Thesis (M.A.)--Miami University, Dept. of History, 2003. / Title from first page of PDF document. Document formatted into pages; contains 59 p. Includes bibliographical references (p. 55-59).

Thesis (doctoral)--Universität, Hamburg.

This master´s dissertation deals with the French compound words in ad text in the age of 70 years and after 2000. Dissertation is divided into two parts. The theoretical part describes the function of language in advertising, the levels of language, theories of advertising communication. Then, we defined the main elements of the magazine and compound words.In the second part, we continue with the analysis of lexemes stripped of Elle magazine, designed for both the period and taking into account promotional incentives for different types of compounds.

My dissertation brings a new historical perspective and a theoretical reflection on 1970s French intellectuals’ activism and relationship to power and politics through the history of the Groupe d’Information sur les Prisons (GIP), a group of activists who decided to make the hermetic border between the societal space and the prisons more porous. The GIP, founded in 1970 by Michel Foucault, Jean-Marie Domenach, and Pierre Vidal-Naquet, and including thinkers and writers like Hélène Cixous, Daniel Defert, Gilles Deleuze, Simone de Beauvoir, Jean-Paul Sartre and Jean Genet, aimed at providing information on carceral conditions in France and in the United States. These intellectuals interviewed prisoners, family members, guards, and published their findings in pamphlets to spread awareness about the inhumane conditions prisoners were forced to live in. Thanks to the work of Artières, Zancarini-Fournel, Harcourt, Zurn and Dilts's work, the GIP slowly emerges from the shadows. However, very few of the Anglophone articles and books dedicated to the group look at the GIP from a French and European historical and philological perspective, underlining the specificity of this group and activism in French intellectual history. My dissertation thus aspires to highlight and better understand the place of the GIP in contemporary French history, history of French activism, prison history as well as in French intellectual history. As the GIP archives are currently being translated into English, my work reveals the historical intricacies of this group with French contemporary events (such as the events of May '68), and its relationship to other forms of activism in the 1970s: feminist activism, legal activism, psychoanalytic activism and global prison activism. In my dissertation, I argue that these overlapping types of activism displaced the main lines between two conceptions of the intellectual in twentieth-century France: l’intellectuel universel and l’intellectuel spécifique. According to me, the GIP, by rejecting the figure of the universal intellectual yet showing the failure of the specific intellectual, discloses a crisis in the mid-70s French intelligentsia, leading on the one side to a new definition of l’intellectuel engagé. My research on the Groupe d’Information sur les Prisons (GIP) draws on a three-tiered methodological approach: close textual analysis of primary source material; interpretation of primary texts through theoretical frameworks; and historical contextualization of both primary documents and broader socio-cultural framework through archival research and testimonies. My original and translation constitute a new perspective on the role of intellectuels engagés— particularly philosophers and key figures of the “French Theory” movement. By reflecting on the concept of engaged intellectual from the 1894 Dreyfus affair to the debates about the Nouveaux Philosophes, my project also brings about a fundamental investigation about the genealogy of the intellectuals —particularly philosophers and the so-called “French Theory”— and their roles in French politics.

This dissertation explores the rise of transnational state torture and the efforts of the Left to resist and denounce it in South America in the 1970s. Looking principally to Brazil and Argentina, I ask how torture was understood by the officials who employed it and the revolutionaries who resisted and denounced it at a time when such calibrated violence stood at the heart of political struggle. While torture’s status as a grave violation of human rights is often taken for granted today, I show that in 1970s-era southern South America, many perpetrators and victims alike instead regarded torture as a powerful counterrevolutionary weapon, one capable of generating the raw data on which the region’s sophisticated information-management systems relied. At the same time, both revolutionaries and regime agents recognized such systematic torture as a grave liability for its practitioners. Militants and their allies abroad capitalized on this liability by disseminating testimonies that drew the world’s attention to South American torture chambers. Their efforts helped to consolidate the politics of bodily integrity at the heart of the current global human rights regime, yet they were unable to curb state violence or advance socialism. Drawing on dozens of archival collections from ten countries, I reconstruct the now-forgotten meanings of torture that defined this formative juncture, demonstrating the potential of history to reinvigorate a policy debate centered for too long on the question, “Does torture work?” Instead, I ask readers to consider the work that torture and its denunciation have performed at a critical moment in the past, in order to generate new strategies to counteract it today.

