Oregon volunteer soldiers fought two wars in the Philippines from 1898 to 1899, one against the Spanish colonial government (from May to August 1898), and one against the Philippine insurgency (beginning in February of 1899). This thesis examines the connections between Oregonians' racial characterization of Filipinos and their beliefs about the wars' purposes and moral characteristics. The source material is drawn from the personal papers of Oregon volunteer soldiers and from the Portland Oregonian.

Orientador: Carlos Alberto Sampaio Barbosa / Banca: José Luis Bendicho Beired / Banca: Carolina Amaral de Aguiar / Resumo: A Guerra Hispano-Americana (1898) aconteceu em decorrência da expansão imperialista dos Estados Unidos no momento em que sua industrialização crescia em ritmo acelerado. Eliminando os últimos resquícios da colonização espanhola no continente americano, Cuba e Filipinas foram os primeiros alvos de uma política agressiva dos nacionalistas estadunidenses para assegurar o slogan proposto pela Doutrina Monroe, "América para os Americanos". Nos principais centros urbanos dos Estados Unidos, a modernidade atingia a percepção dos indivíduos por meio da inovação tecnológica que dimensionava o tempo e o espaço, a velocidade da máquina mesclava o orgânico e o mecânico. Nas ruas, inúmeras propagandas visuais atordoavam os olhares, os jornais impressos traziam notícias sensacionalistas de interesses políticos e o comportamento dos cidadãos se padronizava através das revistas periódicas. Os vaudevilles, teatros de variedades, canalizavam essa sociedade caótica através da miscelânea de espetáculos e shows, o cinema se desenvolvia neste ambiente. Quando o conflito entre a Espanha e os Estados Unidos entrou em vigor, o cinema participou pela primeira vez de uma guerra, se misturando com todas as formas de comunicação do período e exercendo, de forma inédita, uma postura ativa na formação da opinião pública. O trabalho a seguir compreende como foi a participação dos filmes produzidos pela Edison Company e pela American Biograph e Mutoscope, diante desse enredo. Utilizando 68 filmes presentes... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: The Spanish-American War (1898) happened as a result of the United States's imperialist expansion at the time its industrialization grew at a accelerated pace. Eliminating the last remnants of Spanish colonization in the American continent, Cuba and the Philippines were the first targets of an American nationalists's aggressive policy to ensure the slogan proposed by the Monroe doctrine "America for Americans". In the main United States's urban centers, modernity reached the individuals perception through technological innovation that dimensioned the time and the space, the machine's speed merged the organic and the mechanic. In the streets, countless visual advertisements stunned the looks, the printed newspapers brought sensationalist news of political interests and the citizens behaviour was standardized through periodic journals. The vaudevilles, variety theaters, channeled this chaotic society through the miscellaneous of performances and shows, the cinema was being developed in this environment. When the conflict between Spain and the United States came into effect, the cinema participated for the first time in a war, mingling with all forms of communication in the period and exerting, in an unprecedented way, an active posture in the public opinion formation. The following work compromises how was the participation of the films produced by the Edison Company and the American Biograph and Mutoscope, before this plot. Using 68 films present in the Spanish American War... (Complete abstract click electronic access below) / Mestre

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This dissertation explores U.S. military surgeons’ purposeful efforts to alter how medical and line officers in the U.S. Army and Navy conceived of disease, appreciated surgeons’ roles, and organized medical war preparations through education, training, exposure, and medico-military professionalization between 1884 and 1918. It traces surgeons’ postwar efforts to change American military cultures in response to the revelations of the germ theory of disease and deadly typhoid fever epidemics in the American training camps of the Spanish-American War. Medical and line officers required academic education and practical lessons to contextualize disease, surgeons, and medical care, understand and appreciate germs’ role in medicine, and train to apply these lessons to benefit their soldiers and sailors. Surgeons also reinforced their scientific education and grew military medicine through postgraduate education and tactical training designed to enhance the line’s perception of surgeons and medical science.This dissertation rests on the contention that surgeons contributed to military preparation for the next war by effecting cultural change to prevent the epidemics of previous wars. This culture of medical preparation shaped how military medical departments recruited, organized, and trained medical officers, procured supplies, and managed civil-military relationships. Entwined cultural change and war preparation were expressed in the multiple mobilization activities through which surgeons validated the success or failure of their efforts. Troops participated in organized camps of instruction, maneuver camps, and major mobilizations to the U.S.