O presente estudo analisa os procedimentos formais do jornal vivo, forma teatral fundamentada na encenação de notícias, conforme o gênero configurou-se nos Estados Unidos e no Brasil. Para tanto, define como objeto, do lado estadunidense, o jornal vivo Injuction Granted (Liminar é Concedida), produzido no âmbito do Federal Theatre Project (Projeto Federal de Teatro), iniciativa do Governo de Franklin Roosevelt para lidar com o desemprego provocado pela Grande Depressão, na década de 1930. Do lado brasileiro, faz-se uma leitura de Teatro Jornal: Primeira Edição, exposição didática de nove técnicas de encenação desenvolvidas por jovens artistas reunidos no Teatro de Arena de São Paulo e sistematizadas pelo teatrólogo Augusto Boal. O trabalho é introduzido por uma breve história da forma do jornal vivo, consolidada no período da Revolução Soviética, que procura apresentar suas principais manifestações e alguns dos caminhos que percorreu, principalmente nas décadas de 1920 e 1930. Demonstra-se que o jornal vivo sempre foi uma forma teatral ancorada na luta dos trabalhadores, sendo uma vertente central da arte de agitação e propaganda. A análise de suas manifestações nos Estados Unidos e no Brasil, dessa maneira, leva em conta o momento histórico dos países quando da produção das referidas peças, tentando relacionar conformação estética e horizonte político continuamente. O materialismo histórico ampara tal reflexão e, mais especificamente, sua aplicação ao pensamento sobre teatro, consubstanciada na teoria do teatro épico, desenvolvida por pensadores como Bertolt Brecht, Peter Szondi e Anatol Rosenfeld. / This is a study of the formal procedures of the living newspapers a theatrical form based on the theatricalization of news according to their configuration in the United States of America and in Brazil. Therefore, the work defines as an object in the American side the living newspaper Injunction Granted, a play staged under the Federal Theatre Project, which was one of Franklin Roosevelts programs to deal with unemployment during the Great Depression in the 1930s. In the Brazilian side, the focus is on Teatro Jornal: Primeira Edição (Theatre Newspaper: First Edition), a didactic exposition of nine staging techniques developed by young artists which had joined Teatro de Arena de São Paulo, as systematized by director Augusto Boal. This study begins with a short history of the form of the living newspaper which was cemented during the Soviet Revolution that tries to present its main ways of actualization and some of the paths taken by this genre, chiefly in the 1920s and 1930s. The work demonstrates that the living newspapers were always anchored on the workers struggle and are a central strand of the art of agitation and propaganda. Thus the examination of the American and Brazilian manifestations of the genre takes into account the historical conjuncture of both countries at the time the plays were produced, trying to continuously relate aesthetic conformation and political horizon. Historical materialism supports that reflection more specifically its application on the ideas about theater which were consubstantiated in the theory of the epic theater, developed by thinkers as Bertolt Brecht, Peter Szondi and Anatol Rosenfeld.

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.

