Submitted by Caroline Xavier (caroline.xavier@pucrs.br) on 2017-09-14T12:00:30Z No. of bitstreams: 1 DIS_TOMAS_DIEL_MELICIAS_COMPLETO.pdf: 1786711 bytes, checksum: 1f60f35d1fca2be6ae670c595b349bfe (MD5) / Made available in DSpace on 2017-09-14T12:00:30Z (GMT). No. of bitstreams: 1 DIS_TOMAS_DIEL_MELICIAS_COMPLETO.pdf: 1786711 bytes, checksum: 1f60f35d1fca2be6ae670c595b349bfe (MD5) Previous issue date: 2017-08-24 / During the late half of the XX century, the African states? nation building process was deeply influenced by the relationship between two sets of very different ideologies. The historical figures that led the struggle for the liberations of their countries were heavily influenced by modernist European theories, as well as many ancient traditions kept alive by the African people. For almost thirty years, Angola faced a bloody civil war between its many different nationalist movements and their political and national agendas. This thesis analyses both the manifestation and constant reshuffle of Jonas Malheiro Savimbi?s nationalist speeches between his early political years (late 1950?s) and the end of the Cold War (late 1980?s). Founder and leader of the Uni?o Nacional para a Independ?ncia Total de Angola (UNITA), Savimbi?s political and nationalist stances are analyzed not only by their historical contexts, but also by their correlation with theories that seek to examine the many forms and social manifestations taken by the notion of nationalism and national identity. Considering this twofold analytic perspective, this thesis intends to underline the importance of Jonas Savimbi?s legacy to the process of nation building in Angola. / O processo de forma??o nacional dos estados africanos foi, durante a metade final do s?culo XX, profundamente influenciado pela rela??o entre ideologias provenientes de dois mundos completamente diferentes. Os atores hist?ricos que conduziram as lutas e os esfor?os de liberta??o de seus pa?ses foram, por um lado, fortemente influenciados pelas teorias de cunho modernista oriundas do continente europeu, e por outro, pelas ancestrais tradi??es mantidas pelos povos de seu continente. No caso angolano, o pa?s presenciou um sangrento clash ideol?gico proveniente desta dualidade conceitual. Os diferentes projetos nacionais mantidos pelos seus movimentos de liberta??o desencadearam, por quase trinta anos, um sangrento conflito civil. Esta disserta??o pretende, portanto, analisar a manifesta??o e remodela??o dos discursos nacionalistas produzidos por Jonas Malheiro Savimbi ? fundador e antigo l?der da Uni?o Nacional para a Independ?ncia Total de Angola (UNITA) ? entre os primeiros anos de sua carreira pol?tica (final da d?cada de 1950) e o fim do per?odo da Guerra Fria (finais de 1980). Os posicionamentos pol?ticos e ideol?gicos manifestados por Savimbi s?o analisados a partir de seu contexto hist?rico e de sua rela??o com estudos te?ricos que exploram as diversas facetas do nacionalismo e da identidade nacional. Com base nessa jun??o de perspectivas de an?lise, pretende-se explorar a import?ncia do legado da figura pol?tica de Jonas Savimbi para a forma??o nacional de Angola.

This dissertation is a study of the early career of the American artist Joan Jonas that spans the years 1970-1984. At the turn of the 1970s, Jonas was one of the first artists to pick up a video camera. Exploring “live” video’s unique capacity to mediate the present moment, Jonas actively integrated the technology into her live pieces, which are some of the earliest examples of what was then first called “performance art.” Performance art has often been aligned with presence. In contrast, I argue that what at stake in the proliferation of live artworks by Jonas and others that merged performance and video was not a reserve of unmediated experience, but a presence that was newly technologized: telepresence. As Jonas investigated the novel ability to perform at a distance enabled by electronic media, her work led somewhere surprising: to telegraphy, telepathy, and the earliest telephones—“tele”-technologies that appear long obsolete (or completely fantastical). Evoking optical telegraphs, spirit mediums, speaking trumpets, and science fictional prostheses, Jonas’s early oeuvre reactivates the historical contexts and unrealized potentials surrounding these dead media. In so doing, she illuminates enduring formations of the body, subjectivity, and teletechnology underlying not only the twinned emergence of performance and video art in the 1970s, but also telepresence as a seemingly very contemporary (and increasingly pervasive) category of experience.

