Dissertation (PhD)--University of Stellenbosch, 2004. / ENGLISH ABSTRACT: Since the late 1940s, South Africa and South Korea were ruled by authoritarian governments, which oppressed the people’s freedom and rights. The governments created the deeply divided societies that resulted in racism in South Africa and regionalism in South Korea. These similarities may have played a major role in allowing Nelson Mandela and Kim Dae-jung to develop strong emotional bonds with their followers and to articulate their visions for the future. The two leaders, Nelson Mandela and Kim Dae-jung, fought for freedom and human rights against the apartheid government in South Africa and military dictatorial government in South Korea. During these processes of democratisation, the two leaders displayed common transformational and social learning leadership styles and presented their visions of the end of the authoritarian regimes and the establishment of democracy; shared these visions with the people and encouraged and mobilised them in struggling together against authoritarian government. Subsequently, the two leaders’ transformational and social learning leadership styles provide a successful role model to countries in which there are conflicts between the constituents of the society, as in East Asia, Sub-Saharan Africa and Middle East; a desire for transformation towards democracy by the people, and where countries are confronted with new challenges. / AFRIKAANSE OPSOMMING: Beide Suid-Afrika en Suid-Korea was sedert die laat 1940’s onder die bewind van outoritêre regerings met gepaardgaande onderdrukking van die mense se vryhede en regte. Dié regerings het diep-verdeelde gemeenskappe daar gestel wat in Suid-Afrika op rassisme en in Suid-Korea op regionalisme uitgeloop het. Hierdie ooreenkomste mag grootliks daartoe bygedra het dat beide Nelosn Mandela en Kim Dae-jung sterk emosionele verbintenisse met hul volgelinge kon ontwikkel en hul toekomsvisies kon artikuleer. Die twee leiers, Nelson Mandela en Kim Dae-jung, het onderskeidelik teen die apartheidsregering in Suid-Afrika en die militêre diktatuur in Suid-Korea geveg vir vryheid en menseregte. Gedurende hierdie demokratiseringsprosesse het die twee leiers gemeenskaplike transformasie en sosiale leer leierskapstyle openbaar, hulle visies oor die beëindiging van outoritêre regimes en die vestiging van demokrasie bekend gemaak en die mense aangemoedig tot en gemobiliseer vir strydvoering teen die outoritêre regerings. Gevolglik verskaf hierdie twee leiers se transformasie en sosiale leer leierskapstyle ‘n geslaagde rolmodel vir alle lande waar daar konflik binne gemeenskappe bestaan, soos in Oos-Asië, Suid-Sahara Afrika asook die Midde-Ooste; lande waar die mense smag na transformasie tot demokrasie en lande wat hulleself met nuwe uitdagings gekonfronteer vind.

Thesis (MPhil (Afrikaans and Dutch))--University of Stellenbosch, 2006). / Nelson Mandela’s autobiography, ‘Long walk to freedom’, can be viewed as a milestone in South African history. Although it is not necessarily significant in a literary sense, it played an important role in making many South Africans aware of another side to their country’s history, and introduced them to a man who, besides being the world’s most famous political prisoner and a respected statesman, is also an ordinary human being. The Afrikaans translation of the autobiography, Lang pad na vryheid, formed part of a project to translate the original document into all the languages of South Africa (three other translations have been completed thus far). This project is discussed in relation to the ideological motive for it, and also in relation to the ideological position of Afrikaans in South Africa and the ideology and poetics of the translator. The study is based on a descriptive approach, specifically as manifested in the manipulation theory of André Lefevere. It attempts to place the translation of autobiography as a genre within translation theory, and suggests that the translator of autobiography has little ‘leeway’ with regard to the application of translation strategies, specifically those that change the original narrator’s ‘voice’. The various ways in which the text has been ‘manipulated’ in the production of its translation, both to make it function as a text in the target language and in ways that cannot always be justified on that basis, lead to the conclusion that it is very difficult to translate autobiography without interfering with the very personal telling of a person’s life story by that person, and without modulating the narration in a way that cannot always be reconciled with the autobiographer’s ideology. The modulation of the autobiographer’s voice, whether this takes place consciously, subconsciously or unconsciously, is finally argued to produce a translation that can no longer be viewed as the autobiography of Nelson Mandela in the strict sense.

