Scholars from various disciplines have demonstrated that popular culture factored significantly in Cold War contestation. As a pervasive form of cultural content and unifying medium for baby boomers worldwide, pop music played an important part in the power struggle between the era’s two adversarial camps. Historical studies of the past thirty years have identified initiatives of cultural diplomacy, from radio broadcasting to live concert tours, as key to disseminating Western music in Eastern Bloc societies. This project explains how cultural commerce across the divide of the Iron Curtain familiarized millions of music fans in the German Democratic Republic (GDR) with popular sounds from the United States, the United Kingdom, and other Western democracies. Detailing a process that affected all Bloc states in similar ways, it seeks to enrich the scholarly discourse on the role of pop culture in the twentieth century’s defining ideological conflict. Through analysis of previously unavailable or inaccessible sources, the dissertation reconstructs the economic development of a communist culture industry and measures the commercial significance of Western commodities in one Eastern Bloc marketplace. Drawing on untapped archival files, it traces the evolution of Deutsche Schallplatten (German Records) from a small private firm into a flagship enterprise on the GDR’s cultural circuit. It illuminates how dependency on technology and resources from capitalist countries prompted East Germany’s managers to prioritize the westward export of classical recordings for the purpose of earning hard currencies. Based on oral histories of contemporary witnesses, it documents how the Amiga label through the parent company’s business ties to capitalist partners advanced the import of Western jazz, blues, rock, pop, and dance music to exhaust the purchasing power of the home audience. Empirically evaluating formerly classified production data for a total of 143 million records, it reveals how the state-owned monopolist engineered a de facto takeover of the domestic marketplace by American, British, and West German performers to achieve high profitability. The dissertation argues that intensifying Westernization of its walled-in music market exemplified the GDR’s decision to concede the Cold War battle over cultural preferences and political loyalties of its citizens out of economic necessity.

No description available.

La transformation sociale des Antilles françaises qui se produit après la Seconde Guerre mondiale résulte d'un processus interactif historique. Celui-ci se produit entre 1946 et 1961 autour des nouvelles dynamiques de l'après-guerre. Il s'agit du statut départemental, de la décolonisation avec l'explosion des conflits sociaux, de la politique publique de "développement économique et social" avec la planification dans les départements d'outre-mer, et de l'accroissement démographique avec l'apparition d'une nouvelle génération "sociologique". C'est précisément cette interaction qui est à l'origine du nouveau type de société qui émerge aux Antilles à partir des années 1960 sans pour autant que leur structure sociale coloniale ne soit bouleversée. Cette construction qui prend le nom commun de "Départementalisation" est paradoxale car elle va générer des frustrations sociales "modernes", tout en maintenant des frustrations anciennes issues de la société de plantation. En induisant ainsi le passage d'un monde d'"habitation" à un monde de consommation, cette construction permet de comprendre un peu mieux, le maintien, au début du XXIe siècle, d'un malaise social latent dans ces départements en dépit d'une amélioration sensible et générale des conditions de vie. / The social change which takes place in the French West Indies after the Second World War ensues from a historical interactive process. It occurs between 1946 and 1961, within the frame of the new dynamic fostered in the aftermath of the war. Here we refer to he new political status of Department, the outbreak of social conflicts during the process of decolonization, the public policies and the planning of "the economic and social development" of the overseas departements. The dynamic also includes the population growth with the birth of a new generation from the sociological point of view. The aforementioned interaction instils the new type of society emerging in the French West Indies since the 1960's, without drastically changing their colonial social structure. This transformation named "Departmentalization" seems paradoxical because it will generate "modern" social frustrations, while maintaining existing frustrations that stemmed from the plantation society. this process led to the transition from a slave society to a consumer society. It allows us to understand the persistence of a latent social unrest in these departments, in spite of th overall significant improvement of the living conditions during the early twentieth century.

A large Mexican-American population already exists in Los Angeles and, with each generation, it continues to rise. This Mexican-American community has maintained its connection to its heritage by playing and watching soccer, Mexico’s top watched sport. In this thesis, I analyze how Major League Soccer's Chivas USA serves as an outlet through which many Mexicans in Los Angeles have developed their ethnic identities. Since the early twentieth century, Mexicans in Los Angeles have created separate residential communities and sports organizations to strengthen their connections with one another. To appeal to Mexican-Americans, Chivas USA has branded itself closely to its sister team Chivas Guadalajara of Mexico. I explore how Chivas USA's Mexican-American fans have responded to the team's arrival in Los Angeles by forming three different supporter groups — Legion 1908, Union Ultras, and Black Army 1850. By interviewing members of the Union Ultras and Black Army 1850, I learned their beliefs towards a range of issues, including: why they support Chivas USA rather than the Los Angeles Galaxy and how they view the poor representation of Mexican-American players on the United States National Soccer Team. As I conclude, these supporter groups have increased in number and diversity as Chivas USA has grown in popularity. To increase its Mexican-American fan base and to sustain professional soccer in Los Angeles, Chivas USA should relocate to a new stadium for the Major League Soccer's 2013 season and consider rebranding its name to "Chivas Los Angeles."

