A presente pesquisa dedica-se ao estudo da forma de tragédia moderna utilizada pelo dramaturgo americano, Arthur Miller, em The Crucible [As Feiticeiras de Salém] (1953) e A View From the Bridge [Panorama Visto da Ponte] (versão de dois atos, de 1956), apoiando-se na obra Tragédia Moderna do crítico inglês, Raymond Williams, e concentrando-se no texto teatral, ou seja, na dramaturgia, o que não inclui análise de montagens. O pressuposto teórico do presente trabalho é a crítica histórica e dialética que considera o conteúdo histórico determinante dos aspectos formais. No primeiro capítulo, discute-se o que é tragédia moderna, quais as fontes da tragédia moderna e da tragédia milleriana, qual o conceito de tragédia para Arthur Miller, por que ele escolheu a tragédia para tratar das questões figuradas nas duas peças e quais os recursos formais que ele utiliza. A partir daí, demonstra-se que ambas as peças possuem características que mesclam peculiaridades da tragédia grega com a tragédia moderna, as quais dão forma a um tipo de dramaturgia que Raymond Williams denomina tragédia liberal, cuja principal marca é mostrar e discutir a luta do homem contra sua sociedade. Com essas peças Arthur Miller \"atualiza\" a forma da tragédia para assim restaurar a idéia que está por trás dela, isto é, a idéia de causação, de conectividade. No segundo capítulo, parte-se dessa base central de conectividade para analisar como a forma escolhida por Miller reflete esse conceito; assim, ele constrói suas peças demonstrando como, em suas estruturas, as causas se conectam com seus efeitos, como as ações individuais afetam o todo, como a vida particular influi na vida pública, e vice-versa, e demonstrando, além disso, uma preocupação não-maniqueísta na construção das personagens e dos fatos. Avistamos esses traços nas duas peças de Miller principalmente devido à inserção de um narrador, que chamamos de \"explícito\" em The Crucible e \"implícito\" em A View from the Bridge, cujas funções são também analisadas. No terceiro capítulo, o que se destaca das tragédias de Miller é o fato de que os conteúdos de suas obras são determinados historicamente; sendo assim, as duas peças são exploradas à luz do macartismo para que se verifique como os paralelos podem ser compreendidos e o que eles dizem sobre o senso de coletividade. / Based on the assumption that the formal choice of the artist reveals the content of his work, and vice-versa, the present research studies the form of modern tragedy as it is applied to the text of The Crucible (1953) and A View from the Bridge (the two-act version of 1956) by Arthur Miller. For this purpose, this work draws on Raymond Williams\' conception of modern tragedy. Thus, the first chapter demonstrates that both plays combine certain characteristics which can be found in Greek tragedy, and some others that are present in the modern tragedy to form a specific kind of tragedy that Raymond Williams calls liberal tragedy; the main purpose of a liberal tragedy, according to Williams, is to show and discuss that the man is constantly struggling against his society. We have noticed that Arthur Miller relies on this assumption of the modern tragedy to rescue the idea of causation and connectedness. Having the idea of connectedness in mind, in the second chapter, we analyze the way Miller develops these plays with the preoccupation of showing the relatedness of causes and effects, which means to show how the individual acts are related to the whole society, and how the private life influences in the public one, and vice-versa. We have also observed a certain concern in depicting characters and facts taking into consideration that the truth is relative, which can be noted by the presence of what we call an \"implicit narrator\" (in The Crucible) and an \"explicit narrator\" (in A View from the Bridge). The presence of these narrators, besides having the function of establishing a complicity between characters and audience, also ensures a distancing voice, epic par excellence, which challenges the commonly held notions about the topics discussed in the plays. In the third chapter, relying on the notion that Miller\'s tragedies are historically determined, we analyze the parallels between the two plays and the historical moment in the United States which is commonly called McCarthyism, and what it represents for the sense of community explored by the author in both plays.

