Comparé à l’art contemporain chinois qui ne cesse de caracoler en tête du marché de l’art, le design graphique est un objet artistique, industriel et populaire, modeste dans ses ambitions culturelles. Toutefois ses enjeux présentent un important intérêt scientifique dès lors que toutes les productions spécifiques du design s’adressent davantage au peuple chinois qu’aux étrangers. Soumis à des commanditaires économiques et politiques, le design graphique en tant qu’objet de recherche témoigne non seulement des luttes existant à l’intérieur du champ du design chinois mais également de celles qui se livrent en pleine Chine postmoderne. Dans le cadre théorique des Etudes Culturelles, cette thèse considère que le design graphique recèle une fonction sociale et politique significative en Chine, dont les enjeux excèdent ceux que l’on pense être susceptibles de répondre à une simple fonction de communication commerciale. A partir d’analyse de quelques productions graphiques emblématiques historiques, cette recherche s’interroge sur la réactualisation de l’identité culturelle chinoise, en crise aujourd’hui. Au cours des périodes moderne, maoïste et postmoderne, le design graphique n’a cessé de participer à l’esprit du temps dominant. En tant que dispositif actif, socio-formant l’esprit et relevant de la culture, le design graphique intervient dans les processus de construction identitaire individuelle et collective. Cette recherche, après avoir rendu compte des rapports parfois ambigus ou incertains, exercés par les modèles graphiques hégémoniques et concurrentiels, s’attache à décrypter les actuelles tensions révélatrices de valeurs et visions du monde contradictoires. / Comparing to the Chinese contemporary art which constantly prance at the head of the art market, the graphic design is an artistic object, industrial and popular, and modest in its cultural ambitions. However, its stakes present a scientific interest important because all of the specific design productions direct to the Chinese people than the foreigners. Subject to the economic and political partners, the graphic design, as the object of research, attest the existing conflicts not only inside the field of Chinese design, but also engaged in the full postmodern China. In the theoretical frame of the Cultural Studies, this thesis considers that the graphic design receives a significant social and political function in China, those stakes exceed its simple function of commercial communication which we are likely to think. From analysis of some historic and symbolic graphic productions, this research examines the updating of the Chinese cultural identity, in crisis today. In modern times, Maoist and postmodern periods, the graphic design has continued to participate in the dominant spirit of the times. As an active device, socio-forming the spirit and arising from the culture, the graphic design intervenes in the processes of individual and collective identity construction. After reported the reports sometimes ambiguous or uncertain, which were exercised by the hegemonic and competitive graphic models, this research attempts to decipher the current revealing tensions of the values and visions in the contradictory world.

Cette thèse montre comment les imaginaires cinématographiques de la menace d’origine naturelle, technologique ou sociale traduisent le climat mental qui se développe à notre époque. L'émergence d'un héros postmoderne semble être le signe d'une mutation du social. La recherche s'appuie sur différentes analyses sociologiques du cinéma, sur l'analysede contenu d'un corpus de trente films réalisés durant la première décennie du XXIe siècle, sur des réponses à des sondages d'opinion auprès de jeunes et sur des textes d'observateurs du monde contemporain. Ceci afin de mettre en évidence les interactions qui lient le cinéma et le monde réel. Ces films constituent un terrain d'observation des obsessions du temps présent. / This thesis shows how the imaginaries in films concerning the threat inherent to nature, technology or social issues emphasizes the mental climate developing nowadays. The emergence of a postmodern hero seems to indicate a deep change in the social sphere. This research uses different sociological analysis of film-making, the analysis of the contentof a corpus of thirty films directed during the first decade of the twentyfirst century, youth answers to opinion polls and texts from contemporary world observers. In so doing it reveals the interactions linking cinema and reality. These films constitute a ground of observation of the nowadays obsessions.

