A dissertação analisa a trajetória da Internacional Situacionista durante o período de sua existência, de 1957 até 1972, salientando as ressonâncias dos ideários das vanguardas do Futurismo, Dadaísmo e Surrealismo, no ideário da I.S.. Sua importância está vinculada a reinvenção do espaço público como lugar de criação cultural e ação política, além do fato de serem recorrentes na arte contemporânea as ideias de obra coletiva, participação, construção efêmera e de evento, que nos remete as ações da I.S. e dos movimentos citados. O objetivo da pesquisa é analisar e compreender a ideia de situação construída, a qual era o propósito fundamental dos situacionistas. Nessa abordagem revelamos as origens da ideia de situação construída e como ela é fruto da revisão crítica que a I.S. faz das experiências e conceitos das vanguardas analisadas. A metodologia utilizada examina de forma comparativa os textos produzidos pela I.S. com os do Futurismo, Dadaísmo e Surrealismo, contrapondo suas ideias no campo da arte, cultura, política e meios de ação nos espaços urbanos. A leitura dos textos primários, obras de \"arte\" e jornais situacionistas formam a base da análise. Os textos pré-situacionistas assim como os textos referentes às vanguardas analisadas, indicam a arqueologia do pensamento situacionista, expondo as suas diferenças e aproximações fundamentais entre os movimentos. Enquanto os textos secundários, análise de historiadores e comentadores da I.S., expandem o universo situacionista no contexto das décadas de 50, 60 e 70, auxiliando na compreensão de suas teorias, julgamentos e ações. / The dissertation analyzes the history of the Situationist International (S.I.) during its existence from 1957 until 1972, emphasizing the resonances of the ideals of the vanguards of Futurism, Dadaism and Surrealism, the ideals of S.I.. Its importance is linked to the reinvention of public space as a place of cultural and political action. Besides the fact they are recurrent in contemporary art, the ideas of collective work, participation, construction and ephemeral event, which brings us the action of S.I. and movements mentioned. The objective of this research is to analyze and understand the idea of constructed situation, which was the fundamental purpose of the Situationists. In this approach reveal the origins of the idea of constructed situation and how it is the result of the critical of the S.I. makes the experiences and concepts of the vanguards analyzed. The methodology examines in a comparative way the texts produced by S.I. with Futurism, Dadaism and Surrealism, opposing ideas in art, culture, politics and means of action in urban areas. The reading of primary texts, works of \"art\" Situationist and newspapers form the basis of the analysis. The pre-situationist texts as well as texts concerning vanguards analyzed, indicate the archeology of Situationist thought giving the fundamental differences and similarities between the movements. While the secondary texts, analysis of historians and commentators of the S.I., situationist expand the universe in the context of the 50, 60 and 70, assisting in the understanding of his theories, judgments and actions.

A dissertação apresenta a visão de história que compõe o método de especulação e planejamento do futuro exposto no livro O ano 2000, de 1967, escrito por Herman Kahn e Anthony J. Wiener. O trabalho consiste na investigação das idéias e conceitos empregados no método, assim como nos resultados gerais da especulação e do planejamento do futuro, visando expor as influências de outros autores, idéias e conceitos, além dos diversos contextos que se articulam na obra. A dissertação visa mostrar como se constituiu o pensamento futurista de Kahn e Wiener em relação à história, a saber, uma visão progressista, porém não mais linear e como um produto da razão inerente ao homem, mas como um progresso que é conquistado a cada momento do presente pelo esforço humano em planejar o futuro. A história aparece assim como um desenvolvimento macro-histórico, que explica os desenvolvimentos passados e as possibilidades futuras, e, ainda, como um conjunto de exemplos heurísticos para pensar como as possibilidades futuras podem se manifestar factualmente. A pesquisa conclui que o pensamento futurista é um objeto de estudo muito rico para os historiadores por sua apropriação da história, pela representatividade como fenômeno histórico e por sua abrangência como parte da vida contemporânea. / This dissertation approaches the view of history embedded in the method of future speculation and planning set out in the book The year 2000, written in 1967, by Herman Kahn and Anthony J. Wiener. This work consists in investigating the ideas and concepts in the method, as well as in overall results of future speculation and planning, in order to expose the influences of other authors, ideas and concepts and the various contexts articulated in the book. We here try to show how the futurist thinking of Kahn and Wiener understood history, namely, a view of progress however no longer linear or a product of a reason inherent to man, but a progress achieved every moment by human effort in planning the future. Thus, history appears as a macro-historical development that explains past developments and future possibilities, and also as a set of heuristic examples to consider how future possibilities can manifest factually. The research concludes that futurist thinking is a valuable study object to historians for its appropriation of history, for its importance as a historical phenomenon and for its significance as part of the contemporary life.

