L’obiettivo della tesi è di indagare gli anni trascorsi a Venezia da Albino Luciani, anni non esaurientemente approfonditi dalla storiografia e sui quali la memoria storica è ancora divisa. L’evidenza principale che ne scaturisce è la difficoltà non solo di Luciani, ma di tutte le personalità che avevano ruoli di guida e di responsabilità all’interno della Chiesa, nel misurarsi con l’attuazione del Concilio Vaticano II. L’ipotesi interpretativa proposta è che il filo conduttore di tutta l’opera pastorale del presule bellunese sia stato uno sforzo di fedeltà alla tradizione romana e all’autorità papale seppur attraverso l’ammodernamento dei metodi pastorali utilizzati. Il patriarca di Venezia è risultato particolarmente rappresentativo di tutto un episcopato nazionale montiniano che ha attuato in Italia le ricezione conciliare secondo l’ermeneutica di Paolo VI. L’indagine, avendo cura di confrontare sempre il piano dell’omiletica e il piano delle reali scelte pastorali attuate, analizza a tutto campo l’operato di Luciani, dalle attività diocesane al suo apporto alla vita ecclesiale a livello regionale, nazionale e internazionale; ha inoltre il pregio di aver utilizzato come fonte importante materiale inedito reperito nei nove archivi storici utilizzati e in vari archivi personali. Infine, è corredato di un’ampia e interessante appendice che racchiude le testimonianze orali di venti testimoni scelti. / The aim of the thesis is to investigate the years passed in Venice by Albino Luciani, years not exhaustively studied by historiography and on which historical memory is still divided. The main evidence is the difficulty not only of Luciani, but also of all personalities who had leadership roles and responsibilities within the Church, in measuring itself with the realization of the Second Vatican Council. The interpretative hypothesis is that the main theme of all the pastoral work of the patriarch of Venice was an effort of fidelity to the Roman tradition and papal authority even through the modernization of the pastoral methods. The patriarch of Venice was particularly representative of a whole national Montinian episcopate which carried out in Italy the Council reception according to the hermeneutic proposed by Paul VI. The survey, comparing the plan of homiletics and the plan of the real pastoral options implemented, examines entirely Luciani’s work, from the diocesan activities to his contribution to regional, national and international Catholic Church. The thesis uses as sources important unpublished material retrieved in nine historical archives and in various personal archives. Finally, the thesis is accompanied with a wide and interesting appendix that contains the interviews with twenty chosen witnesses.

The diploma thesis desribes the situation in Czech Union of Journalists during the Prague Spring era and the normalization era. Its aim is to explain to the reader how the situation changed after the intervention of Soviet army in August 1968. Prague Spring is generally perceived as a period of regime measures release and progressive ideas establishment. On the other hand, in the era after the Occupation strated theperiod of normalization and consolidation, which brought many repressive measures to light. It all took its toll in the function of Union of Journalists and the whole media sphere. The function of the Union o journalists becomes important from the political and ideological view. Attention is on the Union's structure as well. Thesis is focused on the period of 1968 to 1972 and embraces the historical events from Prague Spring to VI. Congress of the Union, in which the allegiance to Communist Party of Czechoslovakia was pladged by the journalists. It describes how the journalists were forced to conform their pursiut to the regime. Main focus is on the way of presentation of the journalists themselves, the relations in the Union and the change of the prestige and role of the journalist in the society before and after the normalization era. All of this is historically founded, so the reader...

The diploma thesis desribes the situation in Czech Union of Journalists during the Prague Spring era and the normalization era. Its aim is to explain to the reader how the situation changed after the intervention of Soviet army in August 1968. Prague Spring is generally perceived as a period of regime measures release and progressive ideas establishment. On the other hand, in the era after the Occupation strated theperiod of normalization and consolidation, which brought many repressive measures to light. It all took its toll in the function of Union of Journalists and the whole media sphere. The function of the Union o journalists becomes important from the political and ideological view. Attention is on the Union's structure as well. Thesis is focused on the period of 1968 to 1972 and embraces the historical events from Prague Spring to VI. Congress of the Union, in which the allegiance to Communist Party of Czechoslovakia was pladged by the journalists. It describes how the journalists were forced to conform their pursiut to the regime. Main focus is on the way of presentation of the journalists themselves, the relations in the Union and the change of the prestige and role of the journalist in the society before and after the normalization era. All of this is historically founded, so the reader...