O romance The Road (2006) representa um desvio na carreira do escritor norte-americano Cormac McCarthy. Sua prosa concisa e seu cenário apocalíptico marcam um distanciamento tanto de seus primeiros romances (mais próximos do gótico sulista) quanto dos mais recentes (westerns). Acompanhando a jornada de um Pai e um Filho por um país devastado, o autor faz um comentário sobre os Estados Unidos contemporâneo do pós-11 de setembro e da ascensão neoconservadora e fortalecimento do neoliberalismo. Com o intuito de investigar como o livro figura o presente, essa dissertação evidencia elementos de nosso tempo que se materializam na narrativa. Para isso, num primeiro momento, situa a obra do escritor no panorama da literatura americana contemporânea, e o papel de The Road dentro da bibliografia de McCarthy, culminando com a análise do foco narrativo, e o que ele representa. A partir disso, o eixo do trabalho se torna a produção literária do 11 de setembro, e novamente como o romance se destaca dentro desta contrapondo-o a outra obra contemporânea a ele: Falling Man, de Don DeLillo. Por fim, a análise formal da narrativa irá discutir o apocalipse e dialética estabelecida entre ele e a distopia, que são duas forças em duelo no livro. Assim, articulando esse movimento investigamos o papel dos personagens, cenário e tempo. Conforme teoriza Fredric Jameson, vivemos na era do Capitalismo Tardio, também chamada de Pós-Modernidade, e esta se concretiza ao longo do romance, conforme demonstramos nessa análise. A principal base teórica, novamente, é dada por Jameson em seu The Political Unconscious, além de conceitos formulados por Tom Moylan sobre utopia/distopia, e Frank Kermode sobre apocalipse, entre outros. / The novel The Road (2006) represents a detour in the writings of American novelist Cormac McCarthy. Its concise prose and apocalyptic setting signalize a departure both from his early novels (which are closer to the Southern Gothic) than his latest ones (Westerns). By following a Father and Sons journey through a devastated country, the author makes a commentary on contemporary United States of the post-9/11, and the rise of the neocons and the strengthening of neoliberalism. In order to investigate how the book figures the present, this master thesis highlights elements of our time that materialize in the narrative. Thereunto, it starts locating McCarthys work in the contemporary American literature, and The Roads role in his bibliography, culminating in the analysis of the focalization in this novel, and what it represents. Afterwards, the axis of the this work turns to the 9/11 literary production, and once again how the novel stands out in this group opposing The Road to another contemporary book: Don DeLillos Falling Man. Lastly, the formal analysis of the narrative will investigate the apocalypse and the dialectic established between it and dystopia, which are the two forces dueling in the book. Thus, by articulating this movement we investigate the role of the characters, setting and time. As Fredric Jameson theorizes, we live in the age of Late Capitalism, also known as Post-Modernity, and this appears throughout the novel, as we will demonstrate in the present work. The main theoretical foundation of this thesis is, again, given by Jameson in his The Political Unconscious, in addition to concepts formulated by Tom Moylan on utopia/dystopia, and Frank Kermonde on apocalypse, among others.

This master thesis examines the North American model of sport and possibility of its application to the European environment. It is divided into theoretical and analytical part. In the theoretical part, the author first clarifies concept of sport and its individual roles in our society, it is followed by explanation of sport training, its factors and regularities. Description of models of financing sport clubs and individual elements of both North American and European models of sport concludes the theoretical part. The analytical part begins with a brief history of the most important team sport competitions in the USA and Europe and it follows with an education system of athletes in both mentioned environments. The penultimate chapter contents detailed description of the organization of professional sport competition in the Czech Republic. Analytical part ends with the SWOT analysis of possible form of the North American model of sport in European terms.

O romance The Road (2006) representa um desvio na carreira do escritor norte-americano Cormac McCarthy. Sua prosa concisa e seu cenário apocalíptico marcam um distanciamento tanto de seus primeiros romances (mais próximos do gótico sulista) quanto dos mais recentes (westerns). Acompanhando a jornada de um Pai e um Filho por um país devastado, o autor faz um comentário sobre os Estados Unidos contemporâneo do pós-11 de setembro e da ascensão neoconservadora e fortalecimento do neoliberalismo. Com o intuito de investigar como o livro figura o presente, essa dissertação evidencia elementos de nosso tempo que se materializam na narrativa. Para isso, num primeiro momento, situa a obra do escritor no panorama da literatura americana contemporânea, e o papel de The Road dentro da bibliografia de McCarthy, culminando com a análise do foco narrativo, e o que ele representa. A partir disso, o eixo do trabalho se torna a produção literária do 11 de setembro, e novamente como o romance se destaca dentro desta contrapondo-o a outra obra contemporânea a ele: Falling Man, de Don DeLillo. Por fim, a análise formal da narrativa irá discutir o apocalipse e dialética estabelecida entre ele e a distopia, que são duas forças em duelo no livro. Assim, articulando esse movimento investigamos o papel dos personagens, cenário e tempo. Conforme teoriza Fredric Jameson, vivemos na era do Capitalismo Tardio, também chamada de Pós-Modernidade, e esta se concretiza ao longo do romance, conforme demonstramos nessa análise. A principal base teórica, novamente, é dada por Jameson em seu The Political Unconscious, além de conceitos formulados por Tom Moylan sobre utopia/distopia, e Frank Kermode sobre apocalipse, entre outros. / The novel The Road (2006) represents a detour in the writings of American novelist Cormac McCarthy. Its concise prose and apocalyptic setting signalize a departure both from his early novels (which are closer to the Southern Gothic) than his latest ones (Westerns). By following a Father and Sons journey through a devastated country, the author makes a commentary on contemporary United States of the post-9/11, and the rise of the neocons and the strengthening of neoliberalism. In order to investigate how the book figures the present, this master thesis highlights elements of our time that materialize in the narrative. Thereunto, it starts locating McCarthys work in the contemporary American literature, and The Roads role in his bibliography, culminating in the analysis of the focalization in this novel, and what it represents. Afterwards, the axis of the this work turns to the 9/11 literary production, and once again how the novel stands out in this group opposing The Road to another contemporary book: Don DeLillos Falling Man. Lastly, the formal analysis of the narrative will investigate the apocalypse and the dialectic established between it and dystopia, which are the two forces dueling in the book. Thus, by articulating this movement we investigate the role of the characters, setting and time. As Fredric Jameson theorizes, we live in the age of Late Capitalism, also known as Post-Modernity, and this appears throughout the novel, as we will demonstrate in the present work. The main theoretical foundation of this thesis is, again, given by Jameson in his The Political Unconscious, in addition to concepts formulated by Tom Moylan on utopia/dystopia, and Frank Kermonde on apocalypse, among others.