-Mexico border, allowing surgeons to use the physical encampments, hospitals, and other surgeons to test assumptions, exercise and refine theory, validate operational principles, and improve from previous iterations. As the United States entered the Great War in 1917, epidemics of measles, influenza, and meningitis attacked Army and Navy recruit training camps. Rather than demonstrate failure, this dissertation positions the 1917 and 1918 epidemics to demonstrate medical officers’ successful military cultural change. A comparative approach between 1898 and 1918 also highlights cultural and medico-military evolution through the lenses of preparation and mobilization. Official military reports and archival sources illuminate cultural divisions between line and medical officers and track the curricular development of military hygiene and sanitation courses in undergraduate and professional military schools and specialized fields at military medical schools. This dissertation intervenes in military and medical historiographies by pushing the conversation beyond disease’s impact on war to center disease and changing perceptions of disease, culturally and medically, as features of military preparation. It also recasts military surgeons as central agents in the U.S. military’s turn-of-the-century professionalization and modernization efforts. As the world addresses the outcomes and aftermath of the COVID-19 pandemic, this dissertation demonstrates that physicians and societies met previous epidemics and pandemics on medical science’s past frontiers where the germ theory of disease had barely won acceptance. It also illustrates the power of individuals in subordinate classes to affect institutional cultures for the betterment of all. Lastly, as military operations during future pandemics are all but guaranteed, this dissertation proves that dedication and preparation are just as vital to epidemic defense as good science. / History

This thesis focuses on the transformation of European tradition in the multicultural Hispanic America, as reflected in the essays of Alfonso Reyes and Pedro Henríquez Ureña. The first part is devoted to the theory of essay. It analyzes utopia as a way of thinking, not a literary genre and gives an overview of the life of artists and their collaboration in Ateneo de la Juventud. The second part deals with selected essays. Different topics are divided into three areas.The first area deals with the specific way of the Spanish colonization of the Americas and concerns the attitude, which the newly created states adopted to that heritage. The second area focuses on the interconnection between the Hispanomerican culture and the European tradition; influence, transformation and new forms, which European culture receives in Hispanic America; questions related to European cultural heritage (imitate or create?); creating a distinctive culture; universalism and cultural synthesis. The third area is directed into the future. It highlights the importance of culture where the greatest sense of belonging among the countries is felt and stresses the demand to restore humanities in education. Finally, it demonstrates the maturity of American culture, which is not a mere imitator of Europe, but enriches the...

Esta pesquisa analisa algumas das características temáticas e formais que compõem a obra do autor uruguaio Felisberto Hernández (1902-1964). Pelo fato de resistir a diferentes classificações genéricas, esta obra apresenta muitas divergências entre consagradas vozes críticas como: Echavarren (1981), Ángel Rama (1968, 1985), Jorge Bernardo Rivera (1996), José Pedro Díaz (1991, 2000), Davi Arrigucci Jr. (2006). A partir disso, este estudo pretende discutir os pontos que evidenciam sua excentricidade em seu contexto de produção (no que diz respeito à literatura uruguaia da primeira metade do século XX) e também analisar certos procedimentos narrativos que, em um permanente fluir de memórias, revelam um estilo bastante peculiar (raro) como se verifica na animização dos objetos, nos múltiplos processos de fragmentação (da consciência e do corpo) e na atmosfera onírica. / This research examines some of the thematic and formal aspects that constitute the work of Uruguayan writer Felisberto Hernández (1902-1964). For its resistance to any formal classification, this narrative world has challenged divergent and renowned critical voices such as Roberto Echavarren´s (1981), Ángel Rama´s (1968, 1985), Jorge Bernardo Rivera´s (1996), José Pedro Díaz´s (1991, 2000) and Davi Arrigucci Jr.´s (2006). From this point on, the present study aims to discuss some of the points that demonstrate its eccentricity inside its production context (that of the first half of 20th century Uruguayan Literature) and to analyze some of the narrative procedures which, in a permanent flow of memories, reveal a quirky (rare) style verified in the use of animated objects, multiple fragmentation processes (of consciousness and body) and its oneiric atmosphere.