The Lithuanian national movement in the late nineteenth and early twentieth centuries was an international phenomenon involving Lithuanian communities in three countries: Russia, Germany and the United States. To capture the international dimension of the Lithuanian national movement this study offers biographies of three activists in the movement, each of whom spent a significant amount of time living in one of the three “parts” of the Lithuanian nation: Vincas Kudirka, Martynas Jankus and Jonas Šliūpas. The biographies focus on the following questions. To what extent did each of the three activists assimilate into a “foreign” (i.e., non-Lithuanian) culture and was this a voluntary process? How did they free themselves from foreign cultural dominance? How did they understand nationality in general and Lithuanian nationality in particular? What goals did they incorporate into their nationalist agendas? What causes of anti-Semitism and philosemitism can be identified by analyzing their discourse about Jews? The conclusion puts the answers to some of these questions into comparative perspective. This study uses published and archival sources in seven languages from libraries and archives in seven countries—some of which have never been used before. It is the first to use the unpublished typescript of Jonas Šliūpas’ 1942 autobiography, which, until recently, was unavailable to researchers.

No description available.

Texte remanié de : Dissertation : ? : Universität Bayreuth : 1998. / Bibliogr. p. 335-344. Notes bibliogr.

Regina is a one-act opera based on the true story of Regina Jonas, the first woman to be ordained as a rabbi in the Jewish faith, in 1935. Jonas struggled to gain this recognition and subsequently perished in the concentration camp at Auschwitz. It was only in 1991 that another woman uncovered the papers that proved Jonas' legacy. This opera follows Regina, waiting to be uncovered in the piles of paper records locked away in East Berlin, and through vignettes of her past. This is paralleled with the story of Anna, who is desperately fighting against her Nazi father's legacy. Anna believes that, if she can uncover stories like Regina's, she will free herself of her father's torment. Regina is similarly haunted by her mother's ghost, whose discouraging words have shaped Regina's lifelong self-doubt. Both Regina and Anna need to be set free. This opera uses leitmotifs to differentiate the two main characters, but these themes are also often used as signifiers of the common struggles that both characters embody and represent. As well, they employ rhythmic and melodic styles that pervade both the vocal and instrumental parts throughout the opera, thus unifying the characters' goals. Because of the fact that the opera takes place in multiple time periods (sometimes simultaneously) the various choices of instrumentation and harmonic material often reflect these temporal shifts (for example, the accordion is often associated with Regina's path to ordination, her relationship with her rabbi, and a time of joy and calm before the war.) In addition, melodic and rhythmic motifs are used to represent specific as well as general events, such as the three-note 'ordination' theme and the two-chord repeated motif in the piano. The overall extended tonal style contributes to a largely lyrical setting of Maya Rabinovitch's libretto.

The Lithuanian national movement in the late nineteenth and early twentieth centuries was an international phenomenon involving Lithuanian communities in three countries: Russia, Germany and the United States. To capture the international dimension of the Lithuanian national movement this study offers biographies of three activists in the movement, each of whom spent a significant amount of time living in one of the three “parts” of the Lithuanian nation: Vincas Kudirka, Martynas Jankus and Jonas Šliūpas. The biographies focus on the following questions. To what extent did each of the three activists assimilate into a “foreign” (i.e., non-Lithuanian) culture and was this a voluntary process? How did they free themselves from foreign cultural dominance? How did they understand nationality in general and Lithuanian nationality in particular? What goals did they incorporate into their nationalist agendas? What causes of anti-Semitism and philosemitism can be identified by analyzing their discourse about Jews? The conclusion puts the answers to some of these questions into comparative perspective. This study uses published and archival sources in seven languages from libraries and archives in seven countries—some of which have never been used before. It is the first to use the unpublished typescript of Jonas Šliūpas’ 1942 autobiography, which, until recently, was unavailable to researchers.

