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[pt] O presente texto visa discutir as transformações no mundo do trabalho e na classe trabalhadora, em especial durante a crise mundial capitalista dos anos 70/80. Entendendo o movimento punk como um importante elemento que pode nos dar pistas desse processo no âmbito da cultura. Nossa hipótese é que este movimento foi ao mesmo tempo um sintoma e um agente. Um sintoma de uma classe operária em desagregação: da transição do trabalho operário chão de fábrica como força hegemônica, para a hegemonia do setor terciário: do setor de serviços, da informalidade, do subemprego, do que alguns vão chamar de precariado urbano. No entanto, esse movimento também se estabelece como um agente ativo, em especial no que tange o debate em torno de uma agência em relação à disciplina do trabalho capitalista e no caso brasileiro, uma agência dos de baixo (por meio da arte, música, cultura) em oposição à ditadura-empresarial-civil-militar em sua etapa final. Focaremos para tal, no movimento da cidade de São Paulo e do ABC paulista, bem como sua relação com a classe operária de São Paulo. Para tanto, utilizaremos fontes primárias, por meio de elementos da História oral, entrevistando participantes do movimento punk paulista e do ABC. Recorreremos também aos arquivos sobre movimento punk do CEDIC (Centro de Documentação Científica da PUC SP), contendo fanzines, discos, correspondências, etc. Utilizaremos também, como ferramenta, a análise de canções e poesias punks do período, tendo como importante elemento conceitual as concepções de agência e experiência presentes na obra do historiador inglês Edward Palmer Thompson. Ainda como aporte teórico utilizaremos algumas produções de livros e artigos a respeito do punk no Brasil e no mundo. / [en] This text aims to discuss transformations in the world of work and the working class, especially during the capitalist world crisis of the 1970s and 1980s. Understanding the punk movement as an important element that can give us clues of this process within the culture. Our hypothesis is that this movement was both a symptom and an agent. A symptom of a disintegrating working class to the work of an urban precarious. However, this movement also establishes itself as an active agent, especially in what concerns the debate around an agency in relation to the discipline of capitalist labor. We will focus on the movement of the city of São Paulo and the ABC of São Paulo, as well as its relationship with the working class of São Paulo. To do so, we will use primary sources, through elements of oral history, interviewing participants of the São Paulo punk movement and ABC. We will also visit the archives about punk movement of CEDIC (Center of Scientific Documentation of PUC SP), containing fanzines, discs, correspondences, etc. We will also use, as a tool, the analysis of punk songs and poems of the period, having as important conceptual element the conceptions of agency and experience present in the work of the English historian Edward Palmer Thompson. Still as a theoretical contribution, we will use some productions of books and articles about punk in Brazil and in the world.

This dissertation turns to recent feminist history of the 1980s to consider feminism’s relationship to class, economics, and labour. Challenging the idea that feminism is an inclusive project, I look at how feminist ideology produces commonsense forms of racism, classism, and sexual normativity. To demonstrate this argument, I evaluate two important moments in 1980s Canadian feminism: the development of feminist political economy and the debates of the feminist sex wars. In tracing the ways in which these histories unfold to value some feminist subjects more than others, I show how feminist narratives appear cohesive through quotidian practices of exclusion. I claim that the resistance of marginalized subjects is integral to these narratives, particularly when this resistance has been made to appear invisible or absent. I first turn to feminist political economy to show how a white feminist discourse about gendered domestic labour emerged while simultaneously omitting analyses of the experiences of women of colour and migrant domestic labourers. This white feminist discourse is imbued with commonsense racism, and imagines migrant domestic workers as located elsewhere to feminism. Subsequently, I examine how the feminist sex wars pursued a line of inquiry into sexuality that privileged a framework of danger. Feminist theorizing of violence against women as intrinsic to prostitution and pornography had dire consequences for understanding sex work and the diverse women employed in the industry. In promoting a white, middle-class perspective on sexuality, feminists appropriated sex workers’ experiences of violence and sought state support for abolishing commercial sexuality, in turn contributing to the heightened state surveillance of sexual minorities. In looking to and for marginalized women’s experiences within an archive of women’s publishing, this project insists on the integral place of sex workers and migrant domestic workers within Canadian feminist labour histories. / Thesis / Doctor of Philosophy (PhD) / What is feminist labour history, and whom does it include? In a study of feminist periodicals published during the 1980s, I consider how feminist writing contributes to the project of women’s liberation. In particular, I explore debates between feminists over race, class, and sexuality. I claim that feminist periodicals offer a window into the ideas animating feminists in the 1980s, and document the ways in which women’s household labour, paid domestic work, prostitution, and pornography were taken up—or ignored—by feminists. I show how everyday practices of race, class, and sexual supremacy have created narratives where white, middle-class women’s experiences appropriate and stand in for diverse feminist histories.