This dissertation considers Jef Geys as an archivist of the cultural shifts of the ’60s and ’70s in Europe amidst the reception of American Pop in Belgium. Between these decades, Geys archived and played back the social and cultural effects of Pop to engage with the newly defined middle class that was constructed to account for and implement changes in both professional and social settings. Geys’s archive was instrumental in his roles as an artist and educator and he used it to reinterpret the implications of Pop. Geys’s consideration of Pop expanded its implications to test Pop’s institutional and social alignments in relation to the question of geography and population.

Joseph Smith organized a group called Seventies in the Mormon Church early in 1835. They are one of three primary groups in the Higher or Melchizedek Priesthood. They were said to be Elders with a special calling to preach the Gospel among the nations of the earth. Their calling was said to be apostolic because they were to assist the Twelve Apostles in preaching the Gospel and administering Church affairs under their direction. They were a general Church Quorum, and not considered a part of stake organization.The Seventies were established in their calling as missionaries in the time of Joseph Smith, and carried about their share or a little more, of the missionary work in the proportion to the other Priesthood groups. Under the auspices of Brigham Young, they became, for the most part, the missionary force of the Church. This was continued until after the turn of the century; at that time the policy changed and the Elders began to carry out most of the foreign missionary work of the Church. Seventies were asked to carry on missionary work in their home stakes and wards. Fundamentally, two reasons were given for the change in policy: First, the Seventies, being older men than most Elders, were hindered from accepting mission calls because of family and financial responsibilities. Second, making most missionaries Seventies had made their number too great in proportion to the other groups, and took too much leadership away from Elders quorums. However, these conditions existed for a long time before the change, and the Seventies were apparently able to fulfill their calling very well.

