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Using Indigenous methodology and a story telling method this thesis is the result of research that looks at the benefits of traditional Indigenous ceremony and healing practices as a way to heal from traumatic experiences. A thematic analysis technique was employed to reveal four themes that emerged from the stories told by Indigenous Knowledge Keeper participants. The first theme is the importance of our connection to all living things including our own selves. Another is recognizing our greatest teachers nature and animals. Cleansing emerged at the center of all traditional healing strategies and the final theme encompasses all that we are as life on this planet spirit or energy. Trauma can be understood as any event that creates difficulty for the individual to cope whether the event that caused the experience was purposeful or accidental. While people do find amazing ways to cope with circumstances that are overwhelming, neurobiology tells us how trauma is processed and impacts the workings of the brain. Trauma in the nervous system can be understood as the result of a person or group or community’s inability to stay safe or to feel safe during the experiences. Indigenous people live with the ongoing effects of intergenerational trauma caused by colonization including the Indian Residential School experience, as well as ongoing systemic oppression. All traumas can activate the deeply held traumas that have been transmitted trans-generationally. In essence we carry intergenerational traumas. I believe that Indigenous people were practicing healing on a regular basis within their traditional ceremonies, dances and practices before contact and these practices may inform a model of health and wellness that could be useful in healing the effects of trauma that impacts Indigenous people today. Ceremonies and traditional teachings were shared communally before contact and are now being revived as we embrace the cultural practices of our ancestors across this land. Within our Indigenous ways of knowing we recognize that we are related to everything in creation we are connected and depend on one another. In 1884, under the Potlatch Law & section141 of the Indian Act our ceremonies, spiritual practices and traditional knowledges were made illegal; our people were imprisoned for practicing them (UBC First Nations Studies, 2009). Today we are in a state of desperation for healing strategies that work for who we are as a people. The Elders in this research shared how this can be done. / Graduate / 0452 / 0622 / 0347 / sheilanyman@shaw.ca

Ce mémoire adopte une perspective archivistique afin d'examiner l'art de Robert Rauschenberg, un artiste américain ayant fait ses débuts sur la scène artistique new-yorkaise des années soixante. Il est pertinent de voir les stratégies d’appropriation des artistes des années soixante, dont faisait partie Rauschenberg, comme ayant « mis la table » pour le mouvement des artistes allant puiser dans les archives pour leur pratique artistique, mouvement qui s'est développé depuis la fin des années quatre-vingt et le début des années quatre-vingt-dix. L'ensemble des rapports de l'artiste avec les archives est d'abord étudié. Ensuite, une lecture archivistique d'un corpus d'oeuvres est réalisée afin de mieux comprendre les particularités de l'utilisation des archives par Rauschenberg. Les conditions d'utilisation des archives sont relevées ainsi que la conception des archives comme mémoire, pour se terminer avec les rapports entre les archives et la photographie. / This thesis takes an archival perspective in order to examine the work of Robert Rauschenberg, an American artist who gained notoriety in the New-York art scene of the sixties. It is relevant to see appropriation art strategies by artists like Rauschenberg as a way of having « set up the table » for the archival art movement that would follow, starting in the late eighties and early nineties. The artist's connexions with the archives are first studied. Then, an archival reading of a corpus of his artworks is conducted in order to learn about his particular use of the archives. The conditions of use are raised, along with the conception of archives as memory and, at last, the relationship between archives and photography.

Le mouvement Supports/Surfaces se singularise, dans le contexte artistique de la fin des années soixante et du début des années soixante-Dix, en se présentant comme une avant-Garde à la fois picturale et théorique avec une importante production de textes qui accompagnent l’exposition des œuvres. Cette étude interroge le statut singulier de ces pratiques discursives développées par une avant-Garde qui revendique un faire pictural. Elle questionne le processus d’autodéfinition de Supports/Surfaces à travers ses textes en regard des œuvres des artistes. Faire l’histoire du groupe implique en effet d’analyser les dimensions productrices ou inhibitrices qu’ont pu avoir ces écrits. Gestes majeurs de cette avant-Garde, les discours des artistes procèdent à une mise en lumière et à un aveuglement. Étudier ce geste, opérer une lecture analytique de ces textes en relation avec les œuvres, c’est finalement répondre à l’injonction de ce mouvement pour la retourner contre elle-Même. Cette problématisation permet de penser les transformations formelles qui s’élaborent chez les artistes rassemblés sous l’appellation Supports/Surfaces à l’intérieur d’un ensemble de relations où se croisent champs artistique et littéraire, théorique et politique. Elle donne au “moment Supports/Surfaces” son contenu dense et multiple et appréhende la place du mouvement dans l’histoire de la peinture et de l’art de cette période. / In the artistic context of the late sixties and early seventies, Supports/Surfaces distinguishes itself by being both a pictorial and theoretical avant-Garde, the exhibition of artworks being accompanied by texts that were produced in considerable quantity. This study questions the singular situation of these discursive approaches developed by an avant-Garde claiming a pictorial process. It therefore questions how Supports/Surfaces self-Defines through its texts and the works produced by the artists. To constitute the history of the group involves to analyse the productive or inhibitive aspects that these writings may have had. The discourses of the artists, as a key action of this avant-Garde, proceed to a bringing to light and simultaneously to a blindness. The study of this action, the analytic reading of these texts in relation to the artworks, finally constitutes an answer to the injunction of this movement by turning it back on itself. This approach allows to consider the formal transformations, as elaborated in their works by the artists gathered under the name Supports/Surfaces, inside a whole combination of relations between literary and artistic fields as well as political and theoretical fields. It gives to the “Supports/Surface time” its dense and plural content, and it allows to consider the place of the movement in the history of painting and of art of that period.