A culinária é um traço cultural muito forte e distintivo dos hábitos e feições de um povo, de uma sociedade ou mesmo de uma nação e estudos recentes sugeriram que essa atividade implica grandes desafios para os tradutores. Sabe-se que a tradução não é uma atividade neutra, uma vez que, além de preferências individuais, o tradutor transfere escolhas ideológicas para os textos que produzem. O objetivo desta pesquisa é analisar como o tema culinária brasileira tem sido abordado na sociedade norte-americana, comparando frequências e padrões colocacionais dos itens lexicais mais recorrentes em livros escritos por brasileiros àqueles escritos por norte-americanos. Para tanto, foi compilado um corpus de estudo comparável a partir de oito livros de receitas brasileiras publicados em língua inglesa e quatro livros de culinária brasileira publicados em português. Esse corpus foi dividido em dois subcorpora: um subcorpus receitas e um subcorpus textos informativos. O subcorpus receitas fornece subsídios para identificar os ingredientes e pratos relacionados como tipicamente brasileiros pelos norteamericanos, sendo possível, após essa identificação, compará-los ao que é publicado no Brasil. O subcorpus textos informativos é base para a análise do discurso do norte-americano em relação ao Brasil e ao povo brasileiro. A análise do corpus foi feita de maneira semi-automática, com ajuda da ferramenta computacional WordSmith Tools 5.0. A análise quantitativa dos dados precedeu a análise qualitativa, manual, do corpus de estudo. Diferenças significativas foram observadas nos dois idiomas. Os autores norte-americanos tendem a associar a culinária brasileira à culinária nordestina, principalmente à baiana. Também foi possível observar que dão preferência a receitas familiares e cujos ingredientes são mais facilmente encontrados nos Estados Unidos. Pela análise dos livros de receitas, ainda foi possível delinear certa imagem construída do brasileiro. Estereotipada, essa imagem pautou-se por características como: festeiro, místico, exótico e adepto de hábitos alimentares pouco saudáveis. Além disso, a culinária brasileira é vista como essencialmente caseira, restrita às residências, e os autores norte-americanos não costumam distinguir termos e aspectos próprios da cultura brasileira dos de outros países da América Latina. A metodologia baseada em corpus mostrou-se adequada e eficiente na identificação de padrões lexicais recorrentes, de uma forma mais prática e confiável do que seria possível a partir de uma leitura sequencial de textos individuais. / Culinary is a very strong cultural feature of a people, a society and even a nation, and recent studies have shown that it poses major challenges to translators. Taking into consideration that translation is not a neutral activity, since translators tend to transfer their ideological choices to the texts they produce, this research aims to investigate how Brazilian cuisine has been portrayed in North-American society. Our primary purpose is to compare the frequencies and collocational patterns of the most frequent lexical items in American and Brazilian cookbooks. In order to be able to do this, a comparable study corpus was compiled from eight Brazilian cookbooks published in English and four Brazilian cookbooks published in Portuguese. This corpus consists of two subcorpora: one made up of recipes and the other of informational texts. The recipes\' subcorpus has been compiled to enable the retrieval of ingredients and dishes which Americans would regard as typical Brazilian cooking and compare them to what is published in Brazil. The subcorpus \'informational texts\' serves as an input for the analysis of the discourse of Americans in relation to Brazil and Brazilian people. The analysis was carried out semi-automatically, by means of the software package WordSmith Tools 5.0, focusing on the quantitative as well as qualitative aspects of the data. Relevant differences were found between the books in the two languages. Firstly, North-American authors tend to associate Brazilian cuisine to dishes from the northeast of Brazil, mainly from Bahia. It was also found that North-Americans prefer recipes which are familiar to them and whose ingredients are more easily found in the United States. The analysis of the North-American discourse pointed to a stereotypical image of Brazilians, who are seen as revelers, mystic and, with unhealthy eating habits. In addition, Brazilian cuisine is mostly viewed as homemade and North-Americans do not seem to distinguish terms which are specific of the Brazilian culture from those of other Latin American countries. All in all, the corpus based methodology proposed here has proved to be adequate and reliable for identifying recurring textual patterns in a way that would not have been possible by sequential reading of individual texts.

