My thesis will be a collection of short stories about Asian and Asian-American families and the expectations of their children that leads them to certain decisions and actions. The majority of the stories will be focused on Vietnamese-American families, but I will explore the family dynamics within the Chinese, Korean, and Japanese families as well. Through this short story collection, I hope to dramatize the internal conflicts of children of Asian and Asian-American families as they question their identities and aspirations and as they struggle to preserving culture while simultaneously creating their own individual cultures and redefining what it means to be Asian or Asian-American. For my critical introduction, I will examine the immigrant literature of Junot Diaz. Particularly influential to my own writing are Diaz’s focuses on familial relationships, his experiments with point of view, and his use of a native family language (in his case, Spanish) alongside English.

A presente pesquisa contribui para a análise dos processos de construção da cena teatral contemporânea, verificando a criação do encenador Enrique Diaz, da Cia dos Atores, com enfoque na prática desenvolvida por ele no espetáculo Ensaio.Hamlet. Procura-se estabelecer, neste trabalho, uma reflexão sobre as novas metodologias teatrais que marcam uma ruptura com o modelo dramático tradicional, investigando como se estrutura a construção da cena, da dramaturgia, do trabalho dos atores e do tempo teatral. O que se pretende, aqui, é, além de confirmar as técnicas desenvolvidas por Enrique no espetáculo Ensaio.Hamlet, e que são características de uma nova teatralidade, deixar registrados os procedimentos de criação de um dos mais profícuos artistas contemporâneos, colaborando, assim, com o registro da história do teatro brasileiro. / The current study contributes to the analysis of the constructing process of the contemporaneous scene, by verifying the work by Enrique Diaz (director Cia. dos Atores), focusing on his work called Ensaio.Hamlet. This study also establishes considerations on new theatre/drama methods which do not agree with the conventional drama standard, by examining how construction of scenes, dramatic art, actors acting and of the theatre timing are structured. The purpose of this study is, besides to confirm the techniques developed by Enrique in his play Ensaio.Hamlet, which are characteristics of the new theatre, also to record the creation procedures by one of the most profitable contemporaneous artists, by contributing then with the history record of the Brazilian theatre.

The present study approaches Third World urbanization through a critical analysis of the cultural adaptation process of rural migrants (CAP). Social scientists identify the CAP as a transitional situation in which people must learn to function simultaneously in different cultural systems, typically circumscribed into a dual categorization: 'the traditional' versus 'the modern'. Taking place between these two conditions, the CAP is influenced and constrained by socio-economic macrostructures and processes that define cultural change. This thesis explores rural migrants' CAP by analyzing the material culture of Chalco, a squatter settlement located in the outskirts of Mexico City. / Self-help transformations of migrant housing produce a unique phenomenon. House forms and the selection of building materials, for instance, are defined not only by spatial or functional needs, but also by social priorities for adaptation. Preconceived aspects of housing evolution such as comfort or the reproduction of rural life are not necessarily priorities for migrants. On the contrary, the informants in Chalco favor the use of distinctive material signs that may help them to create their identity as urbanites. Hence, it is essential to view rural migrant housing as a physical expression of both residents' attempts to adapt to the urban culture (i.e., to participate in social mobility) and of the reproduction of social inequalities resulting from the nature of urbanization and development processes. (Abstract shortened by UMI.)