This thesis aims to provide a history of African American working class and Leftist activism in Atlanta, Georgia during the early 1970s. It places a series of wildcat strikes within the context of political and social transition, and charges unequal economic conditions and a racially charged discriminatory environment as primary causes. The legacies of both the Civil Rights Movement and the New Left are identified as key contributing factors to this wave of labor unrest. One path taken by former Civil Right activists was to focus on poor peoples’ movements, and one course taken by the 1960s-era New Left activists was to join forces with the working class in an attempt to build a New Communist movement. In Atlanta, these two forces converged and generated a notable force against some of city’s most prominent employers.

Ce mémoire adopte une perspective archivistique afin d'examiner l'art de Robert Rauschenberg, un artiste américain ayant fait ses débuts sur la scène artistique new-yorkaise des années soixante. Il est pertinent de voir les stratégies d’appropriation des artistes des années soixante, dont faisait partie Rauschenberg, comme ayant « mis la table » pour le mouvement des artistes allant puiser dans les archives pour leur pratique artistique, mouvement qui s'est développé depuis la fin des années quatre-vingt et le début des années quatre-vingt-dix. L'ensemble des rapports de l'artiste avec les archives est d'abord étudié. Ensuite, une lecture archivistique d'un corpus d'oeuvres est réalisée afin de mieux comprendre les particularités de l'utilisation des archives par Rauschenberg. Les conditions d'utilisation des archives sont relevées ainsi que la conception des archives comme mémoire, pour se terminer avec les rapports entre les archives et la photographie. / This thesis takes an archival perspective in order to examine the work of Robert Rauschenberg, an American artist who gained notoriety in the New-York art scene of the sixties. It is relevant to see appropriation art strategies by artists like Rauschenberg as a way of having « set up the table » for the archival art movement that would follow, starting in the late eighties and early nineties. The artist's connexions with the archives are first studied. Then, an archival reading of a corpus of his artworks is conducted in order to learn about his particular use of the archives. The conditions of use are raised, along with the conception of archives as memory and, at last, the relationship between archives and photography.

The thesis deals with the era of the Czech literature in the second half of the 20th century. It focuses on the description of the humorous elements in selected literary works. The works are different in topics and genres too and in the end the works are reflected all together. The main literature sources are the analyzed titles and the book f essays called Silence and laughter by Sylvia Richterová. The first chapter presents an outline of the atmosphere of the 60s, the second chapter defines the topic and genre specifications of the works published in this decade. The third chapter is a methodological guide to comicality. Chapters four to seven analyze individual literary works in several basic points ? composition, language, characters and a description of the nature of the characters as well as the description of the theme.