A presente pesquisa busca analisar e comparar as peças All My Sons [Todos Eram Meus Filhos] (1947) e An Enemy of the People [Um Inimigo do Povo] (1951), do dramaturgo norte-americano Arthur Miller (19152005). Em dois momentos cruciais da história norte-americana (o pósguerra e o macarthismo, respectivamente) Miller recorre ao dramaturgo norueguês Henrik Ibsen (1828 1906) para responder artistica e politicamente a essas situações. Tal resposta teve um forte impacto na estrutura formal dessas peças em um período no qual Arthur Miller pensava em desistir de ser dramaturgo. Em All My Sons, a Técnica Analítica, teorizada por Peter Szondi em Teoria do Drama Moderno, coloca no palco o passado e sua análise como elementos essenciais de ação, contradizendo fundamentalmente os princípios rigorosos do drama. A estrutura Greco-Ibseniana presente na peça é também um dos recursos pelos quais a peça alcança um efeito singular no qual forma e conteúdo interagem dialeticamente e contribuem para que Arthur Miller ocupe uma posição de destaque entre os dramaturgos norte-americanos. Em An Enemy of the People, Miller recorre novamente a Ibsen de maneira mais direta, sendo esta peça originalmente escrita pelo próprio norueguês e reescrita/adaptada por Arthur Miller no contexto do macarthismo. Sua forma, segundo teoriza Raymond Williams em Tragédia Moderna, é a da Tragédia Liberal cuja marca mais essencial é a de discutir a luta do homem contra sua sociedade. As aproximações e distanciamentos entre ambas as versões (a de Ibsen e a de Miller) levarão a uma reflexão sobre o tipo de adaptação que Arthur Miller buscou fazer e como isso representou um avanço formal. O estudo e a elucidação do processo formal em que ambas as peças estão ancoradas, apontam para uma fusão dos ideais de Miller enquanto escritor e cidadão e que ajudaram a revolucionar o teatro norte-americano. Ao escrever tais peças, Miller atesta a necessidade de se pensar e refletir trazendo a fúria, a lucidez e a coerência de Henrik Ibsen para o olho do furacão nos Estados Unidos. / The research focuses on the analysis and comparison of the plays All My Sons (1947) and An Enemy of the People (1951), by American playwright Arthur Miller (19152005). In two crucially important moments of American History (PostWar period and McCarthyism, respectively) Miller turns to Norwegian playwright Henrik Ibsen (18281906) to respond both artistically and politically to these situations. Such a response had a strong impact on the formal structure of the plays at a time in which Arthur Miller was almost giving up on being a dramatist. In All My Sons, the Analytical Technique, theorized by Peter Szondi in Theory of Modern Drama, places the past and its analysis on stage as essential elements of action, fundamentally contradicting the strict principles of drama. The Greco-Ibsen structure present in the play is also one of the elements that helps the play reach a remarkable effect in which form and content interact dialectically and contribute to exalt Arthur Millers position as a singular figure among other American dramatists. In An Enemy of the People, Miller turns to Ibsen once again in a direct way by choosing this play which had been originally written by the Norwegian playwright himself and now adapted by Arthur Miller in the context of McCarthyism. Its form, according to what Raymond Williams says in Modern Tragedy, is that of the Liberal Tragedy whose most essential mark is to discuss the struggle of man against his own society. The proximities and detachments between both versions (Ibsens and Millers) will lead to some reflection about which kind of adaptation Arthur Miller tried to have and how it endorsed a formal advance. The study and elucidation of the formal process in which both plays are rooted, point out to a merging of Millers ideals as a writer and citizen which helped revolutionize the American theater. By writing such plays, Miller attests the need to think and reflect, bringing the fury, the lucidity and the coherence of Henrik Ibsen to the eye of the storm within the United States

O objetivo dessa tese é investigar de que maneira Little Caesar (Mervyn Leroy, 1931) e Force of Evil (Abraham Polonsky, 1947) registram, dentro do gênero gângster, questões como a Depressão na década de 1930, e o macarthismo na década de 1940, ao mesmo tempo em que estabelecem homologias estruturais entre o crime organizado e o mundo dos negócios. Tais questões surgem nesses dois filmes por força da matéria histórica envolvida nas condições de produção. Nossa tese é de que os filmes configuram, em diferentes medidas, estratégias de representação da matéria histórica apesar das tentativas de seu apagamento, como a censura e o macarthismo. / The aim of this thesis is to analyze how Little Caesar (Mervyn Leroy, 1931) and Force of Evil (Abraham Polonsky, 1947) portray, in the gangster genre, historically relevant questions such as the Great Depression in the 1930s and McCarthyism in the 1940s, while establishing structural homologies between organized crime and the business world. These themes arise in both films due to the strength of the historical substance implicated in the conditions of production. Our thesis is that these films depict, in different proportions, strategies of representation of the historical substance in spite of attempts to suppress it, such as censorship and McCarthyism.