This study investigated the contributions of John Nelson Darby to selected institutions of contemporary theological higher education. A qualitative approach to the investigation was employed. Archival foraging occupied a greater part of the research data and yielded rich returns as evidenced in the literature review. Purposeful sampling was also utilized. The faculty and administration of three institutions, Moody Bible Institute, Dallas Theological Seminary, and Emmaus Bible College, were mailed questionnaires comprising 22 questions to ascertain their opinions of Darby's contributions to their institutions. Of the 22 questions, 21 were of a Likert type scale offering 5 options: Strongly agree, Agree, Not sure, Disagree, and Strongly disagree; and 1 open-ended question. A response rate of 45% (N=27) was achieved. All results were statistically significant at the p=.05 level utilizing chi-square goodness-of-fit tests.

Freshmen at Sul Ross State University are required to take tests which are used for placement purposes. One of the tests given is the Nelson-Denny Reading Test which measures comprehension, vocabulary, and reading rate. The scores are used with American College Test or Standard Achievement Test scores to place students in either remedial or regular freshman English. Remedial students, who score below the tenth-grade competency level, are placed in English 1300. Regular students are placed in English 1301 or 1302. Twelve studies were found which had been done in this area since 1980. One was directly related to this study. The Anglo and Hispanic population of the freshman class of 1987 was tested. Blacks were not included as they comprised less than 9 percent of the freshman class. There were 69 students in the experimental group and 162 in the control group. A pretest-posttest design was used. A three-way analysis of variance set up data for statistical testing. The Alpha level was set at .05. The findings indicate a significant difference for Hypothesis 1, which predicted no significant difference in the posttest performance of students required to take English 1300 and the pretest performance of students who were not. Therefore it was rejected. Because statistical testing yielded no significant difference for Hypothesis 2 — there will be no significant difference in posttest performance of Hispanic and Anglo students who were enrolled in English 1300, and Hypothesis 3—there will be no significant difference in the posttest performance of males and females who enrolled in English 1300, they were retained. Results indicate that while there is a significant difference between the means of the remedial students' posttest scores and means of the regular students' pretest scores, the program raises the performance of remedial students to a level accepted by Sul Ross State University. Therefore, the program is considered successful.

American literature and verse advanced in dialectal writing during the late-nineteenth century. Charles Chesnutt’s “The Goophered Grapevine” (1887), “Po’ Sandy” (1888), and “Hot-Foot Hannibal” (1899); Joel Chandler Harris’ Uncle Remus: His Songs and His Sayings (1881); Thomas Nelson Page’s “Marse Chan” (1884); and Mark Twain’s “Sociable Jimmy” (1874) and “A True Story, Repeated Word for Word as I Heard It” (1874) provided diverse dialect representations. Dialect expanded into poetry with James Whitcomb Riley’s “She ‘Displains’ It” (1888), “When the Frost is on the Punkin” (1882), and “My Philosofy” (1882) and Paul Laurence Dunbar’s “The Spellin’ Bee” (1895), “An Ante-Bellum Sermon” (1895), and “To the Eastern Shore” (1903). Dialect styles and how they conveyed political or social perspectives are assessed. Correspondence between late-nineteenth century literary figures as well as periodical reviews reveal attitudes toward the use of dialect. Reader responses to dialect based on their political or social interpretations are explored.

Made available in DSpace on 2016-04-27T19:31:16Z (GMT). No. of bitstreams: 1 Cristiane Mare da Silva.pdf: 2889132 bytes, checksum: 94991bb4be740ab4219748ab11e7ffd4 (MD5) Previous issue date: 2016-03-18 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / The present study was developed at the Postgraduate Program in History, of the Pontifical Catholic University of São Paulo and has as object biographical and autobiographical texts of the South African Nelson Mandela, that allows us to seize moments and statements, guiders of the struggle for equality, the exercise of tolerance and human rights, not only in South Africa, but everywhere where there are conflicts inside a population, especially in the Western Hemisphere. Interests me, particularly, identify strategies and discursive paths built in biographical narratives in the representations of Nelson Mandela, the works presented will be, Mandela Struggle is my life, organized by the The International Defence and Aid Fund of 1989, first published in 1978 in English. Mandela: The Authorized Portrait 2007. Mandela's Way: Lessons on Life, Love, and Courage, of 2010, whose author is Richard Stengel. Mandela: Conversations With Myself, of 2010, Nelson Mandela Foundation. Mandela: Long Walk to Freedom (2012) (autobiography), seeking how Mandela is seized in these pages. Through the reading of authors such as Frantz Fanon, Achille Mbembe, Hampaté Ba, Anibal Quijano, Jeanne Marie Gagnebin and Sabina Loriga, I sought to understand how Madiba, through a rereading of his traditions, invented a policy making which made possible the transition from the Apartheid Regime to democracy in South Africa. The problem that I developed as structuring to the work: what Africa has to teach us in the production of decolonial policy pathways, especially the experience of South African leader Nelson Mandela in his government practice / O estudo que ora apresento desenvolveu-se no Programa de Pós-Graduação em História, da Pontifícia Universidade Católica de São Paulo e tem por objeto textos biográficos e autobiográficos do sul africano Nelson Mandela, que nos permitem apreender momentos e enunciados, orientadores da luta pela igualdade, do exercício da tolerância e a defesa dos direitos humanos, não apenas na África do Sul, mas por toda parte onde existam conflitos raciais e coloniais inerentes à enxpansão do Hemisfério Ocidental. Interessa-me, particularmente, identificar as táticas e caminhos discursivos construídos nas narrativas biográficas nas representações de Nelson Mandela. As obras apresentadas são: Mandela A luta é a minha vida, organizado pelo Fundo Internacional de Defesa e Auxílio de 1989, a primeira edição é de 1978 em inglês; Mandela Retrato Autorizado, 2007; Os Caminhos de Mandela Lições de vida, amor e coragem, 2010, cujo autor é Richard Stengel; Mandela: Conversas que tive Comigo, 2010 Fundação Nelson Mandela; Nelson Mandela Longa Caminhada até a Liberdade, 2012 (autobiografia), apreendendo Mandela em suas tradições sul-africanas. Por meio da leitura de autores como Franz Fanon, Achille Mbembe, Hampaté Bá, Anibal Quijano, Jeanne Marie Gagnebin e Sabina Loriga, procuramos compreender como Madiba, por meio de uma releitura de suas tradições, inventou um fazer político que tornou possível a transição do Regime do Apartheid para Democracia na África do Sul. O problema que elaborei como estruturante para o trabalho remete ao que a África tem a nos ensinar na produção de vias políticas decoloniais, em especial através da experiência do líder sul-africano Nelson Mandela em suas práticas governamentais

Made available in DSpace on 2016-04-26T18:15:44Z (GMT). No. of bitstreams: 1 avidacomoelaenasmidias-anexo.pdf: 2754671 bytes, checksum: edf98996eeaaf7deec272175456f1268 (MD5) Previous issue date: 2006-08-18 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This dissertation explores the understanding of the communicative mechanisms between a creator, his production and the mass culture. Knowing communication not only as an objective dialogue. It was observed that there is, besides what is manifesto or showed explicitly, another level that is suggested or that communicates in an explicit manner. The main aim of this research was to understand what kind of communication was possible to be seen between the social imaginary and the work, from a characteristic that would show, on one hand the writer and what is extracted from the work, and on the other hand each character that is in contact with it.Therefore, the characteristic that supports this communication was analyzed, having as the corpus of this research, the serie A Vida como ela é... by Nelson Rodrigues, the texts are semi-fictional and they were published at first in the newspaper and then turned out to be stories on TV. This work was chosen because it was a huge success in Brazil, not only because of its content, sometimes obscene, but also because of its spread in different kinds of media, building up an interesting intersemiotic relation. For this reason, it was possible to construct a theoretical system around the communicative processes between the creator, the work and culture. The theoretical background comes from the following areas of knowledge: semiotic, the communication and information theories, the media, the theories of language, the studies about mediations , the media culture and psychoanalysis / Trata-se de uma pesquisa voltada para a compreensão dos mecanismos comunicativos entre um criador, sua produção e a cultura de massas. Entendendo a comunicação não apenas como um diálogo objetivo entre dois dispositivos racionais, observou-se que existe, para além daquilo que é manifesto ou mostrado explicitamente, um Outro plano que é sugerido ou que passa de maneira implícita. O objetivo principal desta pesquisa foi compreender que comunicação poderia haver entre o imaginário social e uma obra, a partir de um traço que apontaria, por um lado, para aquele que a produz, e aquilo que dela extrai, por outro lado, para cada sujeito que entra em contato com ela. Portanto, analisou-se o traço que sustenta tal comunicação, tomando como corpus desta pesquisa, a série A Vida como ela é... de Nelson Rodrigues, textos semi-ficcionais, primeiramente, publicados no jornal, e que, depois, viraram histórias televisionadas. A escolha deu-se pelo fato desta obra ter alcançado grande relevância no Brasil, não apenas pelo seu conteúdo, por vezes obsceno, como também pela sua disseminação nas diferentes mídias, constituindo um curioso jogo intersemiótico. Dessa forma, foi possível construir uma sistematização teórica acerca dos processos comunicativos entre o criador, a obra e a cultura. O referencial teórico provém das seguintes áreas do conhecimento: semiótica, teorias da comunicação e da informação, meios de comunicação, teorias da linguagem, estudos sobre mediações, cultura das mídias e psicanálise

O presente trabalho trata do tema da representação pictórica no contexto da representação artística e se concentra sobre as teses desenvolvidas sobre o tema nas teorias de Ernst Gombrich, Nelson Goodman, e Richard Wollheim. Procura evidenciar que, no panorama conceitual desses autores, é possível encontrar subsídios para o desenvolvimento de uma teoria da representação pictórica que suponha a dualidade entre a consciência da forma material e a consciência do conteúdo da representação de modo compatível com o tratamento do conceito em termos estruturais. O desenvolvimento do tema em Gombrich explica porque Wollheim desenvolve uma teoria da dualidade, e a hipótese interpretativa exposta no capítulo sobre o tema em Goodman visa a mostrar que uma abordagem estrutural da representação como sistema simbólico não implica em um convencionalismo estrito, na medida em que a percepção de semelhanças em um quadro relativo a aspectos estabelecidos comparativamente entre os objetos da representação e a própria representação é importante para o entendimento das imagens, de sua interpretação em um quadro aberto a convencionalizações que não sejam estabelecidas arbitrariamente, mas que atendam a uma linha de desenvolvimento compatível com o princípio de definição estabelecido pela prática artística. / This study deals with the issue of depiction in the context of artistic representation and focuses in the basic concepts developed on the subject by Ernst Gombrich, Nelson Goodman e Richard Wollheim. It focuses on the search for evidence in the conceptual framework of these authors for the support for the development of a theory of depiction that assumes twofoldness in a way that is compatible with the treatment of the concept in structural terms. Some specific drawbacks in relation to aspects of Gombrich's theory sets the ground for the explanation why Wollheim develops a twofoldness theory of depiction, and the interpretative hypothesis offered on this topic in relation to Goodman's theory aims to show that a structural approach of depiction as a symbolic system does not entail a strict or full blown conventionalism, insofar as the perception of similarities in relation to aspects in the comparison between the objects of representation and representations themselves are important for establishing the understanding of images, in an open framework of conventionalization that are no to be set arbitrarily, but that are compatible with the development with a principle of definition established by the artistic practice.

Esta dissertação consiste no estudo de um grupo de 5 professores comunistas gaúchos, composto por Demetrio Ribeiro Neto, Edgar Albuquerque Graeff, Edvaldo Ruy Pereira Paiva, Enilda Ribeiro e Nelson Souza, membros do Partido Comunista Brasileiro (PCB), docentes expurgados da Universidade Federal do Rio Grande do Sul (UFRGS) pela ditadura civil-militar, em 1964, e reunidos, principalmente, pelo desejo de mudança. Atraídos por semelhanças intelectuais, profissionais e de conduta, e por dessemelhanças que, no outro, encontram seu complemento, estes profissionais uniram-se em prol de um desejo de emancipação, a eles comum, tornando o caráter de grupo indispensável ao alcance dos seus objetivos. Como intelectuais progressistas ligados organicamente à classe proletária, os 5 se autoatribuíram o compromisso de atuar ao lado do povo, mesmo no âmbito da profissão, contribuindo para a desalienação e para a construção de um projeto ideológico de cidade e sociedade. Por meio de um longo processo de estímulo ao pensamento, a qual se caracterizou por revolucionário, uma vez que pretendia mudanças irreversíveis e qualitativas, incitaram aos colegas de profissão e alunos a conhecerem a realidade social do país e, nela, intervirem de forma crítica. Orientados pelas resoluções políticas do Partido Comunista Brasileiro (PCB) e regulamentados por seus Estatutos, os 5 professores comunistas da Faculdade de Arquitetura da Universidade Federal do Rio Grande do Sul tiveram nas questões políticas propostas pelo Partido, como o anti-imperialismo, o latifúndio e a cultura nacional, tema da reflexão teórica sobre os fenômenos arquitetônicos. Por meio da docência, da militância em entidades de classe, da escrita, e como técnicos da arquitetura e do urbanismo fizeram cumprir a função social a eles conferida pelo PCB. / This dissertation consists of the study of a group of 5 Gaucho communist teachers, composed of Demetrio Ribeiro Neto, Edgar Albuquerque Graeff, Edvaldo Ruy Pereira Paiva, Enilda Ribeiro and Nelson Souza, members of the Brazilian Communist Party (PCB), expurgated teachers of the Federal University of Rio Grande do Sul (UFRGS) by the civil- military dictatorship, in 1964, and reunited, mainly, by the desire of change. Attracted by intellectual, professional and behavioral similarities, and by dissimilarities that, in the other, they find their complement, these professionals have united in favor of a desire for emancipation, common to them, making group character indispensable to reach their objectives. As progressive intellectuals organically linked to the proletarian class, the 5 self-commit the commitment to act alongside the people, even not within the scope of the profession, contributing to the desalienation and construction of an ideological project of City and Society. Through a long process of stimulus to thought, a characteristic that characterized by a revolutionary, since simulating irreversible and qualitative changes, encouraged classmates and students to get to know the social reality of the country and to intervene critically in it. Guided by political resolutions of the Brazilian Communist Party (PCB) and regulated by its statutes, the five communist professors of the Architecture College of the Federal University of Rio Grande do Sul are concerned with political issues by the Party, such as anti-imperialism, latifundia and the National Culture, theme of the theoretical reflection on the architectural phenomena. Through teaching, militancy in class entities, writing and as technicians of architecture and urbanism did fulfill the social function conferred on them by the PCB.

Nossa pesquisa insere-se em um grande grupo de críticas que propõe leituras para a obra rodrigueana, que, desde o surgimento dos primeiros textos, tem criado discussão e tem sido por isso analisada através das mais diversas teorias. Queremos propor a análise de quatro das mais controversas peças de Nelson Rodrigues e, já que isso esbarra em aspectos políticos, analisar a posição intelectual do autor, bastante polêmica em um momento de divisão política muito clara. Primeiro mostramos o contexto em que a obra insere-se, considerando: a intelectualidade, a sociedade e a recepção da obra. Depois, lembramos da posição manifesta do autor através das crônicas culturais, nas quais se afirma reacionário. Em seguida, a fim de mostrar a qualidade revolucionária dos textos de Rodrigues, escolhemos o grupo de peças míticas: Álbum de família (1946), Anjo negro (1947), Senhora dos afogados (1947) e Dorotéia (1949). Esse grupo nos pareceu mais interessante porque nele o autor busca uma aproximação ao modelo grego de tragédia e foge da ambientação direta, como acontece nas tragédias cariocas. Nossa análise enfatiza uma perspectiva histórico-antropológica através de Freyre (2004), Holanda (1977) e DaMatta (1985 e 1990), que revelam os problemas sociais e culturais do Brasil apontados criticamente por Nelson Rodrigues; e uma perspectiva filosófica e psicanalítica da moral, através de Nietzsche (1998) e Freud (1974), que esclarecem os conflitos morais assinalados pelo autor. Por fim, mostramos que através da fórmula trágica, que também traz um componente político, o autor revela sua face revolucionária, pondo em debate no teatro justamente os pontos que a sociedade brasileira mais tentou ocultar em seu processo civilizatório. / Our research project is part of a larger group which proposes readings of the works of Nelson Rodrigues. Since they were published, these works have generated a lot of discussion and thus have been analyzed through a set of different theories. We aim at providing one more little piece for this infinite puzzle, proposing an analysis of four of the most controversial plays by Nelson Rodrigues and taking into account the intellectual position of the author, which was very polemic at a time of very clear political disunion.We first set the work in context, considering intellectuals, society and the reception of the work. Then, we recollect the manifest position of the author on his cultural chronicles, in which he states that he is politically conservative. After that, in order to highlight the revolutionary quality of the texts by Nelson Rodrigues, we select a group of mythic plays: Álbum de família (1946), Anjo negro (1947), Senhora dos afogados (1947) and Dorotéia (1949). This group of plays has called our attention once it shows the attempt of the author in coming closer to the model of the Greek tragedy and in escaping from the direct setting, as it normally happens in the “carioca” tragedies. Our analysis mainly tries to provide a historic-anthropological perspective, based on Freyre (2004), Holanda (1977) and Damatta (1985 e 1990), who reveal the social and cultural problems in Brazil which were critically pointed out by Nelson Rodrigues. It also tries to provide a philosophical and psychoanalytical perspective of the moral based on Nietzsche (1998) and Freud (1974), who clear up the moral conflicts pointed out by the author. By using the tragic formula, which also brings about a political component, the author shows his revolutionary face, opening debate at the theatre exactly about the points which the Brazilian society has mostly tried to omit in its civilizatory process.