A presente tese de doutoramento intenta perscrutar a trajetória crítico-literária de Sérgio Buarque de Holanda pela segunda década do século XX. Partindo da análise de seu primeiro ensaio crítico publicado Originalidade Literária este trabalho passa por diversos momentos da formação buarqueana. Analisa-se como o desenvolvimento acelerado das capitais paulista e carioca refletiu decisivamente no processo de formação do jovem crítico, bem como de que forma ele influenciou a vida cultural dessas cidades. Pondera-se a utilização das formas ideológicas de expressão por Sérgio, utilização esta que só seria atenuada com o confrontamento direto do crítico junto ao peso da tradição do fin de siècle. Observa-se de perto a assimilação de Sérgio Buarque da vanguarda futurista que chegava no Brasil e todo o seu esforço por uma espécie de ressignificação teórica, a fim de melhor compreender o processo que se dava em nossos meios culturais. Acompanha-se o contato do jovem autor junto às agitações do Modernismo nascente e, mais tarde, a própria atuação de Sérgio como integrante desse processo, em militância e luta, além da fundação da revista Estética, e de se tornar o representante da revista Klaxon no Rio de Janeiro. E, em momento final, observa-se o que chamamos de ocaso do crítico modernista, que após publicação de ensaio denominado O Lado oposto e outros lados, encontra-se em meio a tantas desavenças e ressentimentos por parte de seus correligionários de movimento, que, logo à frente, decide tudo abandonar e manter-se em exílio voluntário. / This doctoral thesis attempts to examine the critical-literary trajectory of Sérgio Buarque de Holanda in the second decade of the twentieth century. Starting from the analysis of his first published critical essay - \"Literary Originality\" - this work goes through several moments of the buarqueana formation. It analyses how the accelerated development of the capitals of São Paulo and Rio de Janeiro reflected decisively on the process of formation of the young critic, as well as how he influenced the cultural life of these cities. The use of the ideological forms of expression by Sérgio is considered, a use that would only be attenuated with the direct confrontation of the critic next to the weight of the tradition of the fin de siècle. It also closely observes the assimilation of Sérgio Buarque to the futuristic vanguard that arrived in Brazil and all his efforts through a sort of \"theoretical re-signification\", in order to better understand the process that was given in our cultural means. The young author\'s contact with the upheavals of nascent Modernism is also observed and, later, Sergio\'s own acts as a member of this process, in militancy and struggle, as well as the foundation of the magazine Aesthetics, and becoming the representative of Klaxon magazine in Rio de Janeiro. Finally a close observation is made of what is known as the sunset of the modernist critic, who, after an essay publication called \"The Opposite Side and Other Sides\", found himself amidst so many quarrels and resentments on the part of his movement co-religionists , that soon afterwards he decided to abandon everything and remained in voluntary exile.

A dissertação apresenta a visão de história que compõe o método de especulação e planejamento do futuro exposto no livro O ano 2000, de 1967, escrito por Herman Kahn e Anthony J. Wiener. O trabalho consiste na investigação das idéias e conceitos empregados no método, assim como nos resultados gerais da especulação e do planejamento do futuro, visando expor as influências de outros autores, idéias e conceitos, além dos diversos contextos que se articulam na obra. A dissertação visa mostrar como se constituiu o pensamento futurista de Kahn e Wiener em relação à história, a saber, uma visão progressista, porém não mais linear e como um produto da razão inerente ao homem, mas como um progresso que é conquistado a cada momento do presente pelo esforço humano em planejar o futuro. A história aparece assim como um desenvolvimento macro-histórico, que explica os desenvolvimentos passados e as possibilidades futuras, e, ainda, como um conjunto de exemplos heurísticos para pensar como as possibilidades futuras podem se manifestar factualmente. A pesquisa conclui que o pensamento futurista é um objeto de estudo muito rico para os historiadores por sua apropriação da história, pela representatividade como fenômeno histórico e por sua abrangência como parte da vida contemporânea. / This dissertation approaches the view of history embedded in the method of future speculation and planning set out in the book The year 2000, written in 1967, by Herman Kahn and Anthony J. Wiener. This work consists in investigating the ideas and concepts in the method, as well as in overall results of future speculation and planning, in order to expose the influences of other authors, ideas and concepts and the various contexts articulated in the book. We here try to show how the futurist thinking of Kahn and Wiener understood history, namely, a view of progress however no longer linear or a product of a reason inherent to man, but a progress achieved every moment by human effort in planning the future. Thus, history appears as a macro-historical development that explains past developments and future possibilities, and also as a set of heuristic examples to consider how future possibilities can manifest factually. The research concludes that futurist thinking is a valuable study object to historians for its appropriation of history, for its importance as a historical phenomenon and for its significance as part of the contemporary life.