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Orientador: Valeriano Mendes Ferreira Costa / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas / Made available in DSpace on 2018-08-19T07:04:26Z (GMT). No. of bitstreams: 1 Ferrari_ViniciusEduardo_M.pdf: 2206005 bytes, checksum: 9d90089440c2d0376a8f29f9a85a70ce (MD5) Previous issue date: 2011 / Resumo: O intento desta dissertação é avaliar a tentativa de conformação de uma base de financiamento de longo prazo privada e nacional para a economia brasileira após o Golpe Militar de 1964. A idéia, portanto, é examinar a elaboração e a implementação do projeto dos bancos de investimentos, uma vez que estas instituições apresentavam como objetivo o fornecimento de empréstimos de prazos dilatados para o setor produtivo. A evidência empírica revela a incapacidade das reformas do governo Castello Branco no tocante à expansão do financiamento de longo prazo doméstico privado. Os bancos de investimentos não se tornaram ofertantes de fundos de longo prazo, mas sim de capital de giro, atuando de forma semelhante às demais instituições financeiras nacionais. Esta dissertação pretende estudar as causas deste resultado. Conclui-se que a dinamização dos financiamentos privados de longo prazo não representava um interesse econômico prioritário para os grupos privados nacionais. Nas décadas de 60 e 70, a atratividade/lucratividade das operações financeiras de curto prazo à disposição do sistema bancário tendeu a reforçar a aversão histórica dos bancos nacionais aos riscos inflacionários associados às aplicações financeiras de prazo dilatado. No tocante ao setor produtivo, a vigência de alguns traços estruturais do desenvolvimento capitalista brasileiro, tais como a baixa propensão das empresas privadas ao uso de recursos de terceiros para financiar o investimento, consolidou dentre os setores industriais a seguinte percepção: a elaboração de mecanismos para o financiamento do capital fixo não representava um elemento essencial. Nesta visão, seria muito mais importante a dinamização das fontes de financiamento de capital de giro, garantindo a total ocupação da capacidade industrial existente na economia. Na arena política, o interesse dos banqueiros pela redução do prazo das operações financeiras encontrou correspondência nas reivindicações dos setores produtivos pela ampliação das fontes de crédito de capital de giro e ambas as pressões se reforçaram mutuamente. As demandas particulares dos banqueiros convergiram, sobretudo, para o Conselho Monetário Nacional. Já os setores industriais encontraram na locução ao presidente Castello Branco um mecanismo eficaz para a materialização dos seus interesses. O governo atendeu as reivindicações dos grupos privados; os bancos de investimentos foram deslocados para o mercado creditício de médio prazo destinado ao financiamento do capital de giro das empresas. Desta forma, o projeto governamental referente à dinamização do crédito privado de longo prazo foi abortado durante a fase de implementação das reformas financeiras do governo Castello Branco / Abstract: The aim of this manuscript is to better analyze the attempt from the first military government to construct a private and national nucleus of long term financing after the ?"Revolution of 1964". We sought to assess the formulation and implementation of the investment banks project, once these financial institutions had the purpose to provide long term loans to the industrial sector. However, the existent financial data points the inability of Brazilian Government's Reforms regarding the expansion of the domestic as well as private long term funding in the Brazilian economy. Investment banks did not become lenders of long term funding, but working capital lenders instead, operating similarly to the usual Brazilian financial institutions. The intent of this work is, hence, to study the causes behind this result. By analyzing the reminiscent data, it was possible to observe that the expansion of the long term funding sources did not represent a major economic priority to the Brazilian private groups. The appeal of short term financial operations available to the national financial system reinforced the tendency of the Brazilian banks' historical resistance to inflationary risks associated to such long term funding operations. In regards to the productive sector, some structural features related to national capitalist development, as the low propensity of private companies for use of third party funds to financial investment, consolidated among the industrial sector an important perception: that the development of a private and national nucleus of long term funding was not an essential issue. According to this argument, the expansion of working capital funding sources would be more important, ensuring full occupancy of the industrial capacity existing in the economy. In the political arena, the bankers' aspiration to shorten financial operations was correspondent to the demands of industrial sectors regarding the expansion of the working capital sources, so that these expectations reinforced each other. The bankers' particular demands converged to the National Monetary Council. The industrial entrepreneurs have found, in the direct access to President Castello Branco, an effective mechanism for realizing their interests. The Brazilian government, on the other hand, met these private pressures and the investment banks were reallocated to the medium-term credit market. These institutions consequently started to provide working capital funds to the private companies. As a result, the government project related to the expansion of the long terms funds in the Brazilian economy was aborted during the implementation of the Financial Reforms / Mestrado / Ciencia Politica / Mestre em Ciência Política

Le cinéma n’enregistre pas seulement ce qui existe: il arrive qu’il fabrique des objets pour les filmer. Des « simulacres » qui peuvent être aussi bien des parodies d’œuvres d’art que des machines à voyager dans le temps. Comment penser ces objets improbables, excroissances filmiques souvent kitsch, qui dénoncent au sein du film même ses artifices fictionnels? Comment pensent-ils le cinéma, ses spécificités et ses relations avec les arts plastiques? À partir de l'exemple du cinéma français des années 1960, ce travail de thèse s’est donné pour objectif de replacer ces objets dans la culture visuelle, de les analyser comme des carrefours artistiques et de débattre des questions théoriques qu’ils soulèvent, notamment de la capacité du cinéma à mettre en fiction le pouvoir des autres arts. Au point de rencontre entre la théorie artistique et la fiction cinématographique, l’histoire de ces objets hybrides permet de comprendre que le cinéma peut se faire historien d’art et que l’histoire de l’art est elle-même une longue suite de fictions sur les pouvoirs attribués aux objets. En cela, ces simulacres cinématographiques apportent des sources inédites à l’historien des arts visuels. / Not only do films record what exists: they sometimes create objects to be filmed. These « simulacra » can just as well be parodies of art works or time machines. How do we think about these peculiar objects, all-too-often kitsch filmic excressences, which serve to highlight fictional artifice? Moreover, how do we think about cinema, in both its specificities and its relation to Plastic Arts? Looking through the lens of French cinema in the 1960's, this thesis intends to reconsider these objects in the context of visual culture, to analyse them as artistic crossroads, and to debate the theoretical issues they raise, most particularly the ability of cinema to turn into fiction the power of other arts. At the meeting point between artistic theory and cinematographic fiction, the history of these hybrid objects allows one to understand that cinema can perform the role of an art historian, and that art history is itself a succession of fictions about the power assigned to objects. As such, these cinematographic simulacra provide visual arts historians with unexpected sources.