Anti-communism in America reached its apex in the 1950s. One element of this crusade focused on preventing suspected communists from working in their chosen profession, a practice called blacklisting. In attempting to assert their legal rights, the blacklisted found an imperfect justice system, cloaked in equality, yet hampered by the existing cultural setting that treated as immoral anything communist. This dissertation deconstructs the interplay between culture and law, between the desire to root out communists and the attempt to maintain a fair legal system. With an emphasis on the entertainment industry, broadly defined, I will trace blacklisting from anti-labor tool to for-profit instrument focusing on how the blacklisted employed the lawsuit to fight for their jobs. I argue that from the late 1940s through the mid-1960s, blacklisted plaintiffs continuously found themselves handicapped by their association -- either current or past, real or perceived -- with the Communist Party, and not until a plaintiff with no demonstrable ties to communism came along did the legal system prove a comprehensively effective tool in ending the practice. I show that various members of the blacklisted community, with the aid of a small number of lawyers, tried an assortment of legal theories in their attempt to remedy their pariah status with the results often promising -- the first three jury trials ended in victories for the plaintiffs -- but ultimately hollow as a recalcitrant appellate judiciary dashed these early hopes. Moreover, I show how plaintiff's lawyers, sensitive to a legal system that demanded a successful plaintiff be free of communist ties, adjusted their strategy to accommodate the relationship between cultural setting and legal success. / text

A presente pesquisa dedica-se ao estudo da forma de tragédia moderna utilizada pelo dramaturgo americano, Arthur Miller, em The Crucible [As Feiticeiras de Salém] (1953) e A View From the Bridge [Panorama Visto da Ponte] (versão de dois atos, de 1956), apoiando-se na obra Tragédia Moderna do crítico inglês, Raymond Williams, e concentrando-se no texto teatral, ou seja, na dramaturgia, o que não inclui análise de montagens. O pressuposto teórico do presente trabalho é a crítica histórica e dialética que considera o conteúdo histórico determinante dos aspectos formais. No primeiro capítulo, discute-se o que é tragédia moderna, quais as fontes da tragédia moderna e da tragédia milleriana, qual o conceito de tragédia para Arthur Miller, por que ele escolheu a tragédia para tratar das questões figuradas nas duas peças e quais os recursos formais que ele utiliza. A partir daí, demonstra-se que ambas as peças possuem características que mesclam peculiaridades da tragédia grega com a tragédia moderna, as quais dão forma a um tipo de dramaturgia que Raymond Williams denomina tragédia liberal, cuja principal marca é mostrar e discutir a luta do homem contra sua sociedade. Com essas peças Arthur Miller \"atualiza\" a forma da tragédia para assim restaurar a idéia que está por trás dela, isto é, a idéia de causação, de conectividade. No segundo capítulo, parte-se dessa base central de conectividade para analisar como a forma escolhida por Miller reflete esse conceito; assim, ele constrói suas peças demonstrando como, em suas estruturas, as causas se conectam com seus efeitos, como as ações individuais afetam o todo, como a vida particular influi na vida pública, e vice-versa, e demonstrando, além disso, uma preocupação não-maniqueísta na construção das personagens e dos fatos. Avistamos esses traços nas duas peças de Miller principalmente devido à inserção de um narrador, que chamamos de \"explícito\" em The Crucible e \"implícito\" em A View from the Bridge, cujas funções são também analisadas. No terceiro capítulo, o que se destaca das tragédias de Miller é o fato de que os conteúdos de suas obras são determinados historicamente; sendo assim, as duas peças são exploradas à luz do macartismo para que se verifique como os paralelos podem ser compreendidos e o que eles dizem sobre o senso de coletividade. / Based on the assumption that the formal choice of the artist reveals the content of his work, and vice-versa, the present research studies the form of modern tragedy as it is applied to the text of The Crucible (1953) and A View from the Bridge (the two-act version of 1956) by Arthur Miller. For this purpose, this work draws on Raymond Williams\' conception of modern tragedy. Thus, the first chapter demonstrates that both plays combine certain characteristics which can be found in Greek tragedy, and some others that are present in the modern tragedy to form a specific kind of tragedy that Raymond Williams calls liberal tragedy; the main purpose of a liberal tragedy, according to Williams, is to show and discuss that the man is constantly struggling against his society. We have noticed that Arthur Miller relies on this assumption of the modern tragedy to rescue the idea of causation and connectedness. Having the idea of connectedness in mind, in the second chapter, we analyze the way Miller develops these plays with the preoccupation of showing the relatedness of causes and effects, which means to show how the individual acts are related to the whole society, and how the private life influences in the public one, and vice-versa. We have also observed a certain concern in depicting characters and facts taking into consideration that the truth is relative, which can be noted by the presence of what we call an \"implicit narrator\" (in The Crucible) and an \"explicit narrator\" (in A View from the Bridge). The presence of these narrators, besides having the function of establishing a complicity between characters and audience, also ensures a distancing voice, epic par excellence, which challenges the commonly held notions about the topics discussed in the plays. In the third chapter, relying on the notion that Miller\'s tragedies are historically determined, we analyze the parallels between the two plays and the historical moment in the United States which is commonly called McCarthyism, and what it represents for the sense of community explored by the author in both plays.