A pesquisa tem o objetivo de registrar e analisar períodos importantes e inovadores das artes cênicas - com ênfase em dança - em que foram desenvolvidas propostas interlinguagens, concentrando-se em duas experiências vivenciadas por mim na década de 1970: o Mudra (Centro Europeu de Aperfeiçoamento e Pesquisa dos Intérpretes do Espetáculo), dirigido pelo coreógrafo Maurice Béjart em Bruxelas, na Bélgica, do qual fui integrante da primeira turma em 1970 e que desembocou na fundação do grupo Chandra (Teatro de Pesquisa de Bruxelas); e o Teatro de Dança Galpão, berço da dança contemporânea em São Paulo e do qual fui responsável pela primeira montagem, Caminhada (1974), e pela última, De pernas para o ar (1981), em parceria com o diretor teatral Maurice Vaneau, nos primórdios da fusão de procedimentos singulares próprios à dança e ao teatro. A linguagem investigativa praticada no Galpão desencadeou um movimento que transformou o modo de se conceber e construir a estrutura de peças coreográficas, e os resultados dessa experiência ecoam até a atualidade. O ciclo de sete anos de existência desse grupo ocorreu durante o período da ditadura civil-militar brasileira e também da contracultura, tornando-se refúgio de um público atento e curioso. O período corresponde ao interstício entre as vanguardas modernistas tardias e o pós-modernismo. A hipótese levantada é a de um procedimento específico interlinguagens com foco na dança que aliou investigação estética e participação política. O processo interlinguagens é um derivado coreográfico das visões de Antonin Artaud e tem como protagonista o corpo concebido como um processo em devir. Aliado ao movimento, relaciona tempo e espaço por meio da mutação, instaurando uma dramaturgia poética cinestésica. Pensar a questão do tempo vai remeter às noções de experiência e memória. Elejo o método da descrição associado à análise e problematização, em um procedimento hermenêutico, que inclui explicação e interpretação. Presentificam-se ainda propostas técnicas praticadas, frutos da fusão interlinguagens e de estudos somáticos recentes, resultando na elaboração da Técnica Orgânica, uma opção para o treinamento do performer. O objetivo é o de oferecer uma contribuição pessoal aos estudos e reflexões aos múltiplos praticantes e pensadores da dança no Brasil, cujo número é crescente, bem como fornecer uma referência à constituição de currículos de departamentos de Dança, acadêmicos ou não. / The research aims to record and analyze important and innovative periods of the performing arts ? with an emphasis on dance ? in which inter-languages proposals were developed, focusing on two experiences that I experienced in the 1970s: the Mudra (European Center for the Improvement and Research of Performing Artists), directed by the choreographer Maurice Béjart in Brussels, Belgium, of which I was a member of the first group in 1970 and which led to the founding of the Chandra Group (Brussels Research Theater); and the Teatro de Dança Galpão, the cradle of contemporary dance in São Paulo, where I was responsible for the first installation, Walk (1974), and the last one, Legs to the Air (1981), in partnership with theatrical director Maurice Vaneau, in the beginnings of the fusion of singular procedures proper to the dance and the theater. The investigative language practiced in the Galpão unleashed a movement that transformed the way of conceiving and constructing the structure of choreographic pieces, and the results of this experience echo until the present time. The cycle of seven years of existence of this group occurred during the period of the Brazilian civil-military dictatorship and lso of the counterculture, becoming a refuge for an attentive and curious public. The period corresponds to the intersection between late modernist vanguards and postmodernism. The hypothesis raised is that of a specific inter-languages procedure focusing on dance that allied aesthetic research and political participation. The inter-languages process is a choreographic derivative of the visions of Antonin Artaud and has as protagonist the body conceived as a process in becoming. Allied to the movement, it relates time and space through mutation, establishing a kinesthetic poetic dramaturgy. Thinking about the question of time will refer to the notions of experience and memory. I choose the description method associated with analysis and questioning, in an hermeneutic procedure, which includes explanation and interpretation. Presented techniques are also practiced, fruits of inter-languages fusion and recent somatic studies, resulting in the elaboration of the Organic Technique, an option for the training of the performer. The objective is to offer a personal contribution to the studies and reflections of the many dance practitioners and thinkers in Brazil, whose number is increasing, as well as provide a reference to the formation of curricula of Dance departments, academic or otherwise.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Esta dissertação percorre as linhas básicas da narrativa de João Antônio, confrontando perspectivas críticas e ao mesmo tempo propondo a valorização do ponto de vista do narrador malandro como elemento fundamental da estética do autor. Busca analisar, também, no pano de fundo dos anos 60 e 70, noções ligadas a um novo realismo a partir do confronto com a questão da identidade nacional, muito presente no período em que produz o autor / The current dissertation addresses João Antônio narrative styles basic traits, challenging critical perspectives and suggesting the figure of a swindler/rascal narrator as a fundamental piece of the authors aesthetics. In the backdrop of the 1960s and 1970s, elements related to a new realism were analyzed in confrontation with the issue of national identity a very relevant matter for the period in which the author writes

La hipótesis de este trabajo es que la obra americana del arquitecto Josep Lluis Sert (1902-1983) aparentemente homogénea, tiene tres etapas distintas, caracterizadas por la evolución de los intereses formales de su autor.La primera es la de atención predominante al envoltorio o superficie del edificio, con dos periodos denominados, respectivamente, "la piel gruesa" y "la piel delgada". La segunda es la de utilización extensiva de la fragmentación del volumen del edificio para lograr valores de escala humana. La tercera es la de una búsqueda de control de la configuración de los espacios con utilización de trazados proporcionales y geometrías puras para los espacios más singulares.El estudio parte del inventario de unos 30 edificios proyectados entre 1955 y 1980 en la oficina de Sert en Cambridge, Massachusetts. Analiza, a lo largo de 4 capítulos, 417 páginas escritas y más de 240 ilustraciones, los más significativos de aquellos edificios, situándolos en contexto y justificando en cada caso su pertenencia a una etapa determinada. Además de los capítulos, reúne en cuatro apéndices una reseña diacrónica de temas complementarios: contexto americano, clientes, colaboradores y, finalmente, ideas. Ello permite la lectura del contenido a dos velocidades. La fuente principal de documentación la constituye la propia experiencia del autor, colaborador durante más de doce años del maestro Sert, a la cual se une material original elaborado a partir de 1983.