Inaug.-diss.--Zürich. / Curriculum vitae. "Teildruck. Die ganze arbeit erscheint als bd. 5 der 'Schweizer anglistischen arbeiten.'"

Thesis (Ph.D.)--University of California, Los Angeles, 1992. / Chair: Leo Ou-fan Lee. Includes bibliographical references.

Thesis (M.A.)--University of Missouri-Columbia, 2005. / The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file viewed on (December 13, 2006) Includes bibliographical references.

Thesis (Ph. D.)--University of Texas at Austin, 2005. / Supervisor: Jacqueline E. Barnitz. Vita. Includes bibliographical references. Also available from UMI.

Thesis (Ph. D.)--Florida State University, 2006. / Advisor: William J. Cloonan, Florida State University, College of Arts and Sciences, Interdisciplinary Program in the Humanities. Title and description from dissertation home page (viewed June 7, 2006). Document formatted into pages; contains vi, 136 pages. Includes bibliographical references.

Thesis (Ph. D.)--University of Chicago, Dept. of Latin American Languages and Literatures, June 2001. / Includes bibliographical references. Also available on the Internet.

Thesis (M.F.A.)--West Virginia University, 2007. / Title from document title page. Document formatted into pages; contains vi, 38 p. : col. ill. Vita. Includes abstract. Includes bibliographical references (p. 36-38).

Submitted by ALFREDO ZAIA NOGUEIRA RAMOS null (aznramos@gmail.com) on 2017-12-16T18:15:26Z No. of bitstreams: 1 COMPLETO-R15.pdf: 16884609 bytes, checksum: 11da920b686f1ae69771e7925695c398 (MD5) / Rejected by Maria Marlene Zaniboni null (zaniboni@bauru.unesp.br), reason: Solicitamos que realize a submissão de um novo arquivo seguindo as orientações abaixo: Problema 1: Falta Ata da Defesa Inserir a Ata da Defesa após a ficha catalográfica e colocar nome diferente para que possamos identificar qual é o arquivo correto. Agradecemos a compreensão. on 2017-12-18T16:17:26Z (GMT) / Submitted by ALFREDO ZAIA NOGUEIRA RAMOS null (aznramos@gmail.com) on 2017-12-19T01:22:09Z No. of bitstreams: 1 DISSERTACAO-DIGITAL.pdf: 43936579 bytes, checksum: 4ba98b6de7677329c1bb5f55cef6044a (MD5) / Approved for entry into archive by Maria Marlene Zaniboni null (zaniboni@bauru.unesp.br) on 2017-12-19T12:00:30Z (GMT) No. of bitstreams: 1 ramos_azn_me_bauru.pdf: 43936579 bytes, checksum: 4ba98b6de7677329c1bb5f55cef6044a (MD5) / Made available in DSpace on 2017-12-19T12:00:30Z (GMT). No. of bitstreams: 1 ramos_azn_me_bauru.pdf: 43936579 bytes, checksum: 4ba98b6de7677329c1bb5f55cef6044a (MD5) Previous issue date: 2017-10-26 / A fundação de Marília/SP remonta ao final da década de 1920, fazendo parte de uma das últimas regiões de plantio cafeeiro do estado de São Paulo. O crescimento do município seguiu a produção agrícola e a posterior implementação industrial, que se deu ao longo das décadas de 1940 a 1970, período de expressivo crescimento econômico e ascendência política. Entre todas as linguagens arquitetônicas pode-se apontar o Art Déco, a partir de meados dos anos de 1930, anunciando em seguida, com destaque, bons exemplares do modernismo, que serão objeto principal de análise deste trabalho. Entre elas, uma grande descoberta, a residência da Avenida Sampaio Vidal, de Gregori Warchavchik. A influência dos principais arquitetos modernistas, embora vista em inúmeros trabalhos e estudos nas cidades do interior paulista, poucas vezes foi analisada na cidade de Marília, e menos ainda relacionando-a ao seu desenvolvimento urbano. Desta forma, esta pesquisa, propõe então, como metodologia principal, identificar, classificar e analisar os primeiros projetos de caráter modernista na cidade, através do Arquivo de Projetos da Prefeitura Municipal, evidenciando as características arquitetônicas predominantes que compõe os ideais e preceitos modernistas e sua relação com a pregação política do desenvolvimentismo. Através destes projetos analisados, três fases distintas de introdução do modernismo no município, ficaram evidentes: De 1929 a 1935, com os primórdios do Art Déco ao projeto pioneiro de Warchavchik; o longo período de ausência modernista entre 1935 a 1947 e a consolidação da linguagem ao longo da década de 1950. Além disso, o trabalho trás à tona as particularidades de diversos projetos modernistas, conhecidos e inéditos de renomados arquitetos, que atuaram no município. / The foundation of Marília / SP goes back to the end of 1920’s decade, being part of one of the last coffee plantation regions of São Paulo State. The growth of the municipality followed the agricultural production and the subsequent industrial implementation, which occurred during the decades of 1940 to 1970, a period of significant economic growth and political ascendancy. Among all the architectural languages we can point to Art Decó, from the middle of the 1930s, announcing next, with prominence, good examples of modernism, which will be the main object of analysis of this work. Among them, a great discovery, the residence of the Avenida Sampaio Vidal, designed by Gregori Warchavchik. The influence of the leading modernist architects, although seen in numerous works and studies in countryside of São Paulo State, was rarely analyzed in the town of Marília, and still less related to its urban development. In this way, this research proposes, as main methodology, to identify, classify and analyze the first modernist projects in the town, through the City Hall Project Archive(APPMM), highlighting the predominant architectural features that compose the modernist ideals and precepts and their relationship with the political preaching of developmentalism. Through these projects analyzed, three distinct phases of the introduction of modernism in the municipality were evident: From 1929 to 1935, with the beginnings of Art Déco to the pioneering project of Warchavchik; the long period of modern absence between 1935 and 1947 and the consolidation of language throughout the 1950s. In addition, the work brings to light the particularities of several modernist projects, known and unpublished by renowned architects, who acted in the municipality.