Formados em um país pequeno embora aberto ao mundo ocidental mais do que à própria comarca, Ángel Rama (1926-1983) e Emir Rodríguez Monegal (1921-1985) intervieram nas revistas culturais do seu país até finais dos anos sessenta. Essa experiência permitiu-lhes entrar em contato com múltiplos problemas, debates e textualidades, que capitalizariam em seus estudos latino-americanos, aos que se dedicam de forma quase exclusiva a partir de sua saída de Montevidéu. Apesar da forte homogeneização latino-americana que se produz naquela década de sessenta, o Brasil foi para a área hispânica um território cultural quase inatingível. Monegal primeiro, Rama depois, e finalmente ambos os dois em um mesmo ponto temporal, entenderam o valor de ler o Brasil. Sem dispensar o contexto, Monegal privilegiou o estéticoliterário; Rama preferiu ver a brasilidade confrontada à experiência social e cultural da América hispânica. Fortemente antagônicos e em alguma medida complementares, ambos os dois procuraram alianças com intelectuais brasileiros (Rama com Candido; Monegal com Haroldo de Campos, entre outros). Por conseguinte, examinando estes antecedentes e tensões, esta tese intitula-se Ángel Rama, Emir Rodríguez Monegal e o Brasil: Duas caras de um projeto latino-americano. Pois o Brasil não foi apenas um campo de batalha para a integração ao projeto que cada um deles desenvolveu em um grau semelhante de precedência nem um fator diferenciador com relação a outros estudiosos. Além do mais, tornou-se o lugar da experimentação, a partir do qual poder olhar para o curso das variações da literatura e da cultura latino-americanas. / Formed in a small country more open to the western world than to its own territory, Ángel Rama (1926-1983) and Emir Rodríguez Monegal (1921-1985), participated in their country\'s cultural journals until the end of the 60s. This experience allowed them to come into contact with a multiplicity of problems, debates, and textualities, which they would capitalize upon in their Latin American studies, to which they devoted themselves almost exclusively once they had left Montevideo. In spite of the great homogenization that took place in Latin America in the decade of the 60s, Brazil was for the Hispanic area a somewhat ungraspable cultural terrain. At first Monegal and then Rama, and finally on the same temporal place, they both understood the value of reading Brazil. Without decreasing the importance of context, Monegal privileged the aesthetic and the literary; Rama preferred seeing the Brazilian as that which confronted the social and cultural experience of Spanish America. Very much in opposition to each other and in some ways complementary, they both sought alliances with Brazilian intellectuals (Rama with Candido; Monegal with Haroldo de Campos, among others). Therefore, by examining these antecedents and tensions this thesis is entitled Ángel Rama, Emir Rodríguez Monegal and Brazil: The Two Faces of a Latin American Project. Because Brazil was not only a battle ground for the integration into the project, which each one of them developed in similar degrees as precursors nor was it a factor which differentiated them from other scholars. Moreover, it became the place of proof, from where to watch the course taken by Latin American literature and culture\'s variants.

