The diploma thesis The birth of the daily The New York Times deals with the birth and evolution of the daily newspaper The New York Times. It analyses its birth on the background of the state of American journalism in the middle of the nineteenth century. It deals with the rise of the penny press and the founding of the most important papers of this era, mainly New York Sun, New York Herald and New York Tribune. The birth of The New York Times is described as a natural step in the filling of a gap on the publishing market, which lacked a serious and unbiased paper. After describing the founding of The New York Times the thesis deals with the two most important eras in the history of the paper. These are the period after the death of its founder Henry Jarvis Raymond, when the paper was lead by his old collaborator George Jones and the repeated rise of the paper under Adolph S. Ochs at the turn of the nineteenth century. In the final part of this thesis, the state of the paper at the start of the twenty-first century is described. A description of the atmosphere of this explored era, the social conditions in USA in the middle of the nineteenth century and the situation on the media market also forms a part of this thesis. A part of the thesis is dedicated to short passages summarizing the lives of the...

Tesis para optar al grado de Magíster en Literatura / La sociedad norteamericana desde los años 60 en adelante muestra claros signos de postmodernidad. Los individuos alienados en sus trabajos desgastantes buscan solucionar sus pequeñas realidades domésticas y familiares. El escapar de esta encrucijada es prácticamente imposible. Solo el consumo se presenta como una forma de escape fácil, desechable. Están solos frente a sus mínimas existencias y pesadas cargas, ya que los grandes relatos que los podrían haber sostenido han perdido credibilidad pues se han desplomado con el peso de sus propias contradicciones. Sin embargo, se presenta un elemento de salvación en estas apesadumbradas vidas, la renovadora naturaleza, a la cual se dirigen para alivianar un poco el peso de sus realidades. El escritor estadounidense Raymond Carver dejó este legado en sus cuentos cortos, los cuales presentan estas mismas señales, a través de un modo simple, directo, utilizando imágenes en movimiento tal cual es el lenguaje de sus personajes, todos miembros de la clase trabajadora. Esta investigación propuso encontrar y encontró signos de postmodernidad literaria en los cuentos de Carver, tales como la utilización de recursos característicos de este movimiento, como la rapidez de las imágenes que suceden unas tras otras en perpetuos presentes obligando al lector a la posterior reconstrucción de las historias. Por otro lado, la intertextualidad con sus propios poemas o cuentos así como el uso de registros lingüísticos típicos de la clase trabajadora. Todos estos elementos, y más aun, han sido encontrados en la presente investigación.

MASTERS School of English Student No: 9910994F / Literary criticism on the short fiction of Raymond Carver investigates frequently the narrative omissions whereby Carver renders the plight of middle and lower class America. Neither exclusively formal nor exclusively thematic critiques of Carver’s short stories explicate adequately the purposes and effects of these narrative omissions. This study, which is framed by Wolfgang Iser’s reader-response theories of ‘negation and ‘negativity’, and Michael Fried’s notion of aesthetic ‘absorption’, provides a formal and thematic reading of eight of Carver’s stories. This study argues that the reader’s investments in these omissions generate various indices of sympathetic identification. In tandem with such an inquiry, this study also examines the apparent antagonism between the realist and postmodernist strains discernible across Carver’s narratives. This antagonism is caused by Carver’s omissions, which simultaneously create the illusion of mimetic transparency and negate this transparency. The omissions that operate across Carver’s stories make the reader conscious not only of how he or she interprets the author’s words, but also how he or she interprets the world. Carver’s neo-realism, this study proposes, therefore has a far greater potential for social realism than traditional modes of realist representation.

This dissertation seeks to offer the first extensive account of Raymond Aron's critical interactions with major US academics and intellectuals during the Cold War. In doing so it demonstrates that Aron regularly criticized the liberal ideology of his American Cold War allies using language remarkably similar to his much more famous critiques of French Marxism. It demonstrates this by looking at Aron's thinking on neoliberalism, theories of global development and international relations realism. It also offers an alternative interpretation of Aron's role in the so-called French liberal revival of the 1970s.

