O trabalho teve como objetivo observar o trajeto da implantação do planejamento urbano modernista em Brasília e seus resultados. Em outras palavras, entender o resultado de implementar um modelo de planejamento urbano moderno, mais adequado a países já industrializados, em uma sociedade que, segundo Francisco de Oliveira, combina o moderno com o atrasado. Para isso, optou-se por fazer primeiro uma leitura de Brasília como objeto de uma política nacional que visava à ampliação dos mercados consumidores internos e a integração da nação (construção de uma nacionalidade), por meio do que foi denominado de nacional-desenvolvimentismo do Plano de Metas. Nesse contexto, aborda-se a concepção urbanística de Brasília de forma a consolidar um entendimento dos preceitos que marcaram o projeto urbanístico da nova capital e aqueles que acabaram por influenciar todo o processo de formação do aglomerado urbano. A partir dessas duas abordagens, observa-se a ação do Estado na implantação da capital federal desde 1955 a 2005, tendo em vista três panoramas: o fundiário, o habitacional e do planejamento urbano. Ao fim desse trabalho, após observação da formação e evolução urbana da cidade de Brasília que foi implantada dentro de uma política nacional de desenvolvimento, faz-se uma análise do planejamento urbano moderno de Brasília sob a ótica da interpretação de pensadores da formação da sociedade brasileira e do Estado brasileiro. / This work aims to observe the path of the deployment of modernist urban planning in Brasilia and its results. In another words, view the result of implementing a model of modern urban planning, more suitable for industrialized countries, in a society that, according to Francisco de Oliveira, combines the modern with late. For this, the choice was to do first is a reading of Brasilia as object of a national policy aimed at the expansion of domestic consumer markets and the integration of the nation (construction of a nationality), by means of what was called the national development of the Plano de Metas. In that context, it looks to the urban design of Brasilia in order to build an understanding of the precepts which marked the urban design of the new capital and those who ultimately influence the whole process of formation of the urban agglomeration. From these two approaches, analyses the action of the State in the implementation of the federal capital since 1955 to 2005 with regard to three views: the land, the housing and urban planning. After this work, after observation of the formation and evolution of urban city of Brasilia which was established within a national policy for development, it is an analysis of modern urban planning of Brasilia from the perspective of the interpretation of theoreticians about the Brazils society and the Brazilian state.

In Ursula K. Le Guin’s novel Always Coming Home, utopian and dystopian elements interact according to patterns inspired by anarchism and Taoism to criticise material excesses and oppressive social structures under capitalism. Via discussions of gender, state power, and forms of social (re)production, this Marxist reading proposes that the novel’s separation of utopia from dystopia hinges on the absence or presence of a state. The reading also suggests that the novel’s utopia is by its own admission a “mere dream” with limited relevance to anti-capitalist politics, and employs the novel’s own term “handmind” to show that the aesthetic and philosophical dimensions of its anti-capitalist sentiments encourage a reconsideration of utopia, to be viewed not as a fixed future product – a good-place – but as a constant process of becoming – a no-place.

Gender ideologies, which are constantly changing, are important for many outcomes in life, but the majority of gender ideology research focuses mainly on adults. Past research studying adult gender ideologies finds that adults' current relationship status affects their ideologies. For instance, divorced adults hold egalitarian ideologies more than stable married adults do (Davis, Greenstein and Marks 2007). Researchers attribute this finding to the types of gender behaviors adults perform with their partner or alone. What about youth? Understanding how these ideologies develop earlier in life is important, yet research rarely focuses on youth gender ideologies or their development. My research looks at the effects of family structure on youth gender ideology in Germany (Germany National Educational Panel Study (NEPS); Cohort One N=4,181; Cohort Two N=9,913). I argue it is through doing gender that family structures operate to influence the development of youth gender ideology, since parents' doing gender behaviors performed with their children vary by family structure. My findings suggest family structure does not matter for doing gender behaviors that parents perform with their children, thereby affecting their gender ideologies. As a result, it is more about other ways adults do gender outside of the home or about the youth themselves. I also find significant effects for females, suggesting females may invest more in the outcomes egalitarian gender ideologies produce. Future research should look at shifts in family structure and duration in various family structures in order to understand family structure's impact on gender ideology for youth.