The South African Constitution recognizes 11 official languages and protects an individual’s right to use their mother-tongue freely. Despite this recognition, the majority of South African schools use English as the language of learning and teaching (LOLT). Learning in English is a struggle for many students who speak indigenous African languages, rather than English, as a mother-tongue, and the educational system is failing its students. This perpetuates inequality between different South African communities in a way that has roots in the divisions of South Africa’s past. An examination of the power of language and South Africa’s experience with colonialism and apartheid provides a context for these events, and helps clarify why inequality and division persist in the new “rainbow nation.” Mending these divisions and protecting human dignity will require a reevaluation of the purpose of education and the capabilities of South African citizens.

Cette thèse porte sur les gestes et attitudes qui ont caractérisé la figure aristocratique dans l’art européen entre 1661 et 1789. Cet intervalle correspond à la durée de vie d’un paradigme corporel noble appelé « le bon air et la bonne grâce », de son élaboration à la cour de Louis XIV et de sa diffusion hégémonique en Europe, jusqu’à son rejet définitif à la Révolution française. La société d’Ancien Régime a déployé tout un arsenal de moyens (exercices, instruments orthopédiques,…) pour intérioriser une grâce qui devait paraître innée et prouver la noblesse. Le maître à danser détenait le monopole de l’inculcation de cette grâce et de son élaboration suivant des critères hautement esthétiques. Les gestes et positions inventoriés ici, sont décrits et associés à leurs connotations d’origine, montrant qu’une connaissance approfondie et minutieuse de la gestuelle peut affiner notre compréhension d’un large pan de l’art des XVIIe et XVIIIe siècles. L’auteur démontre que cette hexis corporelle contemporaine transcende tous les domaines concernés par le corps noble (éducation, théâtre, danse, opéra, arts martiaux, etc.) et en vient à infiltrer la majorité des genres picturaux, bousculant les traditions artistiques déjà en place et s’affichant comme une alternative moderne à la grâce des Anciens. Le portrait, la gravure de mode, les figurines de porcelaine, les vues de villes et de jardins sont les plus touchés par ce phénomène. La bonne grâce s’affirme ainsi dans une culture visuelle qui, par ricochet, en vient à renforcer les pratiques sociales dont elle était le reflet. Cet aller-retour des attitudes aristocratiques entre l’art et la vie occasionne la standardisation de la figure et du corps aristocratiques. Dans la pastorale, la peinture d’histoire et la scène de genre, l’idéal aristocratique se manifeste, tantôt en négatif dans la figure du paysan, du Pierrot et de l’Arlequin, tantôt de manière idéalisée dans celles du berger et du héros galants. La substitution de gestes emphatiques et d’expressions faciales explicites par une gestuelle fondée sur la retenue et la dissimulation des passions, fondera une nouvelle historia moins lisible que la traditionnelle, mais plus subtile et insinuée, répondant ainsi mieux au goût et à la sensibilité aristocratique. / This thesis concerns the characteristic gestures and attitudes of the aristocratic figure in European art between 1661 and 1789. This period corresponds to the lifetime of a noble bodily ideal named “le bon air” and “la bonne grâce”, from its formulation at Louis XIV’s court and hegemonic propagation until its decline with the French Revolution. A panoply of means (exercises, orthopaedic instruments…) have been invented by the Ancien Régime society to embody a grace that should appear inborn and testify to noble birth. The dancing-master enjoyed the monopoly of inculcating this grace and elaborating it in accordance with highly aesthetic criteria. Most of the bon air and bonne grâce gestures and postures are here catalogued, described and associated with their original connotative values, showing that a deep and meticulous knowledge of body techniques can sharpen our understanding of a great proportion of Early Modern artworks. The author agues that this bodily habitus transcended every field concerned with the noble body (education, theatre, dance, opera, martial arts…) and came to infiltrate most pictorial genres, challenging age-old artistic traditions and imposing itself as a modern alternative to the grace of the Ancients. Portraiture, fashion plates, porcelain figurines, city and garden landscapes were the most affected by this phenomenon. Bonne grâce thus affirmed itself in a visual culture, which in return reinforced the very social practices that mirrored. The circular migration of aristocratic gestures between life and art caused a standardisation of both aristocratic body and figure. Within pastoral, history painting and genre scenes, the aristocratic ideal reveals itself antithetically in the figure of the peasant, the Pierrot and the Harlequin, and idealistically in those of the gallant shepherd and gallant hero. The substitution of emphatic gestures and strong facial expressions for ones based on restraint and dissimulation gave birth to a new historia that was less legible, but more subtle and suggestive, in accordance with aristocratic taste and sensibility.