Raymond Williams é um autor conhecido por seus trabalhos sobre cultura, mas não só por isso. Ele também é conhecido por ser um dos fundadores da chamada Nova esquerda Inglesa, por ser um dos fundadores da disciplina Estudos Culturais e por ser um dos maiores críticos de tradição literária do século XX. Seu trabalho, contudo, sua obra ainda é pouco estudada na área da educação. Portanto, levando em conta esse fato, construímos esta dissertação, optando pela pesquisa bibliográfica, a qual nos ajudou a responder nossa questão: de que forma o autor Raymond Williams se faz presente em pesquisas na área de Fundamentos da Educação? Tivemos como objetivo, trazer as reflexões acerca do modo como Williams e, sobretudo, seus conceitos ligados ao seu materialismo cultural estão sendo tratados em pesquisas em educação na área dos fundamentos da Educação. Analisamos, então, cinco trabalhos que foram selecionados de acordo com alguns critérios. A análise foi dividida em duas etapas: a primeira, na qual foi feito um breve resumo das obras selecionadas e a segunda etapa, na qual foram feitas, por meio de blocos conceituais, as análises de cada conceito, reportado a Williams, contido nas obras. Dentre os textos analisados, nos deparamos com trabalhos que somente citaram o autor, utilizando-se apenas de alguma definição que lhes ajudassem com determinado assunto; trabalhos que faziam uma apropriação bastante superficial e utilizam alguns elementos do autor, mas não se aprofundaram em seus pressupostos; e trabalhos que conseguiram se aprofundar mais nas obras do autor, utilizando-se de diversos de seus conceitos. Ao concluir esta dissertação, esperamos ter contribuído um pouco para o avanço nas contribuições que se referem a Raymond Williams e sua presença, ainda que tímida, na pesquisa em fundamentos da educação. / Raymond Williams is an author known for his work on culture, but not only for that. He is also known for being one of the founders of the so-called New English Left, for being one of the founders of the Cultural Studies discipline and for being one of the greatest critics of literary tradition of the twentieth century. His work, however, his work is still little studied in the area of education. So, taking this fact into account, we constructed this dissertation, opting for bibliographic research, which helped us answer our question: How does author Raymond Williams become present in researches in the area of Fundamentals of Education? We have aimed to bring the reflections about how Williams and, above all, his concepts related to his cultural materialism are being treated in research in education in the area of the fundamentals of Education. We then analyzed five papers that were selected according to some criteria. The analysis was divided into two stages: the first, in which a brief summary of the selected works was made and the second stage, in which the analyzes of each concept, reported to Williams, contained in the works. Among the texts analyzed, we come across works that only cite the author, using only some definition that would help them with a certain subject; Works that made a rather superficial appropriation and used some elements of the author, but did not deepen in their presuppositions; And works that have been able to delve deeper into the author's works, using several of his concepts. In concluding this text, we hope to have contributed a bit to the for advancement in contributions that relate to Raymond Williams and his presence, albeit timid, in the research on fundamentals of education.

Thesis (M.Phil.) - University of Queensland, 2006. / Includes bibliography.

Premier grand prix de sculpture en 1919, le parisien Raymond Delamarre se positionne dans le nouvel ordre plastique néo-classique du groupe des prix de Rome des années 20 (peintres Dupas, Roganeau, Billotey, Pougheon et Despujols, sculpteurs Foucault, Janniot, Martial et Vézien, graveur Decaris, architectes Carlu, Roux-Spitz et Azéma). Porté par nature au colossal, il se libère de l'académisme de l'école des Beaux-Arts et concilie sa spécificité de médailleur et d'artiste-décorateur avec celle de la monumentalité. Recevant ses commandes d'architectes souvent prix de Rome, il est avant tout un sculpteur élégant aimant les allégories. Ses œuvres complexes se situent entre tradition décorative, hyperréalisme et modernité classicisante. Il puise sa plasticité volumétrique et ses simplifications aux sources de l'art grec archaïque et ses modèles techniques et stylistiques à la toreutique romaine. Sensible aux maniéristes italiens, il se réfère aussi à l'art français sous toutes ses formes. Il emprunte leurs sinuosités à Ingres, Burne-Jones et l'Art nouveau, au synthétisme de Bourdelle et au style Art déco. La théorie des profils de Rodin lui apprend sa gymnastique de la vue. Janniot lui inspire les étagements des figures dans ses reliefs monumentaux. Sa recherche de références fiables donne une valeur historiciste, didactique et symbolique à ses œuvres qui, après guerre, deviennent parfois trop systématiques. Il excelle dans l'expression de formes lisibles, aux lignes poétiques originales, qui doivent aux audaces des cubistes. Il affirme la continuité d'une identité nationale de l'art et montre qu'elle peut donner naissance à des créations puissantes, rythmées et inventives.italiens, il se réfère aussi à l'art français sous toutes ses formes. Il emprunte leurs sinuosités à Ingres, Burne-Jones et l'Art nouveau, au synthétisme de Bourdelle et au style Art déco. La théorie des profils de Rodin lui apprend sa gymnastique de la vue. Janniot lui inspire les étagements des figures dans ses reliefs monumentaux. Sa recherche de références fiables donne une valeur historiciste, didactique et symbolique à ses œuvres qui, après guerre, deviennent parfois trop systématiques. Il excelle dans l'expression de formes lisibles, aux lignes poétiques originales, qui doivent aux audaces des cubistes. Il affirme la continuité d'une identité nationale de l'art et montre qu'elle peut donner naissance à des créations puissantes, rythmées et inventives.