Women's fight for the franchise in both America and England in the late nineteenth and early twentieth centuries was accompanied by scrutiny of women's relationship to the State by those with varying perspectives on the suffrage battle. In the industrial, post-agricultural age, motherhood defined a woman's place in western society, as well as her rights under and service to the State; if the normative role of the male citizen was the soldier, the normative role for women was the mother. Yet for all of the ways an embrace of maternalism limited women's access to the public realm, it also laid the groundwork for the women's movement, and motherhood was often seen as a route to citizenship by those on both sides of the suffrage battle. As women began to re-imagine themselves as enfranchised citizens, many social theorists, politicians, and novelists continued to debate the rights and roles of women across the body of the mother; thinkers as varied as Theodore Roosevelt, H. G. Wells, and Emma Goldman all wrote tracts about motherhood and the future of the nation. Rather than entering the old debates on the value or liability of maternalism for feminism, my dissertation will argue that the modernist period introduced a new and still-overlooked figure: the anarchic mother. In their essays and novels, Goldman, Rebecca West, John Galsworthy, and Virginia Woolf turned away from the emblem of the Republican Mother and toward a radical new figure. Rather than sacrificing her individual needs to the Republic, the anarchic mother's individual pursuit of liberty challenged the authority of the State and its cultural institutions. An important group of modernist novels and essays employs the figure of the mother to represent not tradition and unity but rebellion, separatism, abstention, or statelessness. This undertheorized figure in modernist and feminist thought clarifies Virginia Woolf's call, in Three Guineas, for allegiance to no country. If Woolf and many other artists were ambivalent as they linked motherhood and anarchy, contemporary feminists inherited both the possibilities and contradictions of the anarchic mother as they reexamine women's relationship to citizenship in the 21st century.

Orientador: Eda Maria Góes / Banca: Maria Encarnação Beltrão Sposito / Banca: Everaldo Santos Melazzo / Banca: Marcia Metran de Mello / Banca: José Borzachiello da Silva / Resumo: A partir do estudo da cidade de Palmas, capital do Estado de Tocatins, o desafio fundamental da tese proposta é analisar o imaginário da cidade projetada e implantada, constituída num tempo compactado e, ainda, como esse espaço organizado no tempo ausente apresenta traços e encaixes na realidade do pós-modernismo. Brasília e Palmas são cidades do tempo ausente que, diferente das demais cidades não planejadas ou projetadas, tem o seu espaço-tempo surgido simultaneamente. Compreendemos teoricamente essa compactação ou simultaneidade, como ausência de tempo. A cidade de Palmas foi projetada e surgiu nessa condição de compactação temporal, sua paisagem urbana detem imagens cheias de simbolismos que jogam com a subjetividade do tempo... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: From a study on the city of Palmas, the capital of the state of Tocantins-Brazil, the fundamental problem on the thesis proposal is to analyze the Idea of an implanted pre designed city, settled in a compact period of time and still as IF this organized period of absent time presents treats and fits into post modernism reality. Brasília and Palmas are cities that belong to the so called "absent time" that different from other cities Just haven't been put into blueprint or pre-planned. They both have time and space emerged simultaneously. We theoretically understand that this compaction or simultaneity as "absence of time". The city of Palmas has been put into blueprint and came to being into a time compaction condition. It's urban design and landscaping is filled up with symbolism that simply plays with time subjectivity. The monuments are random temporal maps that represent different periods of time though they are all rather recently made creating an illusion to others perception with the goal of bringing some historic sense to the city. The path to understanding the city and its present/absent temporality on which it has been designed is based on a multiplicity logic that sketches and overlays urban image polysemy... (Complete abstract click electronic acces below) / Doutor