O objetivo central desta tese é estudar o percurso artístico e intelectual de Leon Hirszman a partir dos filmes Que país é este? (1976-77), ABC da greve (1979- 90) e Eles não usam black-tie (1981). Discutindo as relações entre cinema e História, a pesquisa se concentra nas práticas culturais, estéticas e ideológicas do realizador, procurando analisar as interpretações que ele mobilizou em torno do Brasil durante a vigência do regime militar. A despeito de Hirszman ter consolidado a sua trajetória como integrante do Cinema Novo, questão que percorre as páginas deste doutorado, propõe-se também uma aproximação entre a sua obra e o projeto dramatúrgico construído por autores oriundos do Teatro de Arena. Na década de 1970, face à crise que se instalou no campo cultural da esquerda, em especial o colapso da crença revolucionária anterior a 1964 e o refluxo da leitura do povo como vanguarda heroica para uma transformação do mundo, o cineasta se aproximaria do revisionismo artístico proposto, principalmente, por Gianfrancesco Guarnieri, Paulo Pontes e Vianinha. Mantendo em seus filmes uma abordagem politizada da classe popular, sem abdicar da figura do intelectual como mediador de denúncias contra a ditadura, o diretor se voltaria para uma produção em sintonia com o viés comunista de engajamento, em diálogo com a tradição do realismo crítico e disposta a elaborar narrativas e registros documentais em confronto ao autoritarismo dos militares. Nesse sentido, mesmo sem partilhar do ideário do novo sindicalismo surgido sobretudo entre os metalúrgicos da cidade paulista de São Bernardo do Campo, Hirszman deslocaria a figura do operário para o centro do processo criativo de ABC da greve e de Black-tie, representando-o em uma chave próxima à resistência articulada pelo Partido Comunista Brasileiro (PCB), na qual o trabalhador seria visto como parte de uma ampla frente organizada para superar a ditadura e atuar em prol da redemocratização. Uma obra realizada com o intuito de responder aos dilemas sociais de seu contexto histórico, a propor uma abordagem particular sobre a classe popular e a militância antiautoritária, a partir de leituras e experiências estéticas construídas em meio aos impasses que percorreram a esquerda política e cultural na segunda metade dos anos 1970. / The main goal of this thesis is to study Leon Hirszman\'s artistic and intellectual trajectory through the films Que país é este? (1976-77), ABC da greve (1979-90) and They don\'t wear black-tie (1981). Discussing the relation between film and History, the research concentrates itself on the cultural, aesthetic and ideological practices of the director, aiming to analyze his interpretations about Brazil during its military dictatorship. Despite Hirszman\'s consolidated career as a member of the Cinema Novo movement, issue that is described during this doctoral thesis, it also proposes an approach of his work with the dramaturgical project originated by authors from the Teatro de Arena. On the 1970\'s, in virtue of the crisis installed in the left wing\'s cultural sphere, specially the collapse of the revolutionary belief preceding 1964 and the retrocession of the interpretation placing the people as the heroic vanguard leading a structural transformation, the filmmaker would court the artistic revisionism proposed by Gianfrancesco Guarnieri, Paulo Pontes and Vianinha. Maintaining a politicized approach about the popular class on his films, without abdicating the image of the intellectual as a mediator of denounces against the dictatorship, the director would proceed to a production in tune with the communist\'s active participation project, establishing a dialogue with the tradition of critical realism, willing to elaborate narratives and documental registers confronting with the authoritarian way of the military. In this sense, even without sharing the ideology originated from the newly born trade unionism, especially among the steelworkers from São Bernardo do Campo\'s city, Hirszman shifted the figure of the worker, making it the core of the creative process of ABC da greve and Black-tie. In these movies, it was represented as a key-piece close to the resistance articulated by the Brazilian Communist Party (PCB), in which it was seen as part of a large front, organized to overcome the military regime and act in favor of the country\'s redemocratization. A work realized with the intention of responding to the social dilemmas of its time, proposing a singular approach about the popular class and the anti-authoritarian militancy, originating interpretations and aesthetic experiences constructed among conflicts that filled the left-wing politic and cultural manifestations on the second half of the seventies.