A presente pesquisa busca analisar e comparar as peças All My Sons [Todos Eram Meus Filhos] (1947) e An Enemy of the People [Um Inimigo do Povo] (1951), do dramaturgo norte-americano Arthur Miller (19152005). Em dois momentos cruciais da história norte-americana (o pósguerra e o macarthismo, respectivamente) Miller recorre ao dramaturgo norueguês Henrik Ibsen (1828 1906) para responder artistica e politicamente a essas situações. Tal resposta teve um forte impacto na estrutura formal dessas peças em um período no qual Arthur Miller pensava em desistir de ser dramaturgo. Em All My Sons, a Técnica Analítica, teorizada por Peter Szondi em Teoria do Drama Moderno, coloca no palco o passado e sua análise como elementos essenciais de ação, contradizendo fundamentalmente os princípios rigorosos do drama. A estrutura Greco-Ibseniana presente na peça é também um dos recursos pelos quais a peça alcança um efeito singular no qual forma e conteúdo interagem dialeticamente e contribuem para que Arthur Miller ocupe uma posição de destaque entre os dramaturgos norte-americanos. Em An Enemy of the People, Miller recorre novamente a Ibsen de maneira mais direta, sendo esta peça originalmente escrita pelo próprio norueguês e reescrita/adaptada por Arthur Miller no contexto do macarthismo. Sua forma, segundo teoriza Raymond Williams em Tragédia Moderna, é a da Tragédia Liberal cuja marca mais essencial é a de discutir a luta do homem contra sua sociedade. As aproximações e distanciamentos entre ambas as versões (a de Ibsen e a de Miller) levarão a uma reflexão sobre o tipo de adaptação que Arthur Miller buscou fazer e como isso representou um avanço formal. O estudo e a elucidação do processo formal em que ambas as peças estão ancoradas, apontam para uma fusão dos ideais de Miller enquanto escritor e cidadão e que ajudaram a revolucionar o teatro norte-americano. Ao escrever tais peças, Miller atesta a necessidade de se pensar e refletir trazendo a fúria, a lucidez e a coerência de Henrik Ibsen para o olho do furacão nos Estados Unidos. / The research focuses on the analysis and comparison of the plays All My Sons (1947) and An Enemy of the People (1951), by American playwright Arthur Miller (19152005). In two crucially important moments of American History (PostWar period and McCarthyism, respectively) Miller turns to Norwegian playwright Henrik Ibsen (18281906) to respond both artistically and politically to these situations. Such a response had a strong impact on the formal structure of the plays at a time in which Arthur Miller was almost giving up on being a dramatist. In All My Sons, the Analytical Technique, theorized by Peter Szondi in Theory of Modern Drama, places the past and its analysis on stage as essential elements of action, fundamentally contradicting the strict principles of drama. The Greco-Ibsen structure present in the play is also one of the elements that helps the play reach a remarkable effect in which form and content interact dialectically and contribute to exalt Arthur Millers position as a singular figure among other American dramatists. In An Enemy of the People, Miller turns to Ibsen once again in a direct way by choosing this play which had been originally written by the Norwegian playwright himself and now adapted by Arthur Miller in the context of McCarthyism. Its form, according to what Raymond Williams says in Modern Tragedy, is that of the Liberal Tragedy whose most essential mark is to discuss the struggle of man against his own society. The proximities and detachments between both versions (Ibsens and Millers) will lead to some reflection about which kind of adaptation Arthur Miller tried to have and how it endorsed a formal advance. The study and elucidation of the formal process in which both plays are rooted, point out to a merging of Millers ideals as a writer and citizen which helped revolutionize the American theater. By writing such plays, Miller attests the need to think and reflect, bringing the fury, the lucidity and the coherence of Henrik Ibsen to the eye of the storm within the United States

