The life of Randolph Blackwell (1927-1981) provides a new lens through which to view the evolution of African American politics during the 20th century. Though perhaps most recognizable as a member of Martin Luther King‘s Southern Christian Leadership Conference, Blackwell‘s career as an activist had dimensions far broader than that of non-violent resistance. Most importantly, Blackwell‘s thought and praxis suggests the centrality of an economic and class-rooted analysis that endured far beyond the halcyon days of the Popular Front during the 1930s and 1940s. Through the medium of biography, this thesis charts the trajectory of Blackwell‘s political life. Beginning with his influence of his father—a member of Marcus Garvey‘s UNIA—Blackwell‘s journey intersected with some of the most foundational institutions and organisations shaping African American politics during the period under consideration, including Henry Wallace‘s Progressive Party of the late 1940s, the NAACP, the Voter Education Project and the SCLC. This thesis also ventures into unchartered territories, particularly in its description of Blackwell‘s post-civil rights career. In 1966, Blackwell founded Southern Rural Action, a non-profit private organisation dedicated to the cause of working class empowerment in some of the most impoverished counties in the South. Delineating Blackwell‘s unique, geographically centered vision of southern rebirth between 1966 and 1977, this thesis provides the first account of a long-ignored chapter in the history of "civil rights" organizing in the post-King years. Finally, Blackwell‘s work for the Federal Government as head of the Office of Minority Business Enterprise is given its due consideration.

Este trabalho estuda a prática profissional do arquiteto no Brasil, tomando como referência reportagens editadas em três periódicos especializados: \"Arquitetura: Revista do IAB\", \"Projeto: arquitetura, planejamento, desenho industrial, construção\" e \"AU - Arquitetura e Urbanismo\", no período compreendido entre os anos de 1962 e 1996. Realiza também uma revisão bibliográfica deste tema nos contextos internacional - com enfoque nos séculos XIX e XX - e nacional - do período monárquico até a virada da década de 1960. Analisa as atribuições da classe, o papel do ofício e os processos de formação profissional, dos ateliês às escolas. Investiga a heterogeneidade da categoria, as relações de trabalho entre profissionais liberais e assalariados e a composição de diversos tipos de escritórios de arquitetura. Verifica as conquistas e desafios relacionados à regulamentação e à remuneração profissionais. Aponta os diversos métodos de produção do projeto, com ênfase especial nas ferramentas informatizadas. Examina as principais características da interação arquiteto-cliente e as alterações no perfil desta clientela ao longo do período em análise. / This work studies the architect\'s professional practice in Brazil, having as reference articles published in three journals: \"Arquitetura: Revista do IAB\", \"Projeto: arquitetura, planejamento, desenho industrial, construção\" and \"AU - Arquitetura e Urbanismo\", between 1962 and 1996. It also makes a literature review of this topic in the international - with emphasis on the nineteenth and twentieth centuries - and the national - from monarchic period up to the turning of the 1960\'s - contexts. It analyzes professional assignments, the worker\'s role and professional education process, from ateliers to schools. It investigates the class heterogeneity, the working relationship between liberal professional and earners and the organization of different types of architecture offices. Moreover, it checks achievements and challenges related to professional regulation and remuneration; it points out different production methods of project, with special focus on computerized tools. Finally, it checks the main characteristics of architect-costumers interaction and the changes on this clientele\'s profile during the analyzed period.

O objeto de estudo desta dissertação é o surgimento do campo fotográfico profissional paulistano entre 1939 e 1970, fenômeno intimamente ligado à consolidação da sociedade de consumo em São Paulo. Ela tem como objetivo investigar as diferentes forças sociais que atuaram na formação da imagem da metrópole de seus artefatos, edifícios, pessoas e espaços componentes procurando entender por que uma e não outra representação da cidade; por que determinados profissionais e não outros a produziram. O tema foi abordado em três escalas. O primeiro capítulo traz um zoom sobre a atividade de um estúdio fotográfico, o Fotolabor, propriedade dos irmãos Werner e Geraldo Haberkorn. Descreve sua produção, as relações de trabalho, de aprendizado, os clientes e outros aspectos relevantes. O segundo capítulo abre um pouco o foco e tem como tema os fotógrafos de estúdio do período, a relação entre fotografia, publicidade e o desenvolvimento dos meios de comunicação impressos no Brasil. O terceiro amplia o campo de visão, como uma lente grande angular, e traz à cena fotógrafos, comerciantes e importadores de produtos fotográficos, numa visão de conjunto do que se denominou mercado fotográfico. Espera-se, assim, contribuir para uma melhor compreensão do trabalho dos fotógrafos profissionais em São Paulo no século XX. / The subject of this thesis is the rise of the professional photographic field in São Paulo between 1939-1970, understood as a phenomenon that establishes a deep relationship with the consumer societys growth in the city at that time. It aims to investigate the different social forces that led to the conception and creation of the metropolis image its artifacts, buildings, people and spaces trying to understand why that image has been created and why a specific kind of professional produced it (foreign photographers in Brazil). The theme was approached on three levels. The first chapter gives a close up upon the activities of a photography studio, named Fotolabor, owned by the brothers Werner and Geraldo Haberkorn. This first chapter describes its production, its work relationships, the apprenticeship in the studio, its clients and other relevant aspects. The second chapter focuses on and looks at the photographers themselves (their life histories, the way they saw themselves and their colleagues) and at the relationship between photography, advertising and the press development in Brazil. The third chapter extends the field of view, much like a wide angle lens, and brings to the scene photographers, traders and importers of photographic products, an overview of what was called photographic market. It aims, therefore, to contribute to a better understanding of the work of professional photographers in São Paulo in the twentieth century.

