-metodológica de duas teorias contemporâneas que nos permitem estudar a questão da leitura: a Análise do Discurso de linha francesa, em especial no que concerne aos trabalhos de Michel Foucault acerca da “função autor”; e a História Cultural da leitura, principalmente no que concerne aos trabalhos de Roger Chartier sobre a leitura na atualidade – teorias que, em sua articulação, nos permitem levantar permanências e mutações pelas quais passam nossas práticas de leitura na atualidade. Constatamos que, apesar de recentes, a produção e circulação desses enunciados submetem-se a um regime de funcionamento da autoria relativamente semelhante ao da ordem do impresso. Quanto aos comentários dos leitores, constatamos duas formas de enunciar: uma que mimetiza, de certo modo, a forma e o conteúdo expresso pelas mensagens, empregando aspectos da “função poética”, do estilo do autor na expressão de suas impressões sobre a mensagem; e outra que se volta para o questionamento da autoria desses enunciados, reclamando as fontes originárias dos textos, ou questionando e reconhecendo indícios que permitem identificar se a autoria dessas mensagens foi atribuída corretamente. Dessa forma, podemos analisar alguns indícios do perfil desse novo leitor/autor que emerge com a criação e difusão das tecnologias digitais. / CNPq: 134333/2014-4

This thesis examines Anglo-French perceptions of power within the context of the rise of the United States of America. It uses several overlapping events falling within a moment at the end of the nineteenth century (1898-1899) - the Spanish-American War, the Dreyfus Affair and the Fashoda crisis - to explore various British and French actors' perceptions of national power, decline, and international competition. It draws heavily on diplomatic material, but its methodology is primarily cultural. It examines ways in which various cultural assumptions affected perceptions of power and global events. It takes a particular interest in the relationship between ideas about gender and dimensions of national power. It focuses on contemporary preoccupations and assumptions, whether spoken or unspoken, and argues that they could prove determinative. External realities were refracted into perceptions that in turn drove prescriptions and policy. The thesis juxtaposes perspectives from multiple states, thereby contextualizing or comparing British, French and occasionally American preoccupations with those of their transatlantic contemporaries. It draws upon archival sources which previously have been under-examined or approached from different perspectives and research priorities. Its exploration of the cultural dimensions of thought about national power and success is grounded in an awareness of the analysis and actions of certain diplomats and politicians involved in the more practical business of international affairs. Conversely, diplomatic and other records are situated within their cultural milieu, to better understand the context in which views about the international order were shaped. The thesis necessarily makes excursions into the history of emotions, since its actors' political analyses at times appear entangled and aligned with their emotional responses. The thesis therefore serves as an example of an international history that integrates diplomatic with cultural and emotional elements and demonstrates their mutual illumination.

[pt] Esta tese analisa a trajetória de Ángel Rama (1926-1983) ao longo dos anos setenta e oitenta, a partir de seu exílio na Venezuela, nos Estados Unidos e na França. Inicialmente, trata da historicidade de sua crítica e do modo como ele monta uma utopia americana. Depois, segue-se a análise de sua subjetividade no Diario, escrito a partir de 1974. A seguir, se avança para entender como ele estabeleceu o sentido de um passado que parecia perdido. Adiante, se discute como ele construiu a sua integração à Venezuela e ao seu meio intelectual. Até então, a análise se concentra no ano de 1974, nos meses de outubro e dezembro, quando a Biblioteca Ayacucho foi criada. Entre 1974 e 1977, Ángel não escreve no Diario. Devido a isso, aborda-se a sua atuação na impressa venezuelana entre 1976 e 1977. Prossegue-se, então, discutindo-se os motivos que o levaram a viver fora da América Latina. Finalmente, aborda-se a inserção de Ángel na academia estadunidense e o modo como ele construiu a sua visão sobre o país e os estudos latino-americanos feitos fora da América Latina. / [en] This dissertation analyses Ángel Rama (1926-1983) s trajectory in the decades of 1970 and 1980, focusing on the Uruguayan intellectual s exile in Venezuela, the United States and France. Initially, it deals with the historicity of his criticism and with the way he sets up an American utopia. Then, it is analyzed his subjectivity drawn in the Diario, which he had been keeping since 1974. Afterwards, it discusses his integration into Venezuela and into the intellectual environment of that country. So far, this study concentrates in October and in December 1974, when Biblioteca Ayacucho was founded. Nevertheless, the journal has been interrupted by its author between 1974 and 1977. Thus, rather than interpreting the Diario, it is studied his performance in Venezuelan press between 1976 and 1977. Subsequently, it is discussed the reason why Rama had lived outside Latin America. Finally, it approaches Rama s participation into American academia and the way he has built his perspective on Venezuela, as well as on the Latin American studies carried out beyond Latin America.

Au moment décisif de l'histoire culturelle franco-américaine où s'inverse la hiérarchie des capitales artistiques entre Paris et New York, le Nouveau Roman français connaissait une certaine fortune aux États-Unis, en particulier dans la communauté artistique regroupée autour de l'Art Minimal. À la faveur d'un double transfert - du champ littéraire vers le champ artistique et de la France vers les États-Unis -, le Nouveau Roman retenait l'attention d'une partie de l'art américain, qui tentait de se construire contre l'art européen du XIXe siècle mais avec la littérature française de la deuxième moitié du XXe siècle. Fondé sur une somme d'indices fournis par ces artistes et complétée par des enquêtes historiques et sociologiques, une collecte d'articles, une recherche théorique et des études d’œuvres significatives, ce travail tente d'expliquer les raisons de cette fortune et d'analyser les aboutissements théoriques et esthétiques de la réception du Nouveau Roman par le milieu artistique américain. / In an key Franco-American cultural and historical moment when New York takes Paris's place as the world artistic capital, the French New Novel achieved certain successs in the United States, especially in the Minimal Art community. Owing to a double transfer – from the literary field to the artistic field and from France to America -, some American artists drew attention to the French New Novel. While they were developing their art against 19th century european art, they created it with 20th century French literature. This work is based on an amount of clues given by these artists, supplented by historical and sociological investigations, a collection of articles, a theorethical research, and studies of significant works of art, in an attempt to understand the reasons of this success and the theorethical and aesthetic realizations of the reception of the New Novel by the American artistic milieu.