A presente pesquisa contribui para a análise dos processos de construção da cena teatral contemporânea, verificando a criação do encenador Enrique Diaz, da Cia dos Atores, com enfoque na prática desenvolvida por ele no espetáculo Ensaio.Hamlet. Procura-se estabelecer, neste trabalho, uma reflexão sobre as novas metodologias teatrais que marcam uma ruptura com o modelo dramático tradicional, investigando como se estrutura a construção da cena, da dramaturgia, do trabalho dos atores e do tempo teatral. O que se pretende, aqui, é, além de confirmar as técnicas desenvolvidas por Enrique no espetáculo Ensaio.Hamlet, e que são características de uma nova teatralidade, deixar registrados os procedimentos de criação de um dos mais profícuos artistas contemporâneos, colaborando, assim, com o registro da história do teatro brasileiro. / The current study contributes to the analysis of the constructing process of the contemporaneous scene, by verifying the work by Enrique Diaz (director Cia. dos Atores), focusing on his work called Ensaio.Hamlet. This study also establishes considerations on new theatre/drama methods which do not agree with the conventional drama standard, by examining how construction of scenes, dramatic art, actors acting and of the theatre timing are structured. The purpose of this study is, besides to confirm the techniques developed by Enrique in his play Ensaio.Hamlet, which are characteristics of the new theatre, also to record the creation procedures by one of the most profitable contemporaneous artists, by contributing then with the history record of the Brazilian theatre.

La présente recherche étudie le déploiement de la domination hiérarchique de l’Etat mexicain dans ses espaces territoriaux au niveau local. Elle se concentre sur le cas de l’état fédéré du Yucatán. Dans l’ordonnancement politico-administratif des états fédérés du Mexique, on insère progressivement une figure intermédiaire entre le gouverneur et les municipalités, le jefe político, insertion parachevée dans le dernier quart du XIXème siècle. Celui-ci est, d’une part, l’agent de l’autorité étatique au niveau départemental (partidos) et, d’autre part, l’intermédiaire formel entre l’exécutif, les municipalités et la société, caisse de résonance des demandes locales. La bipolarité de la charge et sa nature foncièrement relationnelle permettent d’examiner l’imbrication, plutôt que l’opposition entre déploiement étatique et réalités non étatiques dans la construction de l’Etat mexicain au niveau local, afin d’élucider la spécificité de cet Etat et d’expliciter les mécanismes par lesquels le régime porfirien a pu se pérenniser en s’adaptant aux réalités socio-politiques existantes tout en les mettant à son service. / This research studies the establishment of the hierarchical power of the Mexican State in its territories on the local scale. It focuses on the case study of the federated state of Yucatán. An intermediary civil official, the jefe político is introduced step by step between the governor and the municipal powers, this institution is achieved during the last quarter of the 19th century. He is, on the one hand, the agent of the state authority in the partidos (districts) and, on the other hand, the official intermediary between the executive power, the municipal authorities and the society, as the voice of the local requests. This double-acting office, essentially based on public relations, enables us to analyze the imbrications rather than the contrasts between the State establishment and the non-state powers in the Mexican State building, in order to clear up the specific character of the Mexican State and to explain the mechanisms by which the porfirian government could last in time by adapting to the existent socio-political actors and by using them into its service.

No description available.

During the last half of the nineteenth century, Mexico City residents started to experience an increase in the frequency and intensity of fires. Residents cited the presence of fossil fuels, the introduction of large factories and electrical apparatuses, and the growing population density as the primary reasons that urban fires became more prevalent. Fire hazards acted as catalysts for social change in Mexico's capital. They created a ripple effect across society, altering everything from city planning to medical advancements to business endeavors, shaping the ways that people experienced a period of significant urban growth. Fire forced people to adjust the ways that they lived their lives, the ways that they conducted business, and the ways that they thought about their city. Rather than looking at one great fire, this study contributes to a growing branch of disaster studies that examines the effects of much smaller, but far more frequent hazards. By drawing on the experiences of residents from different social groups (business owners, firemen, engineers, city officials, entrepreneurs, insurance agents, and physicians), this study shows how residents reacted differently to fire and how they feared and coped with the nearly constant presence of risk. Prevailing historiography of this time period in Mexico is often characterized by studies of the top-down projects of the dictator Porfirio Diaz, but this project shows how social actors collectively transformed their city in response to an environmental threat.