Submitted by Ronildo Prado (ronisp@ufscar.br) on 2017-08-23T13:27:14Z No. of bitstreams: 1 DissRBRS.pdf: 1782809 bytes, checksum: 51dde96be948d89e80a309bfaa0ee59f (MD5) / Approved for entry into archive by Ronildo Prado (ronisp@ufscar.br) on 2017-08-23T13:27:26Z (GMT) No. of bitstreams: 1 DissRBRS.pdf: 1782809 bytes, checksum: 51dde96be948d89e80a309bfaa0ee59f (MD5) / Approved for entry into archive by Ronildo Prado (ronisp@ufscar.br) on 2017-08-23T13:27:32Z (GMT) No. of bitstreams: 1 DissRBRS.pdf: 1782809 bytes, checksum: 51dde96be948d89e80a309bfaa0ee59f (MD5) / Made available in DSpace on 2017-08-23T13:27:39Z (GMT). No. of bitstreams: 1 DissRBRS.pdf: 1782809 bytes, checksum: 51dde96be948d89e80a309bfaa0ee59f (MD5) Previous issue date: 2017-02-21 / Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP) / Learning another language and knowing how to read in a foreign language has become a demand and a need for individuals and societies nowadays. Therefore, in this work, we have studied some aspects of the work around reading skills in Spanish classes of Brazilian schools. By interviewing Spanish teachers from public and private schools, language studies centers (CEL, in Portuguese), and vocational education schools, we sought to identify the professionals‟ representations of what reading means as a social practice, as well as a specific skill in foreign languages classes. In order to do so, we have elaborated a written questionnaire with 30 discursive and multiple-choice questions, answered by 24 teachers. After that, we have selected 5 of those people and performed a face to face, individual interview, having as guide a semi-structured script, made of 14 discursive questions. From the data collected on both the questionnaire and the interviews, we have analyzed certain discourses about the book and the reading practices that circle in our society, and are shared, legitimated and assumed by Spanish language teachers, who are always individuals coexisting socially, economically and culturally. We understand the manifested discourses as guides of the teaching activities developed in Spanish classes, and those discourses may determine the conceptions the teachers and theirs pupils have about being readers of a foreign language. The theoretical background for this research comes from the French Discourse Analysis, more specifically from certain ideas conceived by Michel Foucault, about enunciation, discourse, discursive formation and archive, as well as studies about literacy in languages teaching and learning. We have also relied on studies from the cultural history of the book and the practice of reading, working with the concepts of representation, appropriation, and circulation. That way, we could analyze the representations those teachers claim to have about what is reading, how they enunciate themselves and their students as being readers, how they promote that practice during classes, and what are their expectations concerning teaching. We have concluded that, although the teachers have a good formation and great self-critical sense, there is a series of historical, cultural, social, and discursive coercions that limit and control their practices. It may lead, sometimes, to the reproduction teaching manners that are far from being liberator, and it reinforces the current social conditions around reading practices, which are, as we know, discriminatory. / En el actual contexto mundial, en que el acceso y el cambio de informaciones en las más diversas lenguas y culturas, por razones políticas, técnicas y culturales, se tornaron más frecuentes, aprender otra lengua y/o saber leer textos en lengua extranjera se hicieron una exigencia y necesidad. Frente a esto, nos propusimos a investigar cómo se viene haciendo el trabajo con la destreza lectora en la enseñanza de lengua española en escuelas brasileñas. En ese sentido, hemos buscado identificar junto a profesores de español, que actúan en escuelas públicas y privadas regulares, en Centros de Estudio de Lenguas y en la enseñanza Técnica/Profesional, las representaciones que eses profesionales comparten acerca de la lectura como práctica social, de modo general, o de la lectura como destreza específica a ser explorada en las clases de lengua extranjera. Para tanto, elaboramos una encuesta compuesta por 30 cuestiones discursivas y de múltiple elección, contestada por 24 profesores de español. Posteriormente, seleccionamos 5 entre ellos y realizamos entrevistas individuales con cada uno, basadas en un guión semiestructurado, compuesto por 14 preguntas discursivas, también elaborado por nosotros. A partir del desarrollo de los datos generados desde la encuesta y de las entrevistas, analizamos ciertos discursos sobre el libro y la lectura que circulan en nuestra sociedad, y que son compartidos, convalidados, asumidos por los profesores de español como sujetos sociales, económica y culturalmente coexistentes. Por ese camino, hemos reflexionado sobre el funcionamiento de eses discursos como norte de las actividades de enseñanza desarrolladas en las clases de lengua española, bien como determinantes en la conformación de sus conceptos sobre la lectura y de si y de sus alumnos como lectores en lengua española. Para tanto, nos fundamentamos teóricamente en el Análisis de Discurso de línea francesa, más específicamente en ciertos principios de las reflexiones sobre el discurso propuestas por Michel Foucault y sus conceptos de enunciado, discurso, formación discursiva y archivo, bien como en estudios acerca de la Literacidad en el área de enseñanza y aprendizaje de lenguas. También nos apoyamos en algunos estudios del dominio de la Historia Cultural del libro y de la lectura, valiéndonos más específicamente de los conceptos de representación, apropiación y circulación, de modo que pudimos analizar las representaciones de lo que dicen eses profesores participantes de la investigación sobre la lectura, como enuncian a si y a sus alumnos como lectores, como fomentan esa práctica en sus clases, que expectativas revelan cuanto al aprendizaje que visan proporcionar. Pudimos concluir, aunque son profesores con una buena formación y críticos de sus prácticas, existe una serie de coerciones históricas, culturales, sociales y discursivas, responsables por limitar y controlar sus prácticas, llevándolos, por veces, a que reproduzcan una enseñanza que lejos de ser libertadora, refuerza las actuales condiciones sociales en lo que enlaza la lectura, que bien sabemos son desiguales. / No atual contexto mundial, em que o acesso e a troca de informações nas mais diversas línguas e culturas, por razões políticas, técnicas e culturais, tornaram-se mais frequentes, aprender uma outra língua e/ou saber ler textos em língua estrangeira tem se apresentado como uma exigência e necessidade para os indivíduos e para as sociedades. Sendo assim, nos propusemos a pesquisar como se tem dado o trabalho com a habilidade de leitura no ensino de língua espanhola em escolas brasileiras. Nesse sentido, buscamos identificar junto a professores de espanhol, atuantes em escolas públicas e privadas regulares, em Centros de Estudo de Línguas e no Ensino Técnico/Profissionalizante, as representações que esses profissionais compartilham acerca da leitura como prática social, de modo geral, ou da leitura como habilidade específica a ser explorada nas aulas de língua estrangeira. Para tanto, elaboramos um questionário composto por 30 questões discursivas e de múltipla escolha, respondido por 24 professores de espanhol. Posteriormente, selecionamos 5 entre eles e realizamos entrevistas individuais com cada um, com base em um roteiro semiestruturado, composto por 14 perguntas discursivas, também elaborado por nós. A partir do desenvolvimento dos dados gerados pelo questionário e pelas entrevistas, analisamos certos discursos sobre o livro e a leitura que circulam em nossa sociedade, e que são compartilhados, validados, assumidos pelos professores de espanhol como sujeitos sociais, econômica e culturalmente coexistentes. Por esse caminho, refletimos sobre o funcionamento desses discursos como norteadores das atividades de ensino desenvolvidas nas aulas de língua espanhola, bem como determinantes na conformação de suas concepções da leitura e de si e de seus alunos como leitores em língua espanhola. Para tanto, nos fundamentamos teoricamente na Análise do Discurso de linha francesa, mais especificamente em certos princípios das reflexões sobre o discurso propostas por Michel Foucault e seus conceitos de enunciado, discurso, formação discursiva e arquivo, bem como em estudos acerca do Letramento na área de ensino e aprendizagem de línguas. Também nos apoiamos em alguns estudos do domínio da História Cultural do livro e da leitura, valendo-nos mais especificamente dos conceitos de representação, apropriação e circulação, de modo que pudemos analisar as representações que dizem esses professores participantes da pesquisa sobre a leitura, como enunciam a si e a seus alunos como leitores, como fomentam essa prática em suas aulas, que expectativas revelam quanto ao aprendizado que visam proporcionar. Pudemos concluir que apesar de serem professores com uma boa formação e críticos de suas práticas, existe uma série de coerções históricas, culturais, sociais e discursivas, responsáveis por limitar e controlar suas práticas, levando-os, por vezes, a reproduzirem um ensino que longe de ser libertador, reforça as atuais condições sociais no que envolve a leitura, que bem sabemos, são desiguais. / FAPESP: 2015/02786-7