[pt] Este estudo reflete o imaginário da Copacabana dos anos dourados pela visão de 14 informantes que moraram ou frequentaram o bairro neste período - os anos 1950. A partir de narrativas ouvidas em uma experiência etnográfica, foi possível perceber um bairro em ebulição, marcado por transformações sociais próprias da expansão urbanística e comercial da época. A partir da década de 1940, o bairro de Copacabana passa a ver prédios sendo construídos no local, e a urbanização, que já havia começado desde os últimos anos do século XIX, se intensifica. O espaço passa, então, por um momento de ocupação ideal, com comércio local próximo e opções de lazer variadas, virando o bairro cartão postal da cidade. Neste sentido, também os entrevistados desta pesquisa vivem sua infância e juventude no período, momento expresso e difundido na sociedade e na comunicação de massa como valorosos. Desta maneira, é proposta uma convergência entre estes dois momentos, da história do bairro e também das histórias de vida ouvidas, o que fortalece o imaginário de felicidade e de idealização do período. A recuperação da história oral de Copacabana proposta por esta pesquisa é entendida, então, como história mediada, e possibilita uma crítica sobre as representações coletivas encontradas e difundidas. / [en] This study reflects a imaginated Copacabana in its golden years observed by 14 informants who lived or visited the neighborhood during the 1950s period. From narratives heard in an ethnographic experience, it was possible to perceive the enthusiasm of the neighborhood, marked by social transformations of the urban and commercial expansion during that time. From the 1940s, large buildings start of being constructed in Copacabana, and the urbanization, which has begun since the late nineteenth century, get intensified. The neighborhood then passes for a moment of ideal occupation, with a local commerce nearby and varied leisure options, becoming the city s main district postcard. In this sense, the interviewees of this research also have lived their childhood and youth during the period, a moment expressed and spread in society and mass communication as valuable. Therefore, the convergence between these two moments is proposed here - the history of the neighborhood and the stories of daily life - which strengthens the imaginary of happiness and idealization of the period. The recovery of vocal history proposed by this research concerning Copacabana allows an analysis of the collective representations found in these informants narratives and disseminated by the mass media.

O presente trabalho é resultado de releituras das representações das paisagens da Ilha de Santa Catarina, entre a última década do século dezenove até os anos quarenta do século vinte. É uma análise baseada em reflexões da história cultural, que concebe a paisagem como uma invenção discursiva situada em contexto social específico. No exercício de análise das representações das paisagens nos discursos de viajantes estrangeiros, nos textos literários regionalistas e nas imagens fotográficas, que dão a ver “lugares” de Florianópolis e de seus arredores, manuseia-se com uma visualidade oficializada da paisagem, que serve, inclusive, à divulgação turística da Ilha na atualidade. / The present work is the result of new interpretations of the representations of landscapes of the Island of Santa Catarina, from the nineteenth century’s last decade until the twentieth century’s forties. It is an analysis based on thoughts from Cultural History, which sees the landscape as a discursive invention placed in a specific social context. By analysing the representations of landscapes in the discourses of foreign travelers, in literary texts and in regionalistic and photographic images, which represent "places" of Florianópolis and its surroundings, one can handle with an official visuality of the landscape, which also serves to the touristic advertisement of the Island nowadays.

My thesis examines visual and written culture of the interwar Soviet Union dealing with the body as an object of public observation, appreciation, and critique. It explores how the need to construct new Soviet subjectivities was realised through the figure of the body. I explore the representation of ‘physical culture’ (fizkul’tura), with reference to newspapers, specialist fizkul’tura and medical journals, and Party debates. This textual discourse is considered alongside visual primary sources – documentary and non-fiction film and photography, painting and sculpture, and feature films. In my analysis of these visual primary sources I identify three ‘categories of looking’ – surveillance, aesthetics, and spectatorship – that I claim structure representations of the embodied Soviet subject. My introduction incorporates a brief history of early Soviet social psychological conceptualisations of the body, outlining the coercive renovative project of Soviet subjectification and introducing the notion of surveillance. My first and second chapters explore bodily aesthetics. The first focuses on non-fiction media from the mid- to late-1920s that capture the sporting body in action; this chapter introduces the notion of spectatorship and begins to unpack the ideological function of how bodies are observed. The second further explores questions of bodily aesthetics, now in relation to fizkul’tura painting and Abram Room’s 1936 film, Strogii iunosha. My third chapter looks at fizkul’tura feature films from the mid- 1930s to explore how bodies were related to social questions of gender and sexuality, including marriage and pregnancy. My final chapter focuses on cinematic representations of football from the late 1930s and the relationship between bodies on display and onlooking crowds. These two chapters together indicate how the dynamic between the body and its spectator (whether individual or in a group) was reimagined in the late interwar years; the body’s aesthetic appeal is now of little importance compared to its ability to constitute a public subjectivity through the manipulation of emotion, trauma, and pathos.