O objetivo central desta tese é estudar o percurso artístico e intelectual de Leon Hirszman a partir dos filmes Que país é este? (1976-77), ABC da greve (1979- 90) e Eles não usam black-tie (1981). Discutindo as relações entre cinema e História, a pesquisa se concentra nas práticas culturais, estéticas e ideológicas do realizador, procurando analisar as interpretações que ele mobilizou em torno do Brasil durante a vigência do regime militar. A despeito de Hirszman ter consolidado a sua trajetória como integrante do Cinema Novo, questão que percorre as páginas deste doutorado, propõe-se também uma aproximação entre a sua obra e o projeto dramatúrgico construído por autores oriundos do Teatro de Arena. Na década de 1970, face à crise que se instalou no campo cultural da esquerda, em especial o colapso da crença revolucionária anterior a 1964 e o refluxo da leitura do povo como vanguarda heroica para uma transformação do mundo, o cineasta se aproximaria do revisionismo artístico proposto, principalmente, por Gianfrancesco Guarnieri, Paulo Pontes e Vianinha. Mantendo em seus filmes uma abordagem politizada da classe popular, sem abdicar da figura do intelectual como mediador de denúncias contra a ditadura, o diretor se voltaria para uma produção em sintonia com o viés comunista de engajamento, em diálogo com a tradição do realismo crítico e disposta a elaborar narrativas e registros documentais em confronto ao autoritarismo dos militares. Nesse sentido, mesmo sem partilhar do ideário do novo sindicalismo surgido sobretudo entre os metalúrgicos da cidade paulista de São Bernardo do Campo, Hirszman deslocaria a figura do operário para o centro do processo criativo de ABC da greve e de Black-tie, representando-o em uma chave próxima à resistência articulada pelo Partido Comunista Brasileiro (PCB), na qual o trabalhador seria visto como parte de uma ampla frente organizada para superar a ditadura e atuar em prol da redemocratização. Uma obra realizada com o intuito de responder aos dilemas sociais de seu contexto histórico, a propor uma abordagem particular sobre a classe popular e a militância antiautoritária, a partir de leituras e experiências estéticas construídas em meio aos impasses que percorreram a esquerda política e cultural na segunda metade dos anos 1970. / The main goal of this thesis is to study Leon Hirszman\'s artistic and intellectual trajectory through the films Que país é este? (1976-77), ABC da greve (1979-90) and They don\'t wear black-tie (1981). Discussing the relation between film and History, the research concentrates itself on the cultural, aesthetic and ideological practices of the director, aiming to analyze his interpretations about Brazil during its military dictatorship. Despite Hirszman\'s consolidated career as a member of the Cinema Novo movement, issue that is described during this doctoral thesis, it also proposes an approach of his work with the dramaturgical project originated by authors from the Teatro de Arena. On the 1970\'s, in virtue of the crisis installed in the left wing\'s cultural sphere, specially the collapse of the revolutionary belief preceding 1964 and the retrocession of the interpretation placing the people as the heroic vanguard leading a structural transformation, the filmmaker would court the artistic revisionism proposed by Gianfrancesco Guarnieri, Paulo Pontes and Vianinha. Maintaining a politicized approach about the popular class on his films, without abdicating the image of the intellectual as a mediator of denounces against the dictatorship, the director would proceed to a production in tune with the communist\'s active participation project, establishing a dialogue with the tradition of critical realism, willing to elaborate narratives and documental registers confronting with the authoritarian way of the military. In this sense, even without sharing the ideology originated from the newly born trade unionism, especially among the steelworkers from São Bernardo do Campo\'s city, Hirszman shifted the figure of the worker, making it the core of the creative process of ABC da greve and Black-tie. In these movies, it was represented as a key-piece close to the resistance articulated by the Brazilian Communist Party (PCB), in which it was seen as part of a large front, organized to overcome the military regime and act in favor of the country\'s redemocratization. A work realized with the intention of responding to the social dilemmas of its time, proposing a singular approach about the popular class and the anti-authoritarian militancy, originating interpretations and aesthetic experiences constructed among conflicts that filled the left-wing politic and cultural manifestations on the second half of the seventies.