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no / Raymond Pettibon's work sits uncomfortably in the world of comics or cartoons. Instead of jokes or punch-lines, his work promotes an intense form of narrative and exhibits a unique ‘illustrative-comic style’ (O'Connor, The Believer [online], 1995). His work emerged from and reflects upon underground pop culture (rock music, TV, films), and it is the dark side of humanity that his work explores. Pettibon says that he actually prefers writing to drawing and the importance of ‘texts’ can be seen in Raymond Pettibon: A Reader (1998, Philadelphia Museum of Art), a collection in which the written inspirations for his psycho-graphic style is clear. This paper examines how the disturbing subject of Charles Manson oozes into the consciousness of writers, artists and musicians, using Pettibon's work as a powerful case study of this weird phenomenon. Manson has haunted the art of our time; he typifies the way in which, as Pettibon acknowledges, ‘There are certain figures, without even my meaning to do it, that become subjects’ (O'Connor, The Believer [online], 1995). In his cartoons, Pettibon depicts Charles Manson in a variety of ways. This reflects the various multiple readings of Manson and his story evident since his trial and conviction in the late 1960s. Pettibon's links with the American music underground brought him in contact with Manson as a symbol. The media obsession with celebrity – especially ‘bad’ celebrities – is a powerful force which Pettibon addresses. In 1989, Pettibon even made a low-budget movie about Manson and his followers. It is a fascinating intersection of graphic art, music and murder which this paper opens up.

Mémoire numérisé par la Direction des bibliothèques de l'Université de Montréal.

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. / A first prize winner for sculpture in 1919, parisian-born Raymond Delamarre belongs to the neo-classical plastic order of the prize winners of the 20’s : painters Dupas, Roganeau, Billotey, Pougheon and Despujols, sculptors Foucault, Janniot, Martial et Vézien, engraver Decaris, architects Carlu, Roux-Spitz et Azéma. Attracted by colossal works, Delamarre gets free from the academic teachings of Beaux-Arts and reconciles his art as a medal-maker /decorator with a monumental one. Commissioned by architects, often Rome winners too, he is first and foremost a learned, elegant sculptor, with a liking for allegories, creating intricate works, half way between a decorative tradition, a high degree of realism and modern art. Volume plasticity and simplification of lines are derived from archaic Greek art and his technical and stylistic models from Roman toreutics. Influenced by Italian mannerists, he refers to French art in its various forms. The sinuous lines are borrowed from Ingres, Burne-Jones and Art nouveau, from Bourdelle’s synthetic art and Art Deco style. His agile mind’s eye is ensured by Rodin’s theory of profiles. The arrangement of his figures at various levels in his monumental reliefs are inspired by Janniot. His search for reliable references lend a historical, didactic and symbolical value to his work which, after the war, sometimes become too systematic. He is at his best when expressing very readable forms in original, poetic lines, akin to the daring attempts of cubists. However, he reasserts the continuity of a national identity of art, and shows that it can thus give birth to powerful, rythmic and greatly inventive plastic creations.