Anotation: Špidlová, Z.: Clothing as a means for self-identification and self-representation and possible didactic applications of the theme in art education. [Diploma thesis] Prague, 2013 - Charles University in Prague, Faculty of Education, Art education, 224 p. (Attachements: Diary and file documenting the art part of diploma thesis) This thesis examines the phenomenon of clothing, its semiotic function in the context of postmodern society and social aspects with emphasis on identification with a particular social group. The research brings knowledge about two groups, their clothing and social contexts. The groups are the costume culture of the Alto Minho in Portugal and the goth subculture. The results of the research are directly connected to the art part, the output of which is a clothing model combining elements of both of these groups. Didactic section presents findings on the diversity of interpretation of students from the seventh grade of basic school and the second year of middle school when dealing with the topic of identity and subculture applied on clothing. Key words: clothes, identity, self-presentation, self-identification, subculture, materials creation, postmodern society, art education

Approved for public release, distribution is unlimited / Since the end of the Second World War, foreign policy goals have rarely become the lead issue for any Italian administration, and the desire to maintain the "special relationship" between the United States and Italy has generally muted any dispute The collapse of the Soviet Union and a growing concept of national interest in Italy have combined to change the basis of Italian-American cooperation. With increasing speed and fervor, Italian society and its political leadership continue to develop goals and ideas that are less dependant on foreign influence or reaction than has been the case in the past. The events of the 1990s made many Italians reflect on what their values and principles were. Italians feel increasingly able to voice their opinion, even when it differs with that of the United States. While as partners there is still an inequality of means, the developing independent agenda in Italy will reduce American influence to be an equally competing perspective in the national policy debate. Although it is uncertain how far future foreign policy aims will diverge from American interests, the trend certainly shows that Italians will feel less restraint in voicing their disagreements when they arise. / Major, United States Army

This dissertation examines the theological diversity that is currently developing within North American evangelicalism due to the growing influence of postmodernism and the resulting postconservative shift in evangelical thought. Chapter 1 begins with an initial assessment of the historical background and intellectual landscape behind the postmodern setting as well as the reasons why many evangelicals, such as Stanley J. Grenz and Kevin J. Vanhoozer, have chosen to adopt postconservative approaches to theological method. Chapter 2 then moves to a critical analysis of these two theologians by first treating the work of Stanley Grenz. This segment evaluates his proposals regarding theological method by outlining the primary ideas and factors that lead to his version of a postmodern evangelical theology. Chapter 3 subsequently offers a survey of the contrasting ideas of Kevin J. Vanhoozer. Here again, the tracing of Vanhoozer's distinct rendition of postconservatism is done by examining the major factors that are prominent within his work. Chapter 4 then provides evaluations of the strengths and weaknesses of Grenz's and Vanhoozer's thought as well as points of comparison and contrast between them. In the end, it is argued that while both thinkers share several mutual criticisms of conservative evangelicalism, Grenz's expression of postconservatism is noticeably different from Vanhoozer's. Specifically, it is shown that Grenz clearly advocates a kind of postmodern postconservatism, which entails modifications in theological method as well certain doctrinal commitments intrinsic to historic evangelicalism. Juxtaposed to Grenz, it also is argued that Vanhoozer provides a more confessional model of postconservatism because his recommendations for a new methodology still remain loyal to certain theological commitments that Grenz would deem as non-essential to the evangelical theology. Chapter 5 finally assesses the potential future effects that certain kinds of postconservative thought could have in evangelical circles. Likewise, several key elements regarding theological method that still require further attention in light of the development of postconservatism are also highlighted and discussed. / This item is only available to students and faculty of the Southern Baptist Theological Seminary. If you are not associated with SBTS, this dissertation may be purchased from <a href="http://disexpress.umi.com/dxweb">http://disexpress.umi.com/dxweb</a> or downloaded through ProQuest's Dissertation and Theses database if your institution subscribes to that service.