This essay examines how the critical reception of French nouveaux réaliste-artist Raymond Hains 1961 exhibition La France déchirée has been articulated at two historically separate occasions. In her 2010 book Nouveau Réalisme, 1960’s France and the Neo-avant-garde, art historian Jill Carrick examines the fundamental impact the founder of nouveau réalisme – French art critic and theorist Pierre Restany – has had on the movement’s historical reception. According to Carrick Restanys writing established an interpretive framework that remained more or less intact for several decades. In addition to a closer analysis of the movement’s critical reception during the 1960s’, Carrick provides a set of new, alternative readings of a number of nouveaux réaliste artworks, which all originates from a position outside of Restanys interpretive framework. However, at no occasion does Carrick show in what way, or to what extent, her theories about the movements reception history applies to artist Raymond Hains or his practise of décollage. Nor has the historical reception of La France déchirée been examined. The overall purpose of this essay is to examine whether or not the nature of the critical reception of Raymond Hains 1961 exhibition La France déchirée can be said to fit into the image of the historical reception of nouveau réalisme provided by Carrick. This is done through an analysis of Restanys theorisation of nouveau réalism as provided in the movement’s manifestos. Thereafter follows an examination of in which way and to what extent the critical reception of La France déchirée at two historically separate moments relates to this theorisation. The critical reception of these two moments in time is also compared to each other. An analysis of the exhibitions historical reception showed that Carrick’s theory of the movement’s reception history could not entirely account for the different aspects of La France déchirées critical reception. By introducing the exhibitions political context into the examination of its historical reception, a new and valuable perspective became clear. Unlike other nouveax réaliste-artworks, La France déchirée had a distinct political character, which situated its historical reception not only within a cultural context, but more importantly within a political one.

Ce mémoire explore la possibilité d'une parenté insoupçonnée entre deux penseurs des Relations Internationales, Raymond Aron et Francis Fukuyama. Traditionnellement associées aux écoles libérale et réaliste, leurs idées pouvaient effectivement apparaître comme parfaitement inconciliables. Or, les deux grandes sections de notre texte essaient plutôt de montrer, qu'en dépit de certaines différences, l'argumentation des deux auteurs se rejoint sur plusieurs questions. En ce qui concerne leurs conceptions de l'histoire, nous verrons qu'Aron et Fukuyama adhéraient au principe de «rationalisation du monde» cher à différents sociologues occidentaux, et particulièrement à Max Weber. L'analyse du parcours universitaire de l'auteur français permettra de repérer des influences phénoménologique ou néokantienne sur le plan épistémologique et wébérienne sur le plan ontologique. Nous nous pencherons également sur le passage de Francis Fukuyama à l'Université Cornell où il fit la connaissance d'Allan Bloom. C'est par l'intermédiaire de ce dernier que l'auteur nippo-américain entra en contact avec Alexandre Kojève, Léo Strauss et Raymond Aron. Une fois ces éclaircissements faits, il sera question du rôle joué par le concept wébérien de rationalisation du monde dans la philosophie fukuyamienne de l'histoire. Par la suite, nous verrons comment ces philosophies de l'histoire déterminent la vision des Relations Internationales des deux auteurs. Plus précisément, nous nous attarderons sur les changements que la société industrielle sont susceptibles d'amener dans les rapports que les États entretiennent entre eux. Tant chez Fukuyama qu'Aron, on pourra constater que les notions de guerre ou de paix se transforment radicalement à partir du Traité de Vienne. Nous consacrerons la dernière section à la praxéologie des deux auteurs, ou à la politique étrangère idéale qu'ils proposent aux nations occidentales. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Raymond Aron, Francis Fukuyama, Relations Internationales, Philosophie de l'Histoire.

Zugl.: Mainz, Univ., Diss., 2008