Este trabalho apresenta, a partir de uma análise comparativa, o poder normativo das agências reguladoras no direito norte-americano e o poder normativo das agências reguladoras no direito brasileiro. Inicialmente, aborda os dois grandes sistemas jurídicos ocidentais: common law e romano-germânico. Após, analisa a origem, a definição e as principais características das agências reguladoras norte-americanas e das agências reguladoras brasileiras. Segue examinando no que consiste o poder normativo das agências reguladoras norte-americanas e o poder normativo das agências reguladoras brasileiras, em face das respectivas ordens jurídicas. Propõe, assim, identificar entre os dois modelos pontos comuns e divergentes, de modo a contribuir para a compreensão dos conceitos e institutos introduzidos nos últimos anos no plano político e jurídico do Estado brasileiro. This research presents, from a comparative analysis, the rulemaking power of the regulatory agencies in the North American law and the rulemaking power of the regulatory agencies in the Brazilian law. Initially, it deals with the two great occidental law systems: common law and German Romanic. Thereafter, it analyzes the origin, the definition and the main characteristics of the North American regulatory agencies and of the Brazilian regulatory agencies. It follows examining what the rulemaking power of the North American regulatory agencies and the rulemaking power of the Brazilian regulatory agencies consist of, regarding the respective law. Then, it proposes to identify common and divergent matters between the two analyzed models, so as to contribute to the comprehension of the concepts and institutions introduced in the past few years in the political and law order of the Brazilian State.

Submitted by admin tede (tede@pucgoias.edu.br) on 2018-04-24T14:16:07Z No. of bitstreams: 1 PEDRO HENRIQUE RODRIGUES MAGRI.pdf: 1215151 bytes, checksum: 49385cbaa9c8f02b74cce9c2fd51c367 (MD5) / Made available in DSpace on 2018-04-24T14:16:07Z (GMT). No. of bitstreams: 1 PEDRO HENRIQUE RODRIGUES MAGRI.pdf: 1215151 bytes, checksum: 49385cbaa9c8f02b74cce9c2fd51c367 (MD5) Previous issue date: 2018-02-21 / The present dissertation which is subscribed under the research area of Identity, Tradition and Territoriality of the History Post-Graduation Program of PUC Goiás, aims at developing new arguments which reinforce the theses widely disseminated by Renè Dreifuss and Carlos Fico about the fundamental North American participation in the preparation of the Brazilian political scenario in the years preceding the Military Coup of 1964. For such task, we intent to analyze news and columns presents in the press form of Goiás State: Revista da Arquidiocese, Brasil Central and Folha de Goyaz. By means of a study of case, we intent to show how IBAD support some candidates to increases the opposition of João Goulart’s government, thought of the elections of 1962, to ensure the north american interests in Brazil. / A presente dissertação, inscrita na linha de pesquisa Identidade, Tradição e Territorialidade do Programa de Pós-Graduação em História da PUC Goiás, pretende construir novos argumentos que reforçam as teses amplamente difundas por Renè Dreifuss e Carlos Fico sobre a fundamental participação norte-americana na preparação do cenário político brasileiro nos anos que antecederam o golpe civilmilitar de 1964. Para tal tarefa, pretendemos analisar reportagens e colunas presentes nos veículos de comunicação impressa do Estado de Goiás durante o ano de 1962: Revista da Arquidiocese, jornal Brasil Central e jornal Folha de Goyaz, mostrando através de um estudo de caso, como a imprensa goiana, por meio do IBAD, apoiou diversos candidatos aos principais cargos do poder legislativo a nível federal, estadual e municipal, com o intuito de ampliar a base de oposição ao governo de João Goulart durante as eleições de 1962, garantindo, desta forma, a manutenção dos interesses norte-americanos no país.