Cette étude répond à l’intitulé suivant : La fiction romanesque de la postmodernité et ses labyrinthes. L’exemple des textes d’Alain Robbe-Grillet (France, 1922-2008), de Juan José Saer (Argentine, 1937-2005) et de Boubacar Boris Diop (Sénégal, 1947-). Elle se propose de cerner, sous l’autorité méthodologique de la poétique textuelle, les diverses modalités par lesquelles le motif du labyrinthe s’impose comme substrat privilégié de la poétique du récit chez trois écrivains appartenant à des aires linguistiques et culturelles différentes. Le choix et l’examen des textes de ces trois écrivains reposent sur la volonté de montrer le déploiement de ce motif dans l’organisation interne de la fiction romanesque postmoderne. En effet, intégré dans la dynamique interne de l’oeuvre de manière très diversifiée, le motif du labyrinthe surgit dans toutes les problématiques qui traversent l’écriture romanesque postmoderne. Par commodité méthodologique et rigueur scientifique, cette étude se déploie suivant trois axes complémentaires. Tandis que le premier qui s’intitule « Le labyrinthe comme invariant obsessionnel de la fiction romanesque de la postmodernité » s’attache à faire ressortir les diverses facettes sous lesquelles ce motif se déploie dans la dynamique textuelle du récit fictionnel postmoderne ; le deuxième qui a pour titre « Le labyrinthe comme modalité constitutive de la narrativité du récit : la fiction romanesque de la postmodernité à l’épreuve de la discontinuité », s’attèle quant à lui, à examiner en quoi ce motif participe d’un projet d’écriture qui revendique la discontinuité comme principe narratif ; enfin, le troisième qui a pour intitulé « Le labyrinthe comme modalité caractéristique de l’interdiscursivité et de l’intergénéricité de la dynamique textuelle : la fiction romanesque de la postmodernité à l’épreuve de la polyphonie », entreprend pour sa part de démontrer en quoi ce motif est constitutif de la polyphonie qui gouverne la dynamique textuelle du récit fictionnel postmoderne. / This study answers the following title: Romantic fiction of postmodernity and its mazes. The example of the texts of Alain Robbe-Grillet (France, 1922-2008), of Juan José Saer (Argentina, 1937-2005) and of Boubacar Boris Diop (Senegal, 1947-). It intends to identify, under authority methodological of poetic text the various modalities by which the pattern of the labyrinth becomes established as privileged substrate of the poetic narrative in three writers belonging to different linguistic and cultural areas. The choice and examination of the texts of these three writers rest on the will to show the deployment of this pattern in the internal organization of the postmodern romantic fiction. Indeed, integrated in the internal dynamic of writing in a very diversified way, the pattern of the maze appears in all the problems which cross the romantic writing. For methodological convenience and scientific rigour, this study deploys according to three complementary axes. While the first is entitled "The labyrinth as obsessive invariant of the romantic fiction of postmodernity" sets out to bring out the different aspects in which this pattern unfolds in dynamic textual postmodern fictional narrative, the second which is entitled "The labyrinth as constitutive modality of the narrativity of the story : romantic fiction of postmodernity to the test of discontinuity", gets down to examine how this pattern is part of a writing project that claims the discontinuity principle as narrative, and the third which is entitled "The labyrinth as a characteristic modality of interdiscursivity and intergenericity textual dynamic : romantic fiction of postmodernity to the test of polyphony" undertakes to show how this pattern is constitutive of polyphony which governs the dynamic of textual postmodern fictional narrative.

Thesis advisor: Deborah Levenson / The emergence of the concept of Fair Trade has inspired a new form of supply-determination by socially conscious consumers. Since it began official certification, Fair Trade has served as a tool to curb the exploitation of labor. It has also promoted direct connections between vendors and producers, organized participatory democracy, continuity in trade relations, respect for the environment, movement toward equal status of gender, and living wages for workers. Small family farmers now produce over 51 percent of coffee in the world, and 90 percent of the world's cocoa. With a History Honors Thesis, I seek to examine the use of worker-owned recuperated factories of Argentina for the production of Fair Trade footwear and apparel. Such factories require more complicated chains of supply (primary materials, numerous factories for production, contractors, transportation, warehouses, and retail) than primary materials such as coffee. Started in the 1980s, the recuperated factories in Argentina may provide the complex links to a sweatshop-free market, which have been lacking. The experiment has exploded to about 180 businesses since an economic crisis in 2001 forced owners to flee and workers to gain expropriation, half through legislation and half through occupation, according to journalist Andrés Ruggeri. My project seeks to investigate whether chains of production and distribution of complex Fair Trade certified or sweatshop-free products, using recuperated