Estudo da evolução estética e política na obra de John Silas Reed (1897-1920) a partir de, fundamentalmente, duas de suas obras: seu primeiro livro, Insurgent Mexico (México Insurgente 1914) e seu último livro publicado em vida, Ten Days that Shook the World (Dez dias que abalaram o mundo 1919). A partir da crítica materialista-dialética a dissertação aborda o percurso de John Reed e procura demonstrar, numa leitura comparada entre as duas obras, como a transformação da visão política de seu autor se expressa na transformação estética de suas obras. Também se procura fazer uma leitura crítica da recepção de John Reed e a interpretação de sua obra nas décadas posteriores à sua morte / A study regarding the aesthetical and political development within the work of John Silar Reed (1897-1920) based upon, fundamentally, two of his books: his first one, Insurgent Mexico (1914), and the last one published in his lifetime, Ten Days that Shook the World (1919). From the dialetical-materialistic standpoint, the study approaches John Reeds life and tries to demonstrate, through a compared Reading between these two books, how the transformation in the authors political view is related to the aesthetical transformation in his writing and literary composition. John Reed works reception and criticism is also critically regarded

Estudo da evolução estética e política na obra de John Silas Reed (1897-1920) a partir de, fundamentalmente, duas de suas obras: seu primeiro livro, Insurgent Mexico (México Insurgente 1914) e seu último livro publicado em vida, Ten Days that Shook the World (Dez dias que abalaram o mundo 1919). A partir da crítica materialista-dialética a dissertação aborda o percurso de John Reed e procura demonstrar, numa leitura comparada entre as duas obras, como a transformação da visão política de seu autor se expressa na transformação estética de suas obras. Também se procura fazer uma leitura crítica da recepção de John Reed e a interpretação de sua obra nas décadas posteriores à sua morte / A study regarding the aesthetical and political development within the work of John Silar Reed (1897-1920) based upon, fundamentally, two of his books: his first one, Insurgent Mexico (1914), and the last one published in his lifetime, Ten Days that Shook the World (1919). From the dialetical-materialistic standpoint, the study approaches John Reeds life and tries to demonstrate, through a compared Reading between these two books, how the transformation in the authors political view is related to the aesthetical transformation in his writing and literary composition. John Reed works reception and criticism is also critically regarded

This dissertation explores embodiments of citizenship in three historical pageants of 1913. As historical pageantry reached the height of its popularity in the early twentieth century, the form was criticized by those who felt it represented a limited understanding of community and citizenship. Historical pageants came to prominence at a time in the nation’s history when lynching plagued the south, women agitated for the right to vote, and labor unions organized to demand better working conditions. Popular historical pageants presented a history which ignored these pressing social issues and supported the status quo. As a result, while pageants gained popularity the form was taken up by groups seeking to use pageants for different political purposes. My dissertation interrogates embodiments of citizenship in Progressive Era pageantry through three case studies: W.E.B. Du Bois wrote and staged Star of Ethiopia, devoted to re-telling African-American history; John Reed organized members of the Industrial Workers of the World (IWW) for a performance of The Paterson Strike Pageant to aid laborers on strike; and Hazel MacKaye staged Allegory in support of women’s suffrage. While each pageant aimed to promote diversity, once each pageant’s historiography landed on live bodies, the gaps between what the pageant argued for and who the pageant simultaneously excluded were made visible. Allegory crafted an argument for white women’s suffrage by excluding recent immigrant and women of color; Du Bois sought to promote the African American middle class by denigrating the working classes; John Reed painted an image of the IWW as a fully united working class while ignoring the racial and ethnic differences that had led to tensions among the group. Despite their progressive intentions, once each pageant moved its political arguments on stage, the choices they made in performance belied their inclusive aspirations. / text

In 1913, the Industrial Workers of the World (IWW) led a strike of silk workers in Paterson, New Jersey. Several New York intellectuals took advantage of Paterson's proximity to New York to witness and participate in the strike, eventually organizing the Paterson Pageant as a fundraiser to support the strikers. Directed by John Reed, the strikers told their own story in the dramatic form of the Pageant. The IWW and the Paterson Silk Strike inspired several writers to relate their experience of the strike and their participation in the Pageant in fictional works. Since labor and working-class experience is rarely a literary subject, the assertiveness of workers during a strike is portrayed as a catastrophic event that is difficult for middle-class writers to describe. The IWW's goal was a revolutionary restructuring of society into a worker-run co-operative and the strike was its chief weapon in achieving this end. Inspired by such a drastic challenge to the social order, writers use traditional social organizations--religion, nationality, and family--to structure their characters' or narrators' experience of the strike; but the strike also forces characters and narrators to re-examine these traditional institutions in regard to the class struggle. / English