My intellectual interests span the Atlantic and are anchored in early modern narrative. Balancing original research, literary analysis and humanist literary criticism, my dissertation, “The Conundrums of Narrative: Cervantes in the Context of the Crónicas de Indias” attempts to bring a fresh understanding on the reciprocal relationship between emerging discourses of the New World and Spain –in particular, the kinds of narrative that coalesce into the (early) modern novel and the equally complex and imaginative forms of narrative on display in the Crónicas de Indias. My inquiry takes up two key sixteenth-century historiographical accounts of the Americas which include Gonzalo Fernández de Oviedo’s Sumario de la natural historia de las Indias and Bernal Díaz del Castillo’s Historia verdadera de la conquista de la nueva España. I deploy these texts, which problematize the relationship of history to ‘poetry’ (a category which for early moderns included imaginative prose), to shed new light on the narrative strategies employed in Don Quixote and the Persiles. Along the way, I argue that the significant role that memory and mnemonics play in Cervantes’s imitation of literary models contributes to the epistemological and narratological concerns produced by the New World encounter, and I examine the use of memory in the construction of textual authority. For example: the first portion of my dissertation analyzes the writings of Juan Luis Vives (1492- 1540) as a means to explore the humanist thinking on the writing of history. Vives’ contribution to the practice and rhetoric of history allows me to examine difficulties and paradoxes posed by the interplay of history and poetry in Cervantes.

Programa de Pós-Graduação em História. Departamento de História, Instituto de Ciências Humanas e Sociais, Universidade Federal de Ouro Preto. / Submitted by Oliveira Flávia (flavia@sisbin.ufop.br) on 2015-11-17T20:18:57Z No. of bitstreams: 2 license_rdf: 22190 bytes, checksum: 19e8a2b57ef43c09f4d7071d2153c97d (MD5) DISSERTAÇÃO_HeroiTiranoInterpretações.pdf: 1083120 bytes, checksum: bd878469a0e263e453e1ff7b191ae5f5 (MD5) / Approved for entry into archive by Gracilene Carvalho (gracilene@sisbin.ufop.br) on 2015-11-18T12:01:55Z (GMT) No. of bitstreams: 2 license_rdf: 22190 bytes, checksum: 19e8a2b57ef43c09f4d7071d2153c97d (MD5) DISSERTAÇÃO_HeroiTiranoInterpretações.pdf: 1083120 bytes, checksum: bd878469a0e263e453e1ff7b191ae5f5 (MD5) / Made available in DSpace on 2015-11-18T12:01:55Z (GMT). No. of bitstreams: 2 license_rdf: 22190 bytes, checksum: 19e8a2b57ef43c09f4d7071d2153c97d (MD5) DISSERTAÇÃO_HeroiTiranoInterpretações.pdf: 1083120 bytes, checksum: bd878469a0e263e453e1ff7b191ae5f5 (MD5) Previous issue date: 2014 / Porfirio Díaz tornou-se presidente constitucional do México em 1877. Manteve-se no governo, por meio de reeleições, até o ano de 1911, época em que renunciou devido à eclosão da Revolução Mexicana (1910). O período correspondente aos seus anos de governo é conhecido como Porfiriato. Sobre esta conjuntura existe uma ampla produção histórica, desde o período contemporâneo à presidência de Díaz até o hodierno. O objetivo da dissertação foi, a partir de uma literatura específica referente ao assunto e da utilização de fontes primárias, pesquisar os modelos interpretativos sobre o governo de Don Porfirio construídos entre os anos de 1902 e 1920, ou seja, entre a última década em que ele permaneceu no cargo de presidente até o final da primeira fase revolucionária. As fontes utilizadas para atingir tal objetivo foram seis obras impressas de indivíduos que escreveram sobre o presidente e seus anos de governo: El General Porfirio Díaz, de Bernardo Reyes (1902); México: su evolución social, compilada por Justo Sierra Méndez entre 1900 e 1902; La sucesión presidencial en 1910: el Partido Nacional Democrático, de Francisco Ignácio Madero (1908); Barbarous Mexico, de John Kenneth Turner (1910); De Porfirio Díaz à Francisco Madero: la sucesión dictatorial, escrita por Luis Lara Pardo em 1912 e El verdadero Díaz y la Revolución (1920), de Francisco Bulnes. Nestes trabalhos percebemos e procuramos explicar as transformações de um discurso, ou seja, como as avaliações sobre o porfirismo modificaram-se desde a última década do século XIX até 1920. De grande pai da nação, como o interpretou a geração oitocentista de polígrafos, ele passou a ser representado (principalmente durante a Revolução) como um ditador tirânico, que concentrou em suas mãos uma grande parcela de poderes políticos e suprimiu a dinâmica partidária existente no cenário público do país. _________________________________________________________________________________ / ABSTRACT: Porfirio Díaz became constitutional president of Mexico in 1877. Remained in government, through reelections, until 1911, at which time he resigned due to the outbreak of the Mexican Revolution (1910). The corresponding to their years of government period is known as the Porfiriato. About this conjuncture there is ample historical production from the contemporary period the presidency Diaz to the meeting today. The aim of this work was, from a specific literature on the subject and use of primary sources, research the interpretive models over the government of Don Porfirio built between the years 1902 and 1920; ie from the last decade that he remained as president until the end of the first revolutionary phase. The sources used to achieve this goal were six printed works of individuals who wrote about the president and his years of government: El General Porfirio Díaz, by Bernardo Reyes (1902), Mexico: su social evolución, compiled by Justo Sierra Méndez between 1900 and 1902; La sucesión presidencial en 1910: el Partido Nacional Democrático, by Francisco Ignacio Madero (1908); Barbarous Mexico by John Kenneth Turner (1910); De Porfirio Díaz à Francisco Madero: la sucesión dictatorial, written by Luis Lara Pardo in 1912 and El verdadero Díaz y la Revolución (1920 ), by Francisco Bulnes. In these works we see and try to explain the transformations of a discourse, ie, as the reviews of the porfirismo were modified since the last decade of the nineteenth century until 1920. Great father of the nation, as the nineteenth century interpreted the generation of polygraphs, he was represented (especially during the Revolution) as a tyrannical dictator who concentrated in their hands a great deal of political powers and deleted the existing party dynamics in the scenario public of the country.