Under hösten 2012 visades Jonas Gardells tv-serie Torka aldrig tårar utan handskar på Sveriges Television. Historien utspelar sig i Stockholm på 80-talet och i den begynnande AIDS-epidemin. Sjukdomen slog till hårt och drabbade många unga homosexuella män. Historieskrivningen är Gardells egen och ingen konstaterad ”sanning”. Däremot blev den efterföljande debatten i svensk press stor under lång tid efter att serien sändes på tv. Genom en diskursanalys har vi kunnat se hur resonemangen förts i debatten och hur debattörerna ger mening åt specifika ting. Vi har också valt att komplettera studien med inslag från den kritiska diskursanalysen. Uppsatsens teoretiska utgångspunkter är socialkonstruktionism, representationer och diskursteori. Urvalet bestod av tio texter som alla valdes ut mellan den 8 oktober 2012 och den 8 oktober 2013. Vi avgränsade oss genom att välja bort Jonas Gardells egna texter samt blogginlägg och texter från andra diskussionsforum. Med tematiseringarna sjukvården, identitet och skuld och skam kunde vi länka samman de olika texterna och urskilja mönster, likheter och olikheter i debattörernas argument. Resultatet visade att majoriteten av debattörerna ställde sig accepterande till Gardells historieskrivning. Vidare diskussion visar att samhällets utvecklingskurva kring homosexualitet är i förändring. / During the fall of 2012 Jonas Gardell’s television series Never wipe tears without gloves was shown on Swedish National Television. The story takes place in Stockholm in the 1980s and in the beginning of the AIDS epidemic. The disease hit hard and striked many young gay men. The historiography is Gardell’s own and no actual "truth". In contrast, the subsequent debate was large in the Swedish press after it was broadcasted on television. Through discourse analysis, we have been able to see how the arguments have raised in the debate and the debaters give meaning to specific things. We have also chosen to complement the study with elements from the critical discourse analysis. Essay theoretical points are social constructionism, representations and discourse theory. The sample consisted of ten texts and all were selected from 8th of October 2012 until 8th of October 2013. We defined ourselves by deselecting Jonas Gardell’s own texts and texts from blogs and other discussion boards. With the themes Healthcare, Identity and Guilt and Shame we could link together the various texts and was able to identify patterns of similarities and differences in the debater's argument. The results showed that the majority of the debaters accept Gardells’s historiography. Further discussion shows that society’s development curve around homosexuality are changing.

Regina is a one-act opera based on the true story of Regina Jonas, the first woman to be ordained as a rabbi in the Jewish faith, in 1935. Jonas struggled to gain this recognition and subsequently perished in the concentration camp at Auschwitz. It was only in 1991 that another woman uncovered the papers that proved Jonas' legacy. This opera follows Regina, waiting to be uncovered in the piles of paper records locked away in East Berlin, and through vignettes of her past. This is paralleled with the story of Anna, who is desperately fighting against her Nazi father's legacy. Anna believes that, if she can uncover stories like Regina's, she will free herself of her father's torment. Regina is similarly haunted by her mother's ghost, whose discouraging words have shaped Regina's lifelong self-doubt. Both Regina and Anna need to be set free. This opera uses leitmotifs to differentiate the two main characters, but these themes are also often used as signifiers of the common struggles that both characters embody and represent. As well, they employ rhythmic and melodic styles that pervade both the vocal and instrumental parts throughout the opera, thus unifying the characters' goals. Because of the fact that the opera takes place in multiple time periods (sometimes simultaneously) the various choices of instrumentation and harmonic material often reflect these temporal shifts (for example, the accordion is often associated with Regina's path to ordination, her relationship with her rabbi, and a time of joy and calm before the war.) In addition, melodic and rhythmic motifs are used to represent specific as well as general events, such as the three-note 'ordination' theme and the two-chord repeated motif in the piano. The overall extended tonal style contributes to a largely lyrical setting of Maya Rabinovitch's libretto.

Zugl.: München, Hochsch. für Philosophie, Magisterarbeit, 2000 u.d.T.: Rager, Alexander: Naturverständnis und Umweltethik im Zeitalter ökologischer Krisen