Les travaux de thèse développe la longue histoire du cinéma chinois d'animation sur la période allant de 1920 à 1977, du début du 20e siècle jusqu'à la fin de la grande révolution culturelle prolétarienne. Le sujet de la thèse est : l’idéologie, la propagande et le cinéma chinois d’animation entre les années 20-70. La problématique s'oriente vers le cinéma chinois d'animation qui s'intègre dans la propagande, l'idéologie ainsi que la politique du pouvoir dans différentes époques, selon une évolution esthétique et artistique. Depuis les premières générations de cinéastes qui imprègnent la plus haute direction politique dans leurs créations cinématographiques. J'ai donc travaillé sur les différents chef d'oeuvres de chaque genre du cinéma chinois d'animation ainsi que sur les travaux de leurs créateurs.Les travaux de recherche ont été rédigés en trois chapitres selon une démarcation de l'histoire de la Chine, qui correspond aux moments historiques importants et aux situations sociales d'enjeux en Chine : la création embryonnaire du cinéma chinois d'animation entre les années 20 et 40 avec l'objectif de décrire le processus amenant la naissance de cinéma chinois d'animation ainsi que les premières fonctions qui en ont été faites, comme arme de propagande ainsi que servir l'idéologie du parti communiste impliqué dans l'animation chinoise pendant la guerre mondiale et la guerre civil. Durant cette période, il y eut plusieurs couts-métrages en noire et blanc qui furent réalisé et produits, y compris le premier long métrage noir et blanc La princesse à l'éventail de Fer en 1941.Après la seconde guerre mondiale, Le cinéma chinois d'animation a été soumis à la seule idéologie omniprésence en Chine - le maoïsme - durant les années 50 60 et 70. Il atteignit son apogée en accompagnement d'une forte création esthétique et artisanale d'une génération de cinéaste toujours irremplaçable aujourd'hui. Il y eut de nouveaux genres du cinéma chinois d'animation qui parurent : comme la première animation en couleur, le papier découpé, le lavis animé, le premier long métrage en couleur - le roi singe. Toutes les animations sont produites par le studio d'art de ShangHai. Malgré que Le Studio d'art de Shanghai devint alors l'usine de production des Gardes Rouges et que le cinéma d'animation chinois fut forcé d'arrêter en raison de la tempête sociale de la Grande Révolution Culturelle Prolétarienne.Les travaux de thèse se conclut sur la fin de la grande révolution culturelle, et du décès du président Mao, avec pour thème des sujets comme : la rééducation des intellectuelles, la bande des quatre, la propagande, l'idolâtrie et les images paradoxales avec dizaines de animations révolutionnaire reflétant la situation sociale de la Chine.J'ai achevé la dernière partie de la thèse avec les difficultés de travail, le mariage le congé maternité et les travaux. / The thesis work develops the long history of Chinese animated cinema over the period from 1920 to 1977, from the beginning of the 20th century until the end of the great proletarian cultural revolution. The subject of the thesis is: ideology, propaganda and animated Chinese cinema between the years 20-70. The problem is oriented towards the Chinese animated cinema which is integrated in the propaganda, the ideology as well as the politics of the power in different times, according to an aesthetic and artistic evolution. Since the first generations of filmmakers who permeate the highest political direction in their cinematographic creations. So I worked on the different masterpieces of each genre of Chinese animation and the work of their creators.The research was written in three parts according to a demarcation of the history of China, which corresponds to the important historical moments and societal stakes in China. : the embryonic creation of Chinese animated cinema between the 20s and the 40s with the aim of describing the process leading to the birth of animated Chinese cinema and the first functions that have been made, as a propaganda weapon as well as serve the ideology of the Communist Party involved in Chinese animation during World War and Civil War. During this period, there were several black-and-white feature films made and produced, including the first feature film, Black and White, The Iron Princess in 1941.After the second world war, the Chinese animated cinema was subjected to the only ideology omnipresence in China - Maoism - during the 50s and 70s. It reached its apogee in accompaniment of a strong aesthetic and artisanal creation of a generation of filmmakers still irreplaceable today. There were new genres of animated Chinese cinema that appeared: as the first color animation, the paper cut, the animated wash, the first full-length feature in color - the monkey king. All animations are produced by the SHANGHAI art studio. Although the Shanghai Art Studio then became the production factory of the Red Guards and the Chinese animation cinema was forced to stop because of the social storm of the Cultural Revolution.The thesis work concludes with the end of the great cultural revolution, and the death of President Mao, with topics such as: the rehabilitation of intellectuals, the gang of four, propaganda, idolatry and paradoxical images with dozens of revolutionary animations reflecting the social situation of China.I completed the last part of the thesis with the difficulties of work, marriage, maternity leave and work.

This dissertation examines the fascist propaganda for children produced in Hitler’s Germany and the early years of Franco’s Spain. The central aim of this project is to identify the formation of fascist discourse and its construction of political “reality” (or what Kaja Silverman calls a “dominant fiction”) by German and Spanish propagandistic authors. I will also determine the extent to which the fascist thought formed in the works I am studying depends on the national context in which it appears. The fascist children’s literature produced in Germany and Spain provides a body of writing that will allow me to answer if there are literary elements specific to the historical moment and national context in which they were produced, or if fascist writing is the same from one country to the next. For the German context, I will begin by examining works written for children during the Weimar Republic (1918-1933). By placing works from Erich Kästner and Wolf Durian into a historical context, I read these books as cultural artifacts that express the views of their authors and reflect those of many democratic supporters of the Republic. Beginning with the first Nazi novels for children and youth that appeared in 1932, I proceed to trace the elements National Socialist authors chose to retain from their left-wing Weimar counterparts, and then put forth a model that explains the influence fascism had on children’s literature in Germany during this time. Once this model is established, I will compare and contrast this body of German writing with the children’s literature produced in Spain between 1939 and 1943, the immediate post-Civil War period, a time-frame that most historians view as the moment when fascist ideology flourished under the emerging Franquist regime. Taking the fascist children’s periodical Flechas y Pelayos (Arrows and Pelayos) as a case in point, I demonstrate the ways in which Franco’s government sought to nationalize the family unit in order to place the children of Spain in the service of the new regime. Finally, I conclude the project by synthesizing my findings of both fascist contexts as they pertain to the creation of “realities” in children’s literature and the subsequent formation of the role of the state.