Depuis 2006, les artistes de indie rock sont les vedettes de « sessions audiovisuelles » diffusées sur le web, dans lesquelles les musiciens font des prestations dans des lieux inusités. Les artistes et publics revendiquant l’authenticité ont rapidement adhéré à cette vague de productions qui se manifestent surtout sur des sites musicaux et médiatiques (La Blogothèque, Black Cab Sessions, BRBR, La Fabrique culturelle, Bande à part, etc.), des sites commandités (Burberry Sessions, Scion Sessions, Nokia Lumia Live Sessions, etc.) et à la télévision (Mange ta ville, Voir, Formule Diaz, Fabriqué au Québec, etc.). Dans le cadre de cette recherche, nous avons voulu explorer la quête d’authenticité dans les médiations de la musique pour déterminer comment les intermédiaires culturels arrivent à respecter la nécessité perçue de favoriser une communication directe entre créateurs et publics. L’approche des production studies nous a permis de bien évaluer le rôle et le discours des artisans de la télévision culturelle, en particulier leurs visions artistiques et créatives dans le travail de médiation. Nous avons utilisé une méthode qualitative pour étudier le travail des intermédiaires culturels, soit l’étude de cas mobilisant des principes ethnographiques. Les conclusions font ressortir le double rôle de producteurs/consommateurs des artisans à l’étude comme moyen d’assurer l’authenticité des productions, le brouillage des frontières dans le travail des intermédiaires culturels (entre activités professionnelles et personnelles, entre jugement professionnel et goûts personnels, entre rôles d’administrateurs, artistes et publics, etc.) et la perception des publics de ces productions.