This dissertation concerns the narrative and theological role of divine vengeance and saintly cursing in the saints’ Lives of England and Ireland, c. 1060-1215. The dissertation considers four case studies of primary material: the hagiographical and historical writings of the English Benedictines (Goscelin of Saint-Bertin, Eadmer of Canterbury, and William of Malmesbury), the English Cistercians (Aelred and Walter Daniel of Rievaulx, John of Forde), the cross-cultural hagiographer Jocelin of Furness, and the Irish (examining key textual clusters connected with St. Máedóc of Ferns and St. Ruadán of Lorrha, whose authors are anonymous). This material is predominantly in Latin, with the exception of the Irish material, for which some vernacular (Middle Irish) hagiographical and historical/saga material is also considered. The first four chapters (I-IV) focus discretely on these respective source-based case studies. Each is framed by a discussion of those textual clusters in terms of their given authors, provenances, audiences, patrons, agendas and outlooks, to show how the representation of cursing and vengeance operated according to the logic of the texts and their authors. The methods in each case include discerning and explaining the editorial processes at work as a basis for drawing out broader patterns in these clusters with respect to the overall theme. The fifth chapter (V) frames a more thematic and comparative discussion of the foregoing material, dealing with the more general questions of language, sources, and theological convergences compared across the four source bases. This chapter reveals in particular the common influence and creative reuse of key biblical texts, the Dialogues of Gregory the Great, and the Life of Martin of Tours. Similar discussion is made of a range of common ‘paradigms’ according to which hagiographical vengeance episodes were represented. In a normative theology in which punitive miracles, divine vengeance and ritual sanction are chiefly understood as redemptive, episodes in which vengeance episodes are fatal can be considered in terms of specific sociological imperatives placing such theology under pressure. The dissertation additionally considers the question of ‘coercive fasting’ as a subset of cursing which has been hitherto studied chiefly in terms of the Irish material, but which can also be found among the Anglo-Latin writers also. Here it is argued that both bodies of material partake in an essentially shared Christian literary and theological culture, albeit one that comes under pressure from particular local, political and sociological circumstances. Looking at material on both sides of the Irish Sea in an age of reform, the dissertation ultimately considers the commonalities and differences across diverse cultural and regional outlooks with regard to their respective understandings of vengeance and cursing.