The purpose of this thesis is to provide a legal history and analysis of how the treason clause has been utilized since the U.S. Constitution was ratified in 1789. Further, the United States and the United Kingdom share not only a historical parallel of the meaning and use of the charge of treason, but also an abandonment of using the charge today. This thesis will provide an in-depth legal history of treason charges in the United States, along with its close parallels in historical evolution and usage to that of the United Kingdom. Focusing prominently on treason throughout United States history, this project will analyze several of the famous treason trials in the nineteenth century, namely the federal prosecution of Aaron Burr in 1807, and the Commonwealth of Virginia's prosecution of John Brown for treason against a state government in 1859. This thesis will also examine the last person prosecuted for treason in the United States: Tomoya Kawakita in 1952. In addition, as a contribution to the "legal history" genre, this paper will summarize the last use of the treason offense in Great Britain in 1946, for which Nazi propaganda broadcaster William Joyce was tried and executed. The core of this thesis will be an analysis of treason law in the United States and also the United Kingdom, with a particular emphasis on why this charge was abandoned by both countries after the early 1950s, and why it should be re-instituted in the twenty-first century. The premise of this thesis will demonstrate a prominent factor in the 1950s leading to the discontinuation of the usage of the treason clause was the negative cultural impact of the era of McCarthyism, and the political misusage of the treason label for his political purposes.

No description available.

O Sal da Terra (Salt of the Earth) de 1954 de Herbert Biberman (1900-1971) foi emblemático para a história do cinema americano. O filme baseado em um evento real da história americana uma greve de mineiros no Novo México foi censurado durante o período da Guerra Fria e aqueles que fizeram parte de sua produção foram perseguidos por longos períodos, tendo suas carreiras arruinadas dentro do território americano. O objetivo deste estudo é demonstrar que as escolhas feitas por aqueles que produziram, dirigiram e participaram do filme revelam o posicionamento político, social e cultural fruto das lutas históricas de cada um dos grupos participantes. A maneira como Herbert Biberman (diretor), Paul Jarrico (produtor) e Michael Wilson (roteirista) criaram um filme de gênero híbrido e as escolhas estéticas e técnicas necessárias para sua consecução demonstram um resultado baseado na crença política dos criadores aliado à vontade de um povo em mostrar sua história. A análise será feita tendo textos basilares de autores como Walter Benjamin, Peter Szondi e Bertold Brecht, tratando questões relacionadas à forma de narrar e de mostrar através de escolhas baseadas na história. Também foram de grande ajuda os textos históricos de Rodolfo Acuña sobre o povo do Novo México, bem como os textos referentes ao filme em si. Considerar para esta análise a base histórica e política de todos que, de alguma maneira, participaram do filme é fator essencial para a compreensão e entendimento deste trabalho. / Salt of the Earth was emblematic to the history of the American cinema. The movie based on a true event of American history a miner strike in New Mexico was suppressed during the period of Cold War, and those who worked in its production were pursued for a long time, and their carriers were ruined inside American territory. The aim of this study is to show that the choices made by those who produced, directed and participated in the film reveal the political, social and cultural positioning, result of the historical fights of each group inside the movie. The way as Herbert Biberman (director), Paul Jarrico (producer), and Michael Wilson (screenwriter) created a movie with a hybrid genre and the aesthetic choices and techniques needed for its consecution shows a result based on creators political belief, allied with the people desire in showing its history. The analysis was made with authors basilar texts as Walter Benjamin, Peter Szondi, Bertold Brecht, treating questions related to the way of telling and showing through the choices based on history. It was also helpful the historical text from Rodolfo Acuña about New Mexico, as well the texts referred to the movie itself. Considering to this analysis the historical and political basis of everyone who, in any way, worked in the movie, is an essential factor to the understanding and comprehension of this job.

This study aims to examine how some people in the United States of America during a period of ten years shortly after World War II used motion pictures to spread their political beliefs to the general public. The study also assesses how movies can be used as a teaching method about the Cold War in the subject of history in Swedish upper secondary schools. The main object for the analysis is two movies All the King’s Men (1949) and Rio Bravo (1959), and how they’re used to spread ideological messages to the masses. This study will also try to explain how two political beliefs, communism and McCarthyism rose to such prominent positions in Hollywood. The tools for the analysis of the movies are based on three methods by Jeff Smith about analyzing movies. Furthermore, I’ve presented previous research about films with political messages made during the same period and also what has been said about showing films for educational purposes in the subject of history. The results from this study shows that you can interpret that some films made in Hollywood during the early stages of the Cold War had political messages in them, if you knew what to look for. The results also show that films can and should be used for educational purposes about the Cold War as long as it’s done properly, so that the students can broaden their historical knowledge.