La ricerca ricostruisce le vicende della scena italiana tra gli anni '70 e gli anni '80 e, più nello specifico, il fenomeno del teatro di gruppo, di quelle formazioni cioè che hanno sperimentato con più profondità la questione di un'azione comunitaria attraverso lo strumento del teatro. La ricostruzione di questo fenomeno, svolta all'interno di una premessa più generale sull'emersione di una tensione comunitaria in molte delle più importanti esperienze del teatro del Novecento, è stata effettuata attraverso l'analisi della vicenda artistica e sociale di uno dei più interessanti gruppi teatrali piemontesi: il Teatro del Magopovero di Asti, oggi Casa degli Alfieri. Si tratta di una esperienza, sorta negli anni Settanta nell'ambito del teatro di base, che più di altre ha saputo coniugare al proprio interno la tensione comunitaria, sul duplice versante del lavoro di gruppo e dell'azione sociale. La ricostruzione dell'evoluzione di questo gruppo ha permesso di rileggere le vicende della scena italiana e di mettere a fuoco come la tensione etica alla base di questi gruppi sia stata in grado negli anni di evolversi e tradursi in una dimensione estetica, mantenendo sempre alta l'attenzione al radicamento territoriale, culturale e sociale dei propri esisti artistici. / The research goes trough the Italian scene in - between the 70's and the 80's, in particular it focuses on the group's theatre: teams who experimented deeply a community action with a theatre instrument. The study takes as example the “Teatro del Magopovero”, now “Casa degli Alfieri”, one of the most interesting theatre groups of Piedmont, as a significant occurrence of the artistic and social phenomena of the theatre of the last century which aims to the ensemble . This group was founded in the 70's as a community-based theatre: it's an interesting instance of group /team working and social action. The evolution of the team building of this group shows the changes in the Italian history and stresses out how the strong ethic goal of this groups has been able to change in a aesthetic element, keeping high attention to the cultural and social network with the community in their performances.

Teen films from the 1980s are a part of the zeitgeist, but there is very little we actually understand about how they can be qualified and defined, and about the phenomenon of their prolific production, box office success, and cultural relevance. Gaining greater insights about these issues is essential for recognizing the significance of a specific group of films and the ways they address concerns of how teens come of age, but is also important for learning about the films’ historical and industrial contexts of production. Asking the questions why these kinds of films, why at this time, and what do they mean, leads to an awareness and identification of the phenomenon, but additionally, these lines of inquiry explore how the films and their success are tied to changing Hollywood industrial conditions, and to the shifting political, economic, social, and cultural climate of the U.S. in the 1980s. While previous scholars have studied the industrial context of production of teen films in the 1950s, and some have looked at the different types of films produced in the 1980s, the matter remains as to whether teen films actually constitute their own genre. Examining this question of genre is necessary for clarifying a number of issues: how the films relate to the culture at large; how representations of youth on screen can help us understand and reevaluate Generation X, the demographic group coming of age at the time; and how an assessment of these films contributes to a re-conceptualization of the ways films are produced, marketed, and categorized in the New Hollywood. Using primary data consisting of textual analysis and contextual analysis, and applying both qualitative and quantitative methodologies, the study builds on and adds to previous approaches to genre. The contributions of this research are multifaceted. By gaining insights about these films, we can begin to appreciate more fully a maligned generation, the changing landscape of the entertainment industry, and a cultural phenomenon. / text

The thesis "Reflecting the media of the 1970s and the 1980s - in-house periodicals published by Czechoslovak television and Czechoslovak radio" disserts on the content of the quarterlies Televizní tvorba (Television production) and Rozhlasová práce (Radio production). The magazines which were published within two main - in that time already institutionalized - mass media were major tools serving to the KSČ, the communist party in former Czechoslovakia. Through them it was accomplishing its ideological, or more precisely propagandistic performance targeted to both, the citizens of the socialist state and abroad. Within this platform the thesis inspects the topics handled by then TV and radio employees, the following output of the discussions and their conclusions. The qualitative analysis of the two periodicals includes an introduction summarizing the historical facts that illustrate the situation of the end of the 1960's and the beginning of the 1970's. In addition, a list of periodicals published by Czechoslovak television and Czechoslovak radio for its internal use has been attached.

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Women-artist of the Czech underground movement Abstract The thesis will deal with the artworks by woman artists, who lived and created in Czech underground subculture of the 1970s and 1980s Czechoslovakia. Underground subculture was rather a lifestyle and dislike to the establishment. The thesis focuses on woman artists, for example, Naďa Plíšková, Zorka Ságlová, Kateřina Černá, Věra Jirousová, Juliána Jirousová, Iva Vodrážková and some others. It will examine if women, who were making art in the Czech underground subculture, had any female specificity of artworks, personal life or their position in the underground community. Keywords Czech Underground Culture in 1970s and 1980s, Communism, Normalization, Feminism, Independent Domestic Structures, Czech and Czechoslovak Art