O materialismo cultural é uma abordagem metodológica contemporânea em Teoria Cultural. Trata-se de \"uma teoria das especificidades da produção material de cultura e literatura dentro do materialismo histórico\", conforme define Raymond Williams (1921-1988), um dos principais nomes ligados a essa perspectiva. Fundador da tradição britânica dos estudos culturais, Williams concebe a cultura, na contramão da crítica literária tradicional - de base romântico-idealista -, como produção material da sociedade. O trabalho expõe o sistema de axiomas e categorias do materialismo cultural e investiga as conexões intelectuais e políticas entre o materialismo cultural e a tradição marxista, por meio de um diálogo envolvendo o marxismo clássico e as obras de Gramsci e Raymond Williams. Argumenta-se que o materialismo cultural contribuiu para o avanço da concepção materialista histórica no campo da cultura, permitindo uma ampliação de horizontes e o enfrentamento dos notáveis dilemas que o marxismo sofreu ao abordar problemas da comunicação e da cultura. Mostra-se de que maneira o materialismo cultural pode servir de referência conceitual para as lutas políticas contemporâneas pela democratização da comunicação e da cultura. / Cultural Materialism is a methodological approach in contemporary cultural theory. It is \"a theory of the specificities of material cultural and literary production within historical materialism\", as defined by Raymond Williams (1921-1988), a leading figure associated with this perspective. Founder of the British tradition of cultural studies, Williams conceived culture not from traditional, romantic/idealist viewpoint of established literary criticism, but as being the material product of society. The work investigates the intellectual and political connections between Cultural Materialism and the Marxist tradition, through a dialogue involving classical Marxism and the works of Gramsci and Raymond Williams. The author argues that Cultural Materialism has contributed to an advance in the historical-materialist conception of culture, helping to expand its horizons and to overcome the difficulties that Marxism previously faced when addressing problems of communication and culture. The author also shows how Cultural Materialism can serve as a conceptual reference in contemporary political struggles for the democratisation of communication and culture.

O materialismo cultural de Raymond Williams, como formulação de uma nova teoria da cultura inscrita no materialismo histórico, centra-se em um dos debates mais polêmicos e fecundos da tradição marxista - a questão da determinação econômica da cultura e da arte. O presente trabalho visa a uma leitura crítica do livro Marxismo e Literatura, no qual Williams expõe sua teoria de forma abrangente. Por tratar-se de um livro expositivo, sua discussão será acompanhada de diversas análises culturais e literárias do crítico, trazendo à tona seu método teórico-prático as análises criando a teoria, que reorganiza, por sua vez, as formas de entendimento da realidade. / Raymond Williamss Cultural Materialism, working as a formulation of a new cultural theory inscribed in Marxs historical materialism, takes part in one of the most polemical and productive debates in the Marxist tradition the question of the economic determinantion of culture and the arts. The present dissertation has as its aim a critical reading of Marxism and Literature, book in which Williams thoroughly exposes his theory. Being of an expositive kind, its discussion will be conducted along with the study of some of Williamss literary and cultural analyses, bringing forth his method both theoretical and practical the analyses producing the theory that, in its turn, reorganizes the forms of understanding reality.

A teoria dos temperamentos de David Kersey indica que há diferentes disposições de agir e comportar-se de acordo com tipos psicológicos. Diferentes temperamentos têm diferentes interpretações dos fatos, reagem de modo distinto a essas interpretações, tomam decisões baseados em diferentes critérios e lidam com as situações de modo diverso. A presente tese pretende tornar os tipos (ideais) de Keirsey (ISTP, ESFJ etc.) visíveis e concretos, por meio da análise de personagens de ficção: a família Barone da série televisiva Everybody Loves Raymond, e assim poder oferecer subsídios para a educação, tornando visíveis, em perfis biográficos, temas nos quais o temperamento deve ser levado em conta por educadores para aperfeiçoar sua compreensão dos educandos. São assim analisados em detalhes, dos personagens bem elaborados de Everybody Loves Raymond, pessoas comuns, vivendo seu quotidiano de acordo com seus tipos de temperamento e mostra-se em vida real um ESFP, uma ESTJ, uma ESFJ, um ISTP e um NF/SJ. Eles nos propiciam um melhor reconhecimento, melhor compreensão e discussão de importantes temas pedagógicos (aprendizagem, concepção de escola, lidar com a culpa e o dever etc.), tal como vivenciados por diferentes tipos de temperamento. / The temperament theory of David Kersey indicates that each individual was born with a disposition to act and behave in certain ways according to his type. People with different temperaments have different interpretations of events, will react to these interpretations in different manners, will make choices based on different criteria, and will deal with situations in different manners. Keirseys theory is also important for education: teachers and parents should take temperament into account in order to improve their understanding of the students. This thesis aims to make Keirseys (ideal) types (ISTP, ESFJ etc.) more concrete by fleshing them out into fictional characters: the Barone family of the TV series Everybody Loves Raymond. Throughout the episodes of the sitcom, we can see three-dimensional and believable characters: ordinary people living ordinary lives according to their temperament types. In Everybody Loves Raymond we have in action, like in real life, an ESFP (Raymond), an ESTJ (Debra), an ESFJ (Marie), an ISTP (Frank) and a NF/SJ (Robert). They make easier to recognize, understand and discuss different types of temperament on important educational matters (learning, conception of the school, guilt, duty etc.)