La poète et artiste anglo-américaine Mina Loy (1882-1966) resta longtemps une figure marginale dans le canon moderniste. Adoptant une double approche poéticienne et culturelle, cette thèse étudie son esthétique hybride qui crée toujours une tension irrésolue entre des éléments disparates. Bien qu’influencée par le symbolisme, le décadentisme, le futurisme, l’imagisme, le dadaïsme et le surréalisme, Loy ne s’inscrit complètement dans aucun de ces mouvements, introduisant une tension entre plusieurs modernismes par ce changement constant de paradigme esthétique. On peut comprendre le projet artistique de Loy comme un atlas des turbulents phénomènes artistiques de son temps, qui trace des itinéraires entre des esthétiques disparates, voire opposées, cartographiant une constellation moderniste en pleine formation. La notion de constellation s’avère ainsi particulièrement fructueuse pour penser à la fois les dialogues artistiques modernistes et la dynamique formelle du poème en vers libre. En outre, on peut aborder l’oscillation permanente de son idiome entre le futur et le passé, l’avant-garde et l’obsolète, par le prisme de l’« image dialectique » définie par Walter Benjamin: « Une image [...] est ce en quoi l’Autrefois rencontre le Maintenant dans un éclair pour former une constellation ». L’oeuvre de Loy cherche à développer un « idiome météorique », qui reste brièvement en orbite autour d’une constellation artistique et s’approprie son esthétique pour rebondir ensuite dans une direction différente. L’enjeu de ce travail est d’explorer la dynamique de cette errance géographique, culturelle et artistique en quête d’une voix poétique hybride et polyphonique, qui résonne dans des cadres esthétiques multiples. / For a long time, the Anglo-American poet and artist Mina Loy remained marginal to the modernist canon.Adopting a twofold poetic and cultural approach, this dissertation focuses on her hybrid aesthetics whichcreates an unresolved tension between disparate elements. Although influenced by Symbolism,Decadence, Futurism, Imagism, Dada, and Surrealism, Loy’s work fully fits in none of these movements,introducing a tension between different modernisms through a constant shift of the aesthetic paradigm.One can understand Loy’s artistic project as an atlas of the turbulent artistic phenomena of her time,which traces itineraries between disparate and even opposed aesthetics, mapping a modernist constellationin the making. The notion of constellation thus becomes particularly far-reaching in thinking both aboutthe modernist artistic dialogues and about the formal dynamics of the free verse poem. The permanentoscillation of Loy’s idiom between the future and the past, the avant-garde and the obsolete, may betackled through Walter Benjamin’s definition of the “dialectical image”: “image is that wherein what hasbeen comes together in a flash with the now to form a constellation.” Loy’s oeuvre works towarddeveloping a “meteoric idiom,” which briefly revolves around each constellation before bouncing off in adifferent direction, introducing an ironic relativity between different loci, forms, and programs ofmodernist activity. This dissertation focuses on the dynamic of this roaming through modernist forms insearch of a unique, “polyharmonic” poetic voice which would resonate within multiple aestheticframeworks.