As it is obvious from the title of the graduate work "Antonín Markus, the archivist of the town of Třeboň, and Zdeněk Wirth, the arthistorian - analysis and selective edition of the common correspondence, the authoress primary intended to prepare the analysis and elaboration of the edition of the unique epistular collection, which covers almost a half of century of the mutual friendship and cooperation of the two important representatives of the Czech cultural scene of the first and the beginning of the second half of the 20th century. The editated correspondence is a part of the personal inheritances of the both mentioned men which is saved in the State region archive in Třeboň (Antonín Markus) and in the Institute of the history of art of the Academy of sciences of the Czech republic (Zdeněk Wirth).The first part of the diploma work brings the general essay on the correspondence as an object of the scientist´s interest and the survey of the authors of the certain works on the edition analysis of correspondence of the various personalities. Next chapter introduces the used sources and special literature which the authoress used. The life stories of Antonín Markus, the longtime archivist of the Třeboň Schwarzenberg´s archive, and Zdeněk Wirth, our eminent arthistorian and organizator of the monument preservation, are presented in the individual biographies. Next part of the work shows the analysis of the correspondence from the view of the condition and amount, kind of communication, frequence of answering and the outer look of the individual documents, which is ensembled with the topic analysis of it´s content. The commented selected edition is followed by the editing notice and the name index. Other part brings of course the list of sources and used literature. The end of the diploma work includes the visual enclosures which suitably enrich the written part.

This diploma thesis reveals the processes of shaping the image of Emil František Burian, the theater director, composer, journalist and playwright in three key headings. The first heading explains the principles of self-presentation and choice of characteristic means to build its external image in the changing personal attitudes and social development in the 30th - 50 years of 20th century. The second heading shows the coordinates of cultural policy communist regime and monitors the construction of public image representative of official socialist culture. Both headings are mainly based on a detailed analysis of Burian's theater activity, broadcasting activities and articles in professional and social printing. The third heading of qualification work pays attention to creating individual memory of a systematic effort to build a "cult of personality" of E. F. Burian. Interpretation biography and memories of actors, directors, journalists and politicians attempts to profile the professional and private life of this artist.