The diploma thesis deals with the causes, progress and consequences of the overthrow of the democratically elected and reform president of Guatemala - Jacobo Árbenz Guzmán in 1954 - the coup d'état of the "National Liberation Army" under the leadership of Carlos Castillo Armas and his "secret" US allies. The main reasons for the overthrow of the Árbenz's regime in Guatemala were the potential threat of "leaking of international communism" in the US sphere of influence, i.e. Western Hemisphere and threat of US economic interests in Guatemala which are interrelated with the agrarian reform declared by president Árbenz. The aim of this diploma thesis is to answer key questions related to the overthrow of president Árbenz in 1954. Keywords: Guatemala, USA, Jacobo Árbenz Guzmán, Carlos Castillo Armas, Dwight D. Eisenhower

A resident ambassador in the late sixteenth century faced many challenges, among which were: gathering, evaluating, and relaying useful information; performing negotiations on behalf of his principal; and calming troubled waters at the foreign court. The way in which he .faced these challenges determined the extent of the ambassador's success. Jon Jiego Guzman de Silva, Spanish ambassador in Zngland .from 1564-1568, faced these challenges and others because he was a staunch Catholic at a Protestant court. Although he was able to maintain his position at court for four years, he was not totally successful. He forwarded much useful and correct information to Philip II, King of Spain, and helped maintain good relations between the English and Spanish courts. Yet he was unable to accomplish anything significant while negotiating to stop p iracy or to restore trade between England and t' Low Countries,

The aim of this investigation is to study the various cinematic and rhetorical strategies that Chilean filmmaker Patricio Guzmán uses to construct a complex image of the postdictatorial Chilean society. By analyzing three of his documentaries from the late 1990s and early 2000s (Chile, Obstinate Memory; The Pinochet Case and Island of Robinson Crusoe), I argue that Guzmán's cinematic images expose the challenges of constructing a collective memory of the 1973 coup in Chile and its aftermath. In an attempt to interrogate the social, political and economic dynamics of the Chilean transition to democracy that began in the year 1990, Guzmán's documentaries also explore the consequences of the Pinochet dictatorship (1973-1989) in the present. The historical conjuncture of postdictatorial Chile is connected to at least three geopolitical phenomenons: the Post-Cold War international arena formed after the dissolution of existent socialist regimes, the advent of neoliberalism as a transnational economic paradigm, and the struggle for global human rights. The documentaries of Patricio Guzmán are poetic responses to each of these geopolitical phenomenons that affect the constitution of the Chilean present. / Dissertation

AN ABSTRACT OF THE THESIS OF José E. Guzmán Borrero, for the Master of Music degree in Music Theory and Composition, presented on April 8, 2016, at Southern Illinois University Carbondale. TITLE: ISOCHRONAL: A SUITE FOR JAZZ ORCHESTRA MAJOR PROFESSOR: Dr. Christopher Walczak The suite is a three movement composition for jazz orchestra in which I integrate contemporary compositional methods with the harmonic idioms of the jazz genre. The first movement, “Flight,” takes a minimalist (ca. 1970-1990) approach through the beginning of the piece, then incorporates a development section reminiscent of music from the Classical period with the use of two and three voice counterpoint. Followed by a traditional jazz solo section. The second movement, “'Round Ten” is a ballad featuring the post-tonal compositional method of dodecaphony (ca. 1925-1950) in tandem with melodic and harmonic jazz expressions reminiscent of Thelonious Monk. My compositional use of tone rows is similar to the methods of Benjamin Britten and Alban Berg, who used the row as a compositional guideline or tool. This is unlike the initial use of the row by its founder, Arnold Schoenberg, which restricted the composer by the necessity of using all twelve pitches (with no emphasis on a tonal center) and using it in a predetermined order. The ballad section of the second movement is similar to Thelonious Monk's music in its use of non-harmonic tones and sharp dissonances mixed with a repetitive melodic contour. The third and final movement, “Lights Out!” is an up-tempo piece that uses the dense harmonies reminiscent of Don Menza and Thad Jones’ arrangements. The harmonic structure of the piece is from the modal jazz period of the 1960s in which composers pushed the boundaries of the typical 32-bar song format. The melodic material in this movement includes material from the two previous movements.

[pt] A partir do olhar sobre dois filmes de Patricio Guzmán realizados no Chile após o fim da ditadura de Pinochet (1973-1990) - Chile, memória obstinada (1997) e Nostalgia da Luz (2010) -, discute-se como ele desenvolve uma narrativa mais pessoal – sua guinada subjetiva e reflexiva sobre a história -, considerando, com particular atenção, a memória de seu país. Seus filmes expõem - o gesto arqueológico - não somente narrativas como que soterradas na memória dos entrevistados, que foram omitidas para as novas gerações, mas também a construção de atos corporais de memória e objetos comemorativos. Murais antigos e coloridos são descobertos por trás de grossas camadas de tinta monocrômica, da mesma forma que vestígios humanos e ruínas na árida paisagem do deserto de Atacama, deixando reemergir experiências e versões dos sofrimentos de vidas que, embora tendo ficado no passado, ainda estão fortemente presentes. Ao descrever e discutir detalhes de importantes sequências desses dois filmes, procura-se mostrar como eles obstinadamente resistem e, de forma meditativa, revertem o esquecimento e a ocultação que a história oficial tem sustentado. / [en] Focusing mainly on two films by Patricio Guzmán, produced in Chile after the end of the Pinochet dictatorship (1973-1990) - Chile, obstinate memory (1997) and Nostalgia for the Light (2010), we comment on how he develops a personal and subjective narrative with a particular attention to the memory of his country s and people s past. His films bring out - and that is what we call the archeological gesture - not only narratives which are buried in the memories of the interviewees and had been kept untold (out of reach particularly of the new generation), but also objects like old vivid mural pictures covered up by a non-descriptive coat of paint, as well as remains and ruins of the arid landscape of the Atacama desert, letting reemerge experiences and versions of the past, though still strongly present, lives of suffering. It was mainly when we describe in detail and attentively comment on important sequences of these two films that we succeeded in showing how they obstinately resist and revert the forgetting and obliteration of the accommodating official story.

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