factories in Argentina, could serve as an economic alternative for manufactured Fair Trade products. By pursuing in-depth research on this project and understanding porteño culture and labor struggles, I have built a strong foundation for a thesis. My independent study project for the School for International Training during my Fall 2005 semester abroad in the Southern Cone (Argentina, Uruguay, Paraguay, and Brazil) became my passion and provides preliminary background information. Basing the project on interviews I had conducted with workers from ceramics, textile, and shoe recuperated factories all over, I found evidence of new supply chains with words from key leaders like Raul Godoy, Vasco Abelli, and Luis Caro (Control Obrero, El Movimiento Nacional de Empresas Recuperadas, and El Movimiento Nacional de Fábricas Recuperadas por los Trabajadores). I also became personally involved in the network of founders of current trade groups based in Argentina, with whom I will consult for my work on the History Honors Thesis. Building directly on research interests, and especially the interviews that I conducted in my semester in Argentina, I will address the complexities of the philosophical foundations, key figures, and actions that have comprised the vast history of labor in Argentina from its pre-capitalist mutuales artisan communities up to the contemporary situation with close academic mentorship from Professor Levenson. With plentiful sources of information, I will document each prospective or current deal to produce for Fair Trade distributors, develop an understanding of which products are feasible for ethical supply chains, analyze the success of such collaborations with new distributors, and compare and contrast them with business for former or other clients. Portions of the movement vary in ideology and vision, but all seek to maintain relations with former distributors. The primary concern is surviving and gaining expropriation, but the movement is witnessing a series of new strong inter-relations and projects for Fair Trade. There is a hopeful outlook for the recuperated factories, and integration into a Fair Trade market is a feasible goal for the next era (2006-2011) of the movement. / Thesis (BA) — Boston College, 2007. / Submitted to: Boston College. College of Arts and Sciences. / Discipline: History. / Discipline: History Honors Program.

Este trabalho investiga se no Brasil o lugar social destinado pela sociedade às pessoas que possuem diagnósticos relativos à psicose é semelhante àquele que o poder soberano destina ao homo sacer. Para isso, o referencial teórico estudado baseia-se na pesquisa de Agamben sobre o homo sacer e na teoria psicanalítica da psicose, mas não de forma exaustiva, e sim recortando possíveis contribuições. Essas noções subsidiam toda discussão que vai dos primeiros entendimentos sobre loucura, atravessando o ideal de eugenia, até desembocar na reforma psiquiátrica e no Serviço de Residência Terapêutica SRT como contraponto à política manicomial. Já para a pesquisa de campo, a metodologia escolhida baseou-se numa pesquisa qualitativa, com o uso de entrevista semiestruturada e de diários de campo. Os participantes foram divididos em três perfis: moradores do SRT que são egressos de períodos de longa internação em hospitais psiquiátricos, com nosologia relativa à psicose; cuidadores do SRT; e técnicos de nível superior que atuam na área da saúde mental. A análise das entrevistas foi baseada na análise de conteúdo. Os resultados evidenciam que a história da loucura no Brasil foi marcada pela exclusão, mas que os acontecimentos do século XX evidenciaram que o psicótico deixa de estar apenas no lugar do excluído e é jogado no lugar do homo sacer. Simultaneamente ao psicótico como homo sacer está a figura do neurótico como sobrevivente, mas ambos vivem a insegurança de se afogarem no rio da biopolítica. Já as falas dos moradores, cuidadores e técnicos reconheceram o hospital psiquiátrico como um lugar onde as pessoas são abandonadas por todos para morrer: abandonadas pelas famílias, abandonadas pela equipe do hospital, abandonadas pelo poder público, abandonadas pela sociedade como um todo. Mais que um lugar de abandono, o hospital psiquiátrico era um lugar de morte. A este lugar de morte surgiu como contraponto uma saúde mental voltada para a inserção social e territorial das pessoas acometidas de transtornos mentais, e o SRT mostrou-se um importante equipamento para efetivar tais ações. Para os participantes, o SRT é tudo o que o hospital psiquiátrico não é: Enquanto o hospital leva as pessoas para longe da cidade, a residência traz de volta para ela. Enquanto o hospital aprisiona irresponsavelmente, a residência liberta responsavelmente. Enquanto nos hospitais existem pacientes internados, na residência existem moradores que participam da sociedade. Enquanto nos hospitais corpos são usados desrespeitosamente, na residência vidas são vividas dignamente / This work problematizes and investigates if in Brazil the social place destined by the society to the people that have diagnoses related to the psychosis is similar to the one that the sovereign power destines to homo sacer. For this, the theoretical framework studied is based on Agamben\'s research on homo sacer and on the psychoanalytic theory of psychosis, but not in an exhaustive way, but