Esta dissertação tem como objetivo examinar a obra do crítico Raymond Williams a partir do ponto de vista da crítica da modernidade levada a cabo pelo autor em um período específico de sua trajetória: entre Cultura e sociedade (1958) e O campo e a cidade (1973). Para tanto, parte-se da reconstrução da forma assumida por essa crítica nos esquemas interpretativos daquelas que foram as duas grandes influências formativas do pensamento de Williams, e que figuraram como as duas grandes correntes teóricas no cenário intelectual inglês do século XX: a crítica literária e o marxismo. Pretende-se oferecer, com isso, uma leitura alternativa da obra do autor, repensando o peso de cada um de seus principais textos, as linhas de continuidade e as rupturas atravessando-a e, por fim, o próprio sentido do desenvolvimento teórico percorrido por Williams no período considerado, notadamente, destacando-se o impacto que o marxismo exerceu na conformação do seu projeto teórico. / This dissertation aims to analyze Raymond Williams work from the point of view of the critique of modernity undertaken by him in a specific period of his trajectory: from Culture and Society (1958) to The Country and the City (1973). Therefore, we begin by reconstructing the forms assumed by this critique in the interpretative schemes of the two greatest formative influences in Williams thought, and which became the two greatest theoretical currents in the English intellectual scenario in the 20th century: literary criticism and Marxism. Hence, we plan to offer an alternative interpretation of his oeuvre, reconsidering the importance of each of his main texts, the continuities and ruptures crossing it and, finally, the sense of the theoretical development covered by Williams in the period here considered, notably, focusing the impact that Marxism produced in the shaping of his theoretical project.

Esta dissertação tem como objetivo examinar a obra do crítico Raymond Williams a partir do ponto de vista da crítica da modernidade levada a cabo pelo autor em um período específico de sua trajetória: entre Cultura e sociedade (1958) e O campo e a cidade (1973). Para tanto, parte-se da reconstrução da forma assumida por essa crítica nos esquemas interpretativos daquelas que foram as duas grandes influências formativas do pensamento de Williams, e que figuraram como as duas grandes correntes teóricas no cenário intelectual inglês do século XX: a crítica literária e o marxismo. Pretende-se oferecer, com isso, uma leitura alternativa da obra do autor, repensando o peso de cada um de seus principais textos, as linhas de continuidade e as rupturas atravessando-a e, por fim, o próprio sentido do desenvolvimento teórico percorrido por Williams no período considerado, notadamente, destacando-se o impacto que o marxismo exerceu na conformação do seu projeto teórico. / This dissertation aims to analyze Raymond Williams work from the point of view of the critique of modernity undertaken by him in a specific period of his trajectory: from Culture and Society (1958) to The Country and the City (1973). Therefore, we begin by reconstructing the forms assumed by this critique in the interpretative schemes of the two greatest formative influences in Williams thought, and which became the two greatest theoretical currents in the English intellectual scenario in the 20th century: literary criticism and Marxism. Hence, we plan to offer an alternative interpretation of his oeuvre, reconsidering the importance of each of his main texts, the continuities and ruptures crossing it and, finally, the sense of the theoretical development covered by Williams in the period here considered, notably, focusing the impact that Marxism produced in the shaping of his theoretical project.