Since the mid-1970s, partisan polarization has been increasing in Congress and the Presidency, and, although most voters lack a stable, consistent ideology, non-ideological forms of partisan polarization have emerged in the mass public in recent decades. Moreover, ideological polarization among elites is highly asymmetrical, with increased Republican conservatism accounting for most of the increased ideological distance between the parties. Here, I develop a racial-threat backlash theory and argue that increased rates of immigration are associated with increased asymmetrical ideological polarization among elites and in the mass public. Tests of this theory on voters, the mass public in the states, state legislators, and Senators provide support for my theory. In addition, when accounting for the effects of immigration, I do not find support for the alternative explanation that increased income inequality leads to increased asymmetrical partisan polarization.

ABSTRACT Treating the concept of culture as a heuristic allows us to analyze multiple contexts involving culture as continuously changing with or without exterior contact. The productions from such system have the potential to develop identities through ideological materials produced by specialized rhetoric. This paper then focuses on how figurative language and structure affect the ways in which rhetoric, ideology, and identity are formed within the context of film reviews. In particular, I analyze reviews from the films Birdman and The Revenant, both directed by Alejandro Gonzales Iñárritu, to detail how the use of metaphors influences the production of rhetoric. I use cross-cultural rhetoric and identity frames in each review as a way to identify the implications of the use of metaphors in film reviews and what this choice details about the writers and the agencies for which they work.

This is an investigation into language ideologies, and the significance of same, among activists working to revitalize the Ojibwe language. Better inclusion of indigenous community members is necessary to spread the Ojibwe language. Improved competence in using--and strategically chging--language ideologies is necessary by language activists. Matters of orthography, storytelling, Elder status, state institutionalization, indigenous leadership, and decolonization reveal underlying ideologies of language, any of which can help or hinder efforts to reverse language shift. This is shown through participant observation in and around an Ojibwe language immersion school in Wisconsin.

The increasing presence of Chinese international graduate students in American higher education has mandated a closer examination of their multifaceted lives against stereotypes that hinder their efforts to find, transform, or assert their identities in the dominant discourses of American academia and culture. Cross cultural studies of Chinese international students tend to reinforce stereotypes of their writer identities, learner identities, and teacher identities. Examining these various identities discloses dichotomies that read Chinese students’ traits and behaviors as handicaps and thus characterize them as “abnormal” in relation to the “normal” traits and behaviors of Chinese students’ Western counterparts. Whereas Western student writers are described as direct and logical, Chinese student writers are characterized as indirect and illogical. In comparison to the assertive and critical way of thinking that is regarded as the norm among American students, Chinese students are seen as submissive “rote learners.” Conversely, the liberatory, student-centered approach to teaching that is promoted in the American educational system is thought to be antithetical to what is considered to be an authoritarian, teacher-centered approach of Chinese education. Underlying these binaries is an unchallenged gender binary. Deeply entrenched Western notions about masculinity and femininity ultimately lead to a feminization of Chinese identities. Despite the constant critique from various disciplines, dichotomous views of gender persist and consequently lead to misconceptions about Chinese subjectivity in U.S. This project argues that these misconceptions have produced consistently devastating effects on Chinese students and further demobilize them from acculturating themselves into the dominant discourse in the United States. To deconstruct these socially, culturally, and ideologically constructed binaries, this work uses scholarship on subjectivity and identity by Michel Foucault and Homi Bhabha to examine critically how identity is formed and transformed; it also draws heavily on scholarship in rhetoric and composition and in feminist studies to delineate how Chinese students’ various identities are formed and transformed. The goal of this work is to advance a complementary thinking to advocate new conceptions about Chinese students’ various identities and ultimately to allow Chinese students to assume more active agency in their identity transformation process in the U.S.

This study deals with the problem of evaluating curriculum documents which prescribe or make recommendations for curricular change. In 1980 a number of state and national education authorities in Australia released documents which contained proposals for reformulating the curriculum. Several of these proposals took the form of prescribing or recommending a core curriculum while others opted for a whole curriculum approach to the problem of the selection and transmission of educational knowledge. Although these are presented as practical documents - as proposals for action - they also contain theoretical and ideological components which are usually understated. It is the contention of this study that the evaluation of such proposals should not be based solely on their pragmatic or technical aspects but that their theoretical adequacy and links with ideology should also be taken into consideration. To this end, four of these documents have been selected, two of each type of proposals, and are used to provide material to develop criteria for making evaluative decisions about the theoretical and ideological aspects of curriculum proposals. Internal criteria, based on an analysis of the coherence and consistency of curriculum proposals, are derived by relating the proposals to one of two general theories of education. External criteria derive from a meta-critique where an attempt is made to formulate broader propositions which recognise the existence of opposition among various assumptions and are inclusive of those in conflict.