rather by cutting possible contributions. These notions subsidize any discussion that goes from the first understandings about madness, crossing the ideal of eugenics, until it ends in the psychiatric reform and the Service of Therapeutic Residence - STR - as a counterpoint to the asylum policy. For the field research, the chosen methodology was based on a qualitative research, with the use of semi-structured interviews and field diaries. Participants were divided into three profiles: residents of the STR who are graduates of periods of long stay in psychiatric hospitals, with nosology related to psychosis; STR caregivers; and higher education technicians who work in the area of mental health. The analysis of the interviews was based on content analysis. The results show that the history of madness in Brazil was marked by exclusion, but that the events of the twentieth century showed that the psychotic is no longer only in the place of the excluded and is played in the place of homo sacer. Simultaneously with the psychotic as homo sacer is the figure of the neurotic as survivor, but both live the insecurity of drowning in the river of biopolitics. The speeches of the residents, caregivers and technicians have recognized the psychiatric hospital as a place where people are abandoned by all to die: abandoned by the families, abandoned by the hospital staff, abandoned by the public power, abandoned by society as a whole. More than a place of abandonment, the psychiatric hospital was a place of death. To this place of death a mental health aimed at the social and territorial insertion of the people affected by mental disorders appeared as a counterpoint, and the STR proved to be an important equipment to carry out such actions. For participants, the STR is all that the psychiatric hospital is not: While the hospital takes people away from the city, the residence brings it back to it. While the hospital imprisons irresponsibly, the residence frees responsibly. While in hospitals there are hospitalized patients, in the residence there are residents who participate in society. While in hospitals bodies are used disrespectfully, in residence lives are lived worthily

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ORIBOMBO: Arte da Pós-Modernidade A presente dissertação de mestrado propõe-se a apresentar o Oribombo como arte da pós-modernidade, trazendo a questão do hibridismo do Oribombo, à situação da arte atual, onde se verificam hibridismos de toda natureza, incentivados pela total liberdade. O artista não se prende mais à ideologias e limitações que ditavam as concepções artísticas do passado, inclusive do passado recente. Liberdade é a palavra de ordem da pós-modernidade. Liberdade que se manifesta em todos os segmentos da sociedade. E na arte, uma consequência do livre fazer, é que os hibridismos são constantes, acontecendo de forma natural. As modalidades artísticas são exploradas simultaneamente, abrindo um leque de possibilidades durante o processo de criação. No caso do Oribombo, as modalidades artísticas que se mostraram plasticamente mais interessantes, foram a pintura, gravura, escultura e a colagem. Outra consequência da total liberdade adquirida pelos artistas da pós-modernidade, é que em certos momentos, indaga-se se tudo que é produzido com o título de arte é arte realmente. Essa discussão é muito ampla, mas a premissa de que arte é a produção de um artista, é a que mais ecoa, não somente no meio artístico, como também, entre pensadores e escritores, que direcionaram suas atenções ao desenrolar da história da arte. Os fazeres e conhecimentos artísticos são indispensáveis ao artista plástico visual, sendo assim, as modalidades artísticas que foram fundidas no processo de criação do Oribombo são seculares, mas, a liberdade com que foram tratadas é uma questão pós-moderna. / This dissertation proposes to introduce Oribombo as art of postmodernity, bringing the question of hybridity of Oribombo, the situation of contemporary art, where there are all kinds of hybridisms, encouraged by complete freedom. The artist is not attached to the ideologies and more limitations that dictate the artistic conceptions of the past, even the recent past. Freedom is the slogan of the postmodernity. Freedom that is manifested in all segments of society. And in art, one of the consequences of free artistic making is the hybridism, and it is a constant, happening naturally. The artistic modalities are explored simultaneously, opening up a range of possibilities during the creation process. In the case of Oribombo, the artistic modalities that were artistically more interesting, were the painting, the printmaking, the sculpture and the collage. Another consequence of complete freedom gained by artists of the postmodernity, is that at certain times, inquires if everything is produced with the title art is really art. This discussion is very ample, but the premise that art is the production of an artist, is the one that resonates, not only in the artistic world but also among thinkers and writers, that directed their attention to the course of art history. The doings and artistic knowledge are indispensable to the visual artist. The artistic modalities that were merged into the creation process Oribombo are secular, but the freedom with which they were treated is a postmodern matter.