Taking the works of William Gibson as its point of focus, this thesis considers cyberpunk’s expansion from an emphatically literary moment in the mid 1980s into a broader multimedia cultural phenomenon. It examines the representation of racial differences, and the formulation of global economic spaces and flows which structure the reception and production of cultural practices. These developments are construed in relation to ongoing debates around Japan’s identity and otherness in terms of both deviations from and congruities with the West (notably America). To account for these developments, this thesis adopts a theoretical framework informed by both postmodernism as the “cultural dominant” of late capitalism (Jameson), and orientalism, those discursive structures which produce the reified polarities of East versus West (Said). Cyberpunk thus exhibits the characteristics of an orientalised postmodernism, as it imagines a world in which multinational corporations characterised as Japanese zaibatsu control global economies, and the excess of accumulated garbage is figured in the trope of gomi. It is also postmodernised orientalism, in its nostalgic reconstruction of scenes from the residue of imperialism, its deployment of figures of “cross-ethnic representation” (Chow) like the Eurasian, and its expressions of a purely fantasmatic experience of the Orient, as in the evocation of cyberspace. In distinction from modern or Saidean orientalism, postmodern orientalism not only allows but is characterized by reciprocal causality. This describes uneven, paradoxical, interconnected and mutually implicated cultural transactions at the threshold of East-West relations. The thesis explores this by first examining cyberpunk’s unremarked relationship with countercultural formations (rock music), practices (drugs) and manifestations of Oriental otherness in popular culture. The emphasis in the remainder of the thesis shifts towards how cyberpunk maps new technologies onto physical and imaginative “bodies” and geographies: the figuration of the cyborg, prosthetic interventions, and the evolution of cyberspace in tandem with multimedia innovations such as videogames. Cyberpunk then can best be understood as a conjunction of seemingly disparate experiences: on the one hand the postmodern dislocations and vertiginous moments of estrangement offset by instances of intense connectivity in relation to the virtual, the relocation to the “distanceless home” of cyberspace. As such it is an ever-expanding phenomenon which has been productively fused with other youth-culture media, and one with specifically Japanese features (anime, visual kei, and virtual idols).

The study of regions in international relations has been a sometime thing, gaining scholarly attention in the 1950s and 1960s, dropping largely from view in the 1970s, and returning to focus quite dramatically in the late 1980s and early 1990s. It is clear that the contemporary manifestations of regionalism (the completion of the internal market of the European Communities in 1992, Asia Pacific developments, and US-centred Western hemisphere moves) constitute a new and qualitatively different factor in both interstate relations and the international political economy. The growth in the development of regions in the 1980s also represents a new level of interstate collaboration in the international system. The question arises as to the causes of this 'new regionalism' of the 1980s, and the implications of these developments for international relations practice and theory. Investigating these issues is the main task of this thesis. ¶ This thesis involves three elements: a central contemporary element examining the re-emergence of regions in the 1980s; a second comparative element comparing the causal factors operating in three different regions; and lastly, a theoretical element examining the usefulness of current theory to the phenomenon of regionalism in the 1980s and 1990s. Chapters Two and Three discuss the relevant theoretical literature with a view to developing the propositions to be examined in the case studies. They examine three of the major streams of international relations theory - realism, liberal economics, and institutionalism - with a focus on what these contending theories have had to say about how regional groupings arise. Chapter Two looks at the relevant theoretical literature in the 1950s and 1960s while Chapter Three explores the more recent theoretical literature of the 1970s and 1980s. ¶ The rest of the body of the thesis tests propositions set out at the end of Chapter Three on the causes of the regionalist revival in the 1980s by way of three case studies, each one concerned with the actual development of regionalism in three different parts of the globe: Western Europe, North America and the Asia Pacific. ¶ In all three regions the move towards regionalism was clearly a reaction to negative developments in the international economic and political systems. It was in part a specific response to the undermining of the liberal international trading regime and the associated rise in protectionism, particularly in the US. It was also partly the result of an ideational shift in terms of economic doctrine away from keynesianism and import substitution industrialisation to economic liberalism and export-oriented economic growth. Yet it is also apparent from the case studies that the new regionalism was also to some extent the result of a kind of interactive chain reaction, a spiral of mutual anxiety, with regionalism in one area provoking an extension of regionalism in another. It is indeed difficult to establish which of these causal explanations is the principal one as it is clear from the case studies that they are in fact mutually reinforcing. ¶ The thesis concludes with an analysis of the insights provided by the case studies into the theoretical debates examined in Chapters Two and Three. Finally, there is an attempt to use these insights to construct a theory accounting for the rise of the new regionalism.