Commitments to cosmopolitanism and indigenism complicate the Modernist literature of the Third World. This study investigates the rhetorical and aesthetic responses of Third World "little magazines"--short-running, self-financed cultural magazines--to these two notions. These little magazine evolved with the daily newspaper as a tool favored by avant-garde movements for critiquing the social structures that produced it and for codifying their aesthetic and political principles. Comparing the Stridentist little magazine Horizonte (1926-1927) to D. H. Lawrence's novel The Plumed Serpent (1925), I argue that the Mexican Revolution created a climate of nationalism that reoriented the Stridentist movement away from a version of cosmopolitanism influenced by European modernist movements and toward a deeper interest in the Mexican folk and indigenous culture. Following form there, I consider the concept of cosmopolitanism in the Cuban novelist Alejo Carpentier's El Reino de este mundo (1949) in comparison to two Haitian magazines: La Revue Indigène (1927-1928) and Les Griots (1938-1940). Here I find that, while Carpentier stages a relatively global critique of primitivism as a false cosmopolitanism, the magazines La Revue Indigène and Les Griots reflect a turn from such a cosmopolitanism that values the primitive for its own sake toward a cultural nationalism invested in the real and imagined recuperation of Haiti's African origins through the study of folklore, Vodou, the Kreyòl language and poetic images of Africa. Finally, I compare Futurist F. T. Marinetti's Mafarka le futuriste: roman africain (1909) to the Egyptian literary magazine Al-Kātib Al-Miṣrī (1945-1948) in order to demonstrate the distance between Egyptian modernity in the European imagination and the self-conceived notions of Egyptian modernity. In Al-Kātib Al-Miṣrī, I find that these writers value cosmopolitanism, arguing that it is in fact indigenous to Egyptian culture itself and constructing their notion of Egyptian modernity around the maintenance of continuity with this indigenous cosmopolitanism. My examinations of these magazines suggests that, though the European avant-gardes and Third World literary Modernists may wield the little magazine similarly against hegemonic cultures, their purposes are divided over the roles cosmopolitanism and indigeneity play in the formation of national culture. / text

Thirty-two students worked together for eight weeks to write nearly fifty short plays from which thirty were selected, produced and performed in a production titled Warning May Cause Irritation, inspired by the Neo-Futurists' signature show: Too Much Light Makes the Baby Go Blind. Nineteen students were also involved in the concurrent case study of the project and kept journals, participated in focus group sessions, developed scripts and filled out worksheets. Data generated was analyzed for evidence of student empowerment, relevancy of the work to student's lives, and their ability to work democratically.In the end, it seems the students enjoyed and felt empowered by the democratic process used to generate the final production and the result was an educative, relevant and fulfilling experience that may inspire some to continue working in the theatre and the students seemed open to continuing to explore nontraditional theatre projects in the future.

Den här uppsatsen behandlar genusmarkörer i Axel Törnemans sena konstnärskap. Syftet är att undersöka maskulina och feminina markörer i fyra av konstnärens målningar: Gatans rytm (1916), Gudrun i blått (1917), Mazeppa (1918) och Ungdom (1919). Dessutom diskuteras huruvida konstverkens motiv har förbindelser med samtida uppfattningar kring könsroller. Frågeställningarna berör först hur en möjlig relation mellan markörerna gestaltas och problematiseras i konstverken, sedan hur detta kan ge perspektiv på tidsperiodens föreställningar om könsroller. Metoden går ut på att först undersöka maskulina och feminina markörer i målningarna, därefter diskuteras möjliga relationer till kontexten. Studien är disponerad på fyra huvudkapitel där varje målning analyseras och tolkas mot bakgrund av samtida idéströmningar. I uppsatsen analyseras även den tidigare forskningens förhållningssätt till konstnärens motivkrets under 1910-talet. Den avslutande diskussionen bygger på en sammanställning av de fyra tolkningarna.       Studien visar på såväl likheter som skillnader mellan konstverk och kontext. Av tolkningarna framgår att Törnemans målningar innehåller drag som är förankrade i och anknyter till samtida diskussioner kring könsroller. Metoden öppnar dock upp för mångbottnade perspektiv. Målningarnas maskulina och feminina markörer präglas av en dubbeltydighet och tolkningarna framhåller ambivalenta aspekter.

Thesis (M.S. in Management)--Naval Postgraduate School, June 1990. / Thesis Advisor(s): Thomas, George W. Second Reader: Steiner, Kenneth W. "June 1990." Description based on title screen as viewed on March 24, 2010. DTIC Identifier(s): Military Personnel, Manpower, Theses, Military Manpower, Technology, Technological Change, Futurism, 21st Century. Author(s) subject terms: Technology, Technological Change, Future, Military Manpower. Includes bibliographical references (p. 96-110). Also available in print.

Thesis (Ph. D.)--Ohio State University, 2008.