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2017-12-21T11:25:43Z No. of bitstreams: 1 André Luís Reis Santos.pdf: 1915872 bytes, checksum: be1e1f7aa2835ccb684a3a187fc6bf98 (MD5) / Made available in DSpace on 2017-12-21T11:25:43Z (GMT). No. of bitstreams: 1 André Luís Reis Santos.pdf: 1915872 bytes, checksum: be1e1f7aa2835ccb684a3a187fc6bf98 (MD5) Previous issue date: 2017-12-12 / The aim of this thesis is to create a Design Mnemosine to analyze this practice historically, with a focus on the so-called Digital Design. For this, we will use every day experiences to create a reflection on design in contemporary society. The foundations of Peircean, Barthesian and Gestalt semiotics will be the basis for arguing the construction of a possible Design Science in the digital age. The methodology will have as support the bibliographical and documentary survey about the subject, besides field research of qualitative character to investigate the phenomena that involve the professionals of the digital design area. This study will have as objectives: 1) the analysis related to the etymology of the word Design, in addition to other words correlated to the design or elements that compose and accompany the design stages in their social and economic impacts related to Industrial Revolutions; 2) analysis of the characteristics of design in its relationship with society and with technology; 3) study the marks and technical revolutions that interfered in the production and communication of the design function; 4) to study design in the information age, so that the concepts related to the theme and its events help analyze the different ways of producing, doing, thinking and communicating design. With these objectives, it will be possible to understand the technical and projective changes in order to define what Design is in the digital age, tracing its characteristics based on the new form of collaborative and distributed power that characterizes the third Industrial Revolution / O objetivo desta tese é criar uma Mnemosine do Design a fim de analisar historicamente esta prática, com foco no chamado Design Digital. Para isso, utilizaremos as experiências do cotidiano para criar uma reflexão sobre o design na sociedade contemporânea. Os fundamentos da semiótica peirceana, barthesiana e da gestalt serão a base para argumentar a construção de uma possível Ciência do Design na era digital. A metodologia terá como apoio o levantamento bibliográfico e documental acerca do tema, além de pesquisa de campo de caráter qualitativo para investigar os fenômenos que envolvem os profissionais da área do design digital. Este estudo terá como objetivos: 1) a análise relacionada à etimologia da palavra Design, além de outras palavras correlacionadas ao design ou aos elementos que compõem e acompanham as etapas do design nos seus impactos sociais e econômicos relacionados às Revoluções Industriais; 2) análise das características do design em sua relação com a sociedade e com a técnica; 3) estudo das revoluções técnicas que interferiram na produção e na comunicação da função do design; 4) estudo do design na era da informação, para que os conceitos relacionados ao tema e seus acontecimentos auxiliem as análises dos distintos modos de produzir, fazer, pensar e comunicar design. Com estes objetivos, será possível entender as mudanças técnicas e projetivas a fim alcançar uma possível definição do Design na era digital, traçando suas características baseadas na nova forma de poder colaborativo e distribuído que caracteriza a terceira Revolução Industrial

O que é “projeto urbano”? Nos últimos anos, no Brasil, esta expressão tem sido muito utilizada e debatida. Ela comporta diferentes acepções: é polifônica, polivalente, como admitem muitos pesquisadores. Mas esta ambiguidade conceitual, sem dúvida às vezes fonte de equívocos que não se limitam ao debate acadêmico, nesta tese é tomada como característica positiva: afinal, o debate sobre as significações do projeto urbano não indica que, justamente ali, busca-se a invenção de novas práticas? O principal objetivo desta tese é desenvolver uma definição situada de projeto urbano. Trata-se, antes de tudo, de um exercício de conhecimento ou saber localizado, amarrado a um lugar específico, Porto Alegre, a um tempo específico, o início do século XXI, e ao olhar particular de uma arquiteta cujos estudos de graduação ocorreram nos anos 1990. Desde este tempo e lugar, a tese aborda caminhos já percorridos e descortina um futuro possível para viver e estudar: uma esperança, um futuro a situar; porque “o futuro já não é o que era". / What does “urban design” mean? During the last few years, this expression has been widely used and debated in Brazil. It has different meanings: it is polyphonic, polyvalent, as many researchers concede. However, this conceptual ambiguity, often a source of misunderstanding, which is not limited to academic debate, is considered as positive in this thesis: after all, the debate about the meanings of urban design does not indicate, precisely in this case, an invention of new practices? The main objective of this thesis is to develop a situated knowledge of urban design. Most of all, it is an exercise of situated knowledge linked to a specific place – Porto Alegre – at a specific time – the beginning of the 21st century –, and the particular look of an architect who did his undergraduate studies in 1990s. From this time and place, the thesis discusses already covered paths and reveals a possible future to live and to study – a hope, a future to be situated; because “the future is not what it was.”

Perhaps no melody in the country music canon has been as widely recognized and borrowed from as that of the song “The Great Speckled Bird.” This significant song has become resonant and representative of both country music culture and religious culture of the Protestant South. Through this historiographical study, I have traced the influences that helped shape “The Great Speckled Bird” and in so doing have illustrated distinct movements that led to popularizing the non-secular song through commercial country music. The composer’s use of sentimentality, neo- traditionalism, and religious ideas made it appealing to a rural southern culture struggling with the social, racial, and economic changes of the early twentieth century. As I develop and explore the diverse influences that helped to shape “The Great Speckled Bird,” I will illustrate the interconnectedness of country music culture and the wider popular and religious cultures of the white Protestant South.

"Poetry 'n Acts: The Cultural Politics of Twentieth-Century American Poets' Theater," focuses on the disciplinary blind spot that obscures the productive overlap between poetry and dramatic theater and prevents us from seeