[pt] A presente tese de doutorado tem como objetivo refletir o discurso do novo homem da moda ocidental e suas representações midiáticas. A partir daí, proponho analisar o lugar ocupado pelas identidades jovens, negras e periféricas brasileiras nesse espaço. Para isso, realizo uma revisão bibliográfica sobre a noção de gênero no Ocidente como uma construção social, de modo a pensar as hierarquias sociais das masculinidades. Depois, apresento o novo homem e contextualizo o cenário do seu surgimento, identificando as suas diferentes categorias mercadológicas. Em seguida, utilizo a teoria das representações sociais para pensar as maneiras com as quais a mídia e a moda representam os corpos negros, estabelecendo como recorte as identidades negras residentes das favelas cariocas. Por fim, escolhi a favela da Mangueira, localizada na zona norte do Rio de Janeiro, para estabelecer um comparativo entre essas imagens midiáticas do jovem favelado com os modos e as modas dos jovens mangueirenses postados na rede social Instagram. / [en] The present doctoral thesis aims to reflect the discourse of the new manof western fashion and its media representations. From there, I propose to analyze the place occupied by young, black and brazilian peripheral identities in this space. For this, I carry out a literature review on the notion of gender in the West as a social construction, in order to think about the social hierarchies of masculinities. Then, I present the new man and contextualize the scenario of its emergence, identifying its different marketing categories. Then, I use the theory of social representations to think about the ways in which the media and fashion represent black bodies, establishing the black identities residing in Rio s favelas as a cut. Finally, I chose Mangueira favela, located in the north of Rio de Janeiro, to establish a comparison between these media images of the young favelado with the ways and fashions of young people from Mangueira posted on the social network Instagram.

L’Angola est devenue indépendante du Portugal le 11 novembre 1975, au milieu des disputes internes qui ont conduit à l'éclatement de la guerre civile provoquée par le fait que le MPLA a déclaré unilatéralement l'indépendance à Luanda. Ce moment a été déterminée en grande partie par le soutien reçu de Cuba et le bloc de l'Est, plus précisément l'URSS, au cours des 14 années de lutte anticoloniale. Dans la période postindépendance, entre 1975 et 1991, même si des bases militaires soviétiques ne furent pas été installées en Angola, il faut signaler l’influence politique-idéologique et la présence militaire de l’Union Soviétique, qui s’exerça à un degré élevé en comparaison avec d’autres pays dans le contexte d’une bipolarité mondiale. Du point de vue idéologique, l’influence soviétique se manifesta dans des actions de l’Etat angolais en ce que cela touchait à la construction d’un sentiment et d’une identité nationale, ainsi que dans l’appartenance à une nation angolaise, objectivée dans le processus de constitution de l’Homme Nouveau, promu par le Parti-Etat. Du point de vue militaire, l’implication de Moscou dans la guerre en Angola nous a amené à conclure que dans ce territoire les Soviétiques donnèrent une plus grande importance à la consolidation de l’Etat en ce qui touchait la sécurité et le renforcement des appareils politiques, en fournissant matériel et le soutien consultatif pour les forces militaires de l’Angola, bien qu'il soit important de remarquer que les Soviétiques n'ont pas contrôlé la politique intérieure du pays. / Angola became independent from Portugal on 11 November 1975, in the midst of internal disputes that led to the outbreak of civil war caused by the fact that the MPLA unilaterally declared independence in Luanda. This moment has been determined largely by the support received from Cuba and the Eastern bloc, specifically the USSR during the 14 years of anti-colonial struggle. In the post-independence period, between 1975 and 1991, although Soviet military bases were not been installed in Angola, it should be noted the political-ideological influence and military presence of the Soviet Union, which exercised a high degree compared with other countries in the context of global bipolarity. From an ideological point of view, Soviet influence was manifested in the actions of the Angolan government in that it affected the building and a sense of national identity, as well as membership in an Angolan nation, objectified in the process of formation of the New Man, promoted by the Party-state. From a military point of view, the involvement of Moscow in the war in Angola has led us to conclude that in this territory the Soviets gave greater importance to the consolidation of the state in which affected the safety and building equipment policies, providing material and advisory support to the military forces of Angola, although it is important to note that the Soviets did not control the internal politics of the country.

Durante a gestão de Gustavo Capanema, ergueu-se o edifício-sede do Ministério da Educação e Saúde (MES). Visando atribuir à construção de orientação \"moderna\" caráter nacional, foram encomendadas várias obras de arte, entre elas um conjunto de esculturas, produzido entre 1937 e 1941, por Celso Antônio de Menezes, Adriana Janacópulos e Bruno Giorgi. Por meio da análise dessas esculturas, esta dissertação investiga as tentativas de figurar o ideal do \"homem novo\" empreendidas por políticos, intelectuais e artistas ligados ao MES. Buscamos compreender o que essas obras, como fontes, podem revelar acerca dos discursos sobre raça, gênero e nação do período. / During the administration of Gustavo Capanema, arose the headquarters of the Ministry of Education and Health (MES). Aiming to assign the construction of guidance \"modern\" national character, it was commissioned various works of art, including a collection of sculptures, produced between 1937 and 1941, by Celso Antônio de Menezes, Adriana Janacópulos and Bruno Giorgi. By analyzing these sculptures, this work investigates the attempts to figure the ideal of the \"new man\" undertaken by politicians, intellectuals and artists connected to the Ministry. We seek to understand what that works, as sources, might reveal about the discourses about race, gender and nation in the period.

Föreliggande uppsats utgår från tidigare forskning som hävdar att jämställdhetsdiskursen i Sverige bygger på ett vitt, heterosexuellt, medelklassideal som underordnar andra maskuliniteter. Uppsatsen syftar till att undersöka huruvida jämställdhetsdiskursens ovan nämnda exkluderingar samt maskulinitetsdiskurser som till exempel ”den nye mannen” kan spåras i mäns artikuleringar av diskurser kring maskulinitet och jämställdhet och hur olika subjektspositioner samt hierarkier begripliggörs och (re)produceras i denna process. Det teoretiska ramverket utgörs av poststrukturalistisk teori kring diskurser, subjektspositioner och ”görandet” av genus och andra sociala kategorier. Dessa kategorier ses ur ett intersektionellt perspektiv som sammanvävda. Uppsatsen försöker vidare förena denna poststrukturalistiska ansats med Connells teori om hegemonisk maskulinitet. Det empiriska materialet består av enskilda intervjuer samt fokusgruppintervjuer utförda i tre olika empiriska kontexter där individer i olika sexuella, etniska och klassmässiga subjektspositioner med olika grader av privilegiering i relation till jämställdhetsdiskursen befinner sig. Resultatet visar att den maskulinitetsdiskurs som artikulerades i samtliga kontexter låg nära diskursen kring ”den nye mannen”; ett mer jämställt, eller i alla fall barnorienterat, maskulinitetsideal. Jämställdhet artikulerades även någorlunda lika över kontexterna som en konsensusbaserad särartsdiskurs.  Det som däremot skilde kontexterna och intervjupersonerna åt var deras etniska, klassmässiga och sexuella subjektspositioner som relaterade till de hegemoniska diskurserna kring jämställdhet och maskulinitet på o(jäm)lika sätt. Personerna i de muslimska och homosexuella subjektspositionerna gjorde på olika sätt motstånd mot den underordning som de placerades i genom dessa subjektspositioners underordade relation till ”den nye mannen”. De förhöll sig därmed något mer distanserat till denna diskurs samt jämställdhetsdiskursen. I kontexten där intervjupersonernas subjektspositioner i större utsträckning sammanföll med ”den nye mannen” artikulerades denna diskurs tydligare. Exempelvis artikulerade man barnorientering, snarare än ett intresse för jämställdhet i sig. I samtliga kontexter uppmärksammade eller problematiserade man sällan sina egna privilegier, men det skedde på olika sätt ett skillnadsskapande gentemot ”andra män” och kvinnor. / This master thesis takes its departure in previous research which argues that the Swedish discourse of gender equality and its gender equal masculine subject “the new man” is built upon a white, heterosexual, middle class norm that excludes and subordinates other masculinities. The thesis aims at investigating whether the above mentioned exclusions in the Swedish discourse of gender equality and masculinity discourses such as “the new man” are traceable in men´s articulations of discourses regarding gender equality and masculinity, and how different subject positions and hierarchies are negotiated and reproduced in this process. The theoretical framework is a post-structural theory inspired by Ernesto Laclau and Chantal Mouffes theory of discourses, subject positions and the “doing” of gender and other social categories such as class and ethnicity, categories that from an intersectional perspective are viewed as analytically inseparable. The thesis also seeks to combine the post-structural perspective with R.W. Connells theory of hegemonic masculinity. The empirical material consists of single and focus groups interviews generated in three different contexts in which individuals located in different sexual and ethnic subject positions with different degrees of privilege in relation to the discourse of gender equality. The results show that the masculinity discourse that was articulated in all three contexts was the discourse of “the new man”; a more gender equal, or at least children-oriented, masculine ideal. The articulations of gender equality were also similar in the different contexts; a consensus based discourse of gender equality in which men and women were viewed as different but complementary. What distinguished the contexts was the interview person’s sexual and ethnic subject positions which related to the hegemonic discourses of gender equality and masculinity in different, unequal ways. The interview person´s in the Muslim and homosexual subject positions resisted the subordination these positions meant in relation to the discourse of “the new (gender equal) man”. This also meant that these persons had a more distanced relationship to this discourse and the discourse of gender equality. In the context where the interview person’s subject positions to a greater extent coincided with “the new man”, this discourse was also articulated in a less problematic way. An orientation towards taking care of children was for example more common than an interest in gender equality for its own sake. In all three context one´s own privileges were seldom acknowledged, and there were different processes of creating difference and hierarchies towards both women and “other men”.

Héritant à la fois de la tradition scripturale des pères, de la rupture provoquée par la littérature conjoncturelle des années 90, de son urgence et de son obsolescence ainsi que de l'avènement du nouveau millénaire, les écritures algériennes dévoilées par les auteurs de notre corpus sont marquées par le souci de l'enfantement de l'Homme Nouveau. En effet, bien qu'inscrite dans son épistème, cette littérature tend à se renouveler et à affirmer sa singularité. Si pour Abdellatif Laâbi, toute sa génération d'écrivains « descend du manteau de Nedjma », les auteurs émergents peuvent légitimement prolonger l'hommage en se déclarant encore aujourd'hui bercés par les mélopées du Poète, engagés sur les chemins de la vérité sans travestissements par La colline oubliée, nourris à la mamelle de La Répudiation, alertés des hautes trahisons par Le Muezzin, éveillés au cri de Fis de la haine, reconnaissant l'élargissement de leur horizon à la dimension poétique de Qui se souvient de la mer. Et enfin légitimés dans le territoire des langues, parce qu'assiégés, à leur tour, par la voix d'Assia Djebar et la polyphonie de Ces Voix qui m’assiègent. Néanmoins, en réponse à la question « où va la littérature ? », nous abordons son devenir en délivrant une « feuille de température », à travers les lignes de fuite qu'elle semble emprunter. Le paradoxe du « devenir » réside dans son oscillation entre passé et futur qui permet d'échapper aux carcans du présent. C'est sur le mythe de l'Andalus que s'arcboute le changement. Chevaucher la ligne de fuite, c'est à la fois voguer vers des « devenirs » possibles et convoquer des assises sûres. L'Andalousie Heureuse est la caution irréfutable de la faisabilité et l'illustration de ce qui est survenu une fois peut se renouveler dès lors qu'on lui fabrique les conditions de son émergence. Le « texte- médecin » gère le trauma et convie l'individu vers la résilience et de nouvelles expériences du bonheur. L'Homme Nouveau est à réinventer. Telle est l'ambition que les textes du corpus nous aident à percevoir, en devinant parfois les tracés et les contours. / Inheriting simultaneously from the scriptural tradition of the fathers, from the rupture provoked by the contemporary literature of the 1990s, from its urgency and its obsolescence as well as the advent of the new millennium, the Algerian writings unveiled by the authors of this corpus are marked by concern about the birth of the New Man. Indeed, although inscribed in its episteme, this literature tends to renew itself and to affirm its singularity. If, for Abdellatif Laâbi, all his generation of writers « descend from the mantle of Nedjma », emerging authors can legitimately extend the tribute by declaring themselves, still today, lulled by the chants of the Poet, breast-fed by La Repudiation, warned of high treacheries by Le Muezzin, awakened to the cry of Fis de la haine, acknowledging the widening of their horizons to the poetic dimension of Qui se souvient de la mer. And finally legitimized in the territory of languages, due to being besieged, in turn, by the voice of Assia Djebar and the polyphony of Ces Voix qui m’assiègent. Nevertheless, in answer to the question « Whither literature? » we approach its future by delivering a « temperature chart » by means of the trajectories it seems to take. The paradox of « becoming » lies in its oscillation between past and future, which makes it possible to escape the shackles of the present. It is on the myth that change is strengthened. Straddling the trajectory is both sailing towards possible « futures » and summoning safe bases. Happy Andalusia is the irrefutable guarantee of the feasibility and the illustration of this one-time occurrence can be renewed, as soon as conditions of its emergence are reproduced, by the writing of a « healing text » to manage the trauma and escort the individual towards resilience as well as new experiences of happiness. The New Man is to be reinvented. This is the ambition that the texts of the corpus have helped us to distinguish, whilst sometimes puzzling over its tracks and the contours.