Le mot 'moderne' est associé, la plupart du temps, de façon positive, par la société, à des choses et des personnes qui ont excellé dans des domaines divers et qui ont fait des découvertes nouvelles pour les communautés dont ils sont issus. le concept de 'modernité' repose quant à lui sur une vision plus subjective. que signifie cette notion ? cette thèse, dont le sujet est : 'modernité et progrès dans les sociétés latino-américaines du XXème siècle: l'exemple de doña Barbara de Romulo Gallegos' va se centrer sur cette œuvre vénézuélienne contemporaine, du XXème siècle, dont le personnage principal est une femme cruelle, corrompue et avide de richesse. ce travail de recherche de doctorat portera sur les concepts d'évolution, de modernité et de progrès d'un point de vue ethnologique, politique, littéraire et territorial en grande partie, et couvrant les thèmes dépeints dans le roman de Gallegos parmi d'autres œuvres liées au dit-thème. les concepts de société, de monde développé, des 'Amériques', de civilisations primitives etc. seront évidemment abordés lors de ce travail ainsi que l'auteur Romulo Gallegos. en conclusion de mon mémoire de master, 2 portant sur le monde 'moderne' et primitif, j'étais arrivé à la question: 'la notion de confort dans sa pluralité, ne nous a-t'-elle pas éloigné des racines primitives que sont les autres hommes et de l'essence de la vie?' c'est bel et bien la conclusion à laquelle, arrive le protagoniste de los pasos perdidos, de l'auteur Alejo Carpentier, roman que j'avais pris pour sujet de ce sujet de master 1 et 2. désormais, pour cette thèse, mes recherches vont se centrer sur les significations et leurs applications, pour les sociétés latino-américaines, des termes suivants : l'évolution, le progrès et la ou les modernité(s) focalisant ainsi mon travail sur l'œuvre de doña Barbara, exemple à part entière de confusion, d'anarchie, de despotisme, et d'injustice ; tant de termes qui représentent nos sociétés actuelles. / The word "modern" is associated, mostly in a positive way, by society, things and people who have excelled in various fields and have made new discoveries for the communities from which they come. The concept of "modernity" lies however on a more subjective vision. What does it mean? This thesis, whose subject is: "The challenge of Progress in the Latino-American societies of the twentieth century: the case of Doña Barbara from Romulo Gallegos", will focus on this Venezuelan contemporary novel from the twentieth century, whose main character is a cruel-corrupted and greedy woman. This doctorate research will focus on the concepts of evolution, modernity and progress from an ethnological point of view, as also political, literary and territorial aspects, largely covering then the themes portrayed in the novel by Gallegos among others novels related to this PhD’s main theme. The concepts of society, developed world, primitive "Americas" and so on, will obviously be addressed during this work, as well as the presentation of the author: Romulo Gallegos. In conclusion of my previous Master's thesis, based on the contrasts of both the "modern" and “primitive” world, I came to end the work with the following question: “The concept of comfort in its plurality did it not withdrawn us away from the primitive roots and human beings that represent our life’s true essence?” This is indeed the conclusion, to which the protagonist arrives to, in Los pasos perdidos by Cuban author Alejo Carpentier, a novel that I had work on with dissimilar subjects for my Master 1 and 2. Now, for this PhD’s thesis, my research will focus on the meanings and applications for Latino-American societies, on the following terms: evolution, progress and modernity and I’ll start the research with the novel: Doña Barbara, as the perfect example of confusion, anarchy, despotism, and injustice; in fact so many words that are very representative of our current societies’ working mode.