Durante a gestão de Gustavo Capanema, ergueu-se o edifício-sede do Ministério da Educação e Saúde (MES). Visando atribuir à construção de orientação \"moderna\" caráter nacional, foram encomendadas várias obras de arte, entre elas um conjunto de esculturas, produzido entre 1937 e 1941, por Celso Antônio de Menezes, Adriana Janacópulos e Bruno Giorgi. Por meio da análise dessas esculturas, esta dissertação investiga as tentativas de figurar o ideal do \"homem novo\" empreendidas por políticos, intelectuais e artistas ligados ao MES. Buscamos compreender o que essas obras, como fontes, podem revelar acerca dos discursos sobre raça, gênero e nação do período. / During the administration of Gustavo Capanema, arose the headquarters of the Ministry of Education and Health (MES). Aiming to assign the construction of guidance \"modern\" national character, it was commissioned various works of art, including a collection of sculptures, produced between 1937 and 1941, by Celso Antônio de Menezes, Adriana Janacópulos and Bruno Giorgi. By analyzing these sculptures, this work investigates the attempts to figure the ideal of the \"new man\" undertaken by politicians, intellectuals and artists connected to the Ministry. We seek to understand what that works, as sources, might reveal about the discourses about race, gender and nation in the period.

In this diploma thesis I deal with the concept of a new socialist man in Czechoslovakia between 1948 and 1956 on the example of Emil Zátopek. The aim was to analyze the form of the new socialist man on the example of selected fiction, newspaper articles, visual, audio and archival material, taking into account the person of Emil Zátopek. The research was conducted using methods of discursive analysis. I approached the concept of the new socialist man as a social construct. Research has shown that the image of the new socialist man was dynamic and was misused by communist ideologues to create images of ideal citizens and emphasize the negative qualities of external and internal enemies. Exceptional personalities, such as Emil Zátopek, were shown by period propaganda as ideal citizens who were a harbinger of a new world. Zátopek's period image consists of two forms that intertwined with each other. Their combination enabled the communist propagandists to present Zátopek as a new socialist man, yet an ordinary citizen. The diploma thesis is divided into three chapters, which refer to each other. The chapters were conceived according to the image of Zátopek in contemporary propaganda.

In the 1950s and 1960s, the Organization of American States (OAS), a multinational political organization headquartered in Washington, DC, attempted to mediate U.S.-Latin American political and cultural relations. This dissertation traces how, in the United States, Latin American art emerged as a field of art historical study and exhibition via the activities of the OAS. I center my analysis on José Gómez Sicre and Rafael Squirru, two prominent curators who influenced the circulation of Latin American art during the Cold War. Part I focuses on Gómez Sicre, who served as head curator at the OAS from 1946 to 1981 and who founded the Museum of Modern Art of Latin America in 1976. I offer an analysis of Gómez Sicre’s aesthetic tastes, contextualizing them in relation to his contemporaries Alfred H. Barr, Jr., Marta Traba, and Jorge Romero Brest. I also discuss his efforts to build a network of art centers across the Americas, indicating how his activities fed into a Cold War struggle around notions of the “intellectual.” Part II examines the activities of poet and art critic Rafael Squirru, who served as Director of Cultural Affairs of the OAS from 1963 to 1970 and who theorized Latin American art in terms of the “new man.” I reconstruct how the phrase “new man” became a point of ideological conflict in the 1960s in a battle between Squirru and his political rival, Ernesto Ché Guevara. Throughout this dissertation, I indicate how Gómez Sicre and Squirru framed modern art within different Pan-American dreams of future world prosperity, equality, and cooperation. By examining the socio-political implications behind those dreams, I reveal the structures and limits of power shaping their influence during the Cold War. My study concentrates on the period from the founding of the OAS in 1948 to the establishment of the Museum of Modern Art of Latin America in 1976, and I contend that the legacies of Pan-Americanism continue to affect the field of Latin American art today. / text

The discursive and critical positions of the ‘classic’ nineteenth-century novel, particularly the woman’s novel, in the field of adaptation studies have been dominated by long-standing concerns about textual fidelity and the generic processes of the text-screen transfer. The sociocultural patterns of adaptation criticism have also been largely ensconced in representations of literary women on screen. Taking a decisive twist from tradition, this thesis traces the evolution of representations of masculinity in the malleable characters of Rochester and Heathcliff in film and television adaptations of Charlotte Brontë’s Jane Eyre and Emily Brontë’s Wuthering Heights between 1939 and 2009. Concepts of masculinity have been a neglected area of enquiry in studies of the ‘classic’ novel on screen. Adaptations of the Brontës’ novels, as well as the adapted novels of other ‘classic’ women authors such as Jane Austen, George Eliot and Elizabeth Gaskell, increasingly foreground male character in traditionally female-oriented narratives or narratives whose primary protagonist is female. This thesis brings together industrial histories, textual frames and sociocultural influences that form the wider contexts of the adaptations to demonstrate how male characterisation and different representations of masculinity are reformulated and foregrounded through three different adaptive histories of the narratives of Jane Eyre and Wuthering Heights. Through the contours of the film and television industries, the application of text and context analysis, and wider sociocultural considerations of each period an understanding of how Rochester and Heathcliff have been transmuted and centralised within the adaptive history of the Brontë novel.