Este trabalho objetiva percorrer a partir de El río sin orillas os núcleos irradiadores fundamentais da poética do escritor argentino Juan José Saer (1937-2005), procurando analisar a matéria comum e as especificidades entre a escrita do ensaio e a prosa ficcional do autor. Publicado originalmente em 1991, El río sin orillas indaga sobre a história, a literatura e o imaginário cultural da sociedade argentina a partir de sua relação com o Rio da Prata. Ao longo da leitura de El río sin orillas, propõe-se ainda promover um diálogo do texto com a tradição do ensaísmo hispano-americano e, mais precisamente, com uma tradição de textos que o próprio Saer põe em evidência ao valorizar o caráter inclassificável de algumas obras. A partir destes objetivos principais, foram selecionados temas e questões que permitem analisar em El río sín orillas o deslocamento em dupla mão entre a escrita ensaística e a ficcional, bem como a tênue linha de fronteira que persiste entre os dois campos discursivos: o problema dos gêneros literários e a tradição das obras inclassificáveis; o entre-lugar estrangeiro; a literatura pensada pelo autor como uma antropologia especulativa; a invenção do passado; a violência e a política; a criação da geografia singular da zona saeriana. / This thesis explores the fundamental irradiating nuclei of the poetics of the Argentine writer Juan José Saer (1937-2005) in the essay El río sin orillas, aiming to analyze the the common aspects and specificities between the essay writing and fictional prose of the author. Originally published in 1991, El río sin orillas probes the history, literature and cultural imagination of Argentinian society through their relation with the River Plate. Along our reading of El río sin orillas, we also propose to promote a dialogue with the Hispanic- American tradition of essay writing and, more precisely, with the tradition of writing that Saer himself reveals through his valorization of the unclassifiable character of certain texts. In addition to these main goals, some themes and issues that allow us to analyze the two-way traffic between the authors essays and fictional prose as well as the blurry boundary between these two discursive fields have been selected: the problem of literary genres and the tradition of unclassifiable works; the in between space of the foreigner; the notion of literature in Saer as speculative anthropology; the invention of the past; violence and politics; and the creation of a singular geography of Saerian zone.

Lorsque William Randolph Hearst prit les rênes, en 1887, d’un petit quotidien sans envergure, personne ne fit grand cas de ce jeune nanti admiratif du travail de Joseph Pulitzer. Vingt ans plus tard, W. R. Hearst était à la tête d’un empire médiatique considérable et d’un pouvoir politique incontestable. Dans cet intervalle, les États-Unis, la presse, et William Randolph Hearst connurent des destins liés. Les États-Unis, d’abord, entrèrent de plain-pied dans ce qui allait devenir le siècle américain, avec leur puissance économique industrielle, et un statut de puissance coloniale acquis à la faveur de la guerre hispano-américaine en 1898. La presse, quant à elle, connut des bouleversements majeurs et une vigueur sans cesse alimentée par toujours plus de modernité. Hearst, enfin, construisit un parcours atypique, au point de rencontre entre médias et politique, couronné d’immenses succès comme de cuisantes défaites. Divertissant pour les uns ou effrayant pour les autres, il n’en porta pas moins les espoirs d’une frange encore silencieuse de la population, et fit de sa vie publique une histoire à rebondissements, non sans rapport avec le journalisme "jaune" qu’il érigea en éthique et en arme politique, malgré les critiques. Au-delà de la fascination, de la caricature, ou du jugement sans concession, le parcours médiatico-politique de Hearst mérite un réexamen qui prend en compte les transformations profondes de la société américaine. Sans le concours opportun de ces dernières, sa trajectoire n’aurait pas le même impact en tant que part significative, si ce n’est, sur bien des aspects, emblématique, du destin tumultueux de la nation américaine entre XIXe et XXe siècles. / In 1887, when William Randolph Hearst became the editorial head of a small daily in San Francisco, no one bothered to notice this well-off young man who admired Joseph Pulitzer’s work. Twenty years later he reigned over a gigantic media empire and held an unquestionable power in politics. In the meantime the paths followed respectively by the United States, the press and W. R. Hearst crossed many times. The United States fully entered what was to become the American Century as a prominent economic, industrial and colonial power, after the 1898 Spanish-American War. The American press underwent dramatic breakthroughs, and was vigorous as ever thanks to unceasing innovations and growing business-oriented practices. Hearst constructed an original career, at the crossroads of media and politics; he knew great successes, bitter defeats and disappointments. Entertaining to some, frightening to others, he was nonetheless the focus for the aspirations of a silent fringe of the population, and conceived his public life as a true story with twists and turns, similar to the stories accounting for the success of "yellow journalism" that constituted Hearst’s ethics and political weapon of choice, despite many criticisms. Beyond fascination, caricature or hasty judgments, his career deserves a reassessment that takes into account the changes affecting the core of American society. Without the help, intended or not, of those major transformations, Hearst’s adventure might not have left such a strong mark on his country’s history: a significant part of the bustling destiny of the United States at the turn of the XXth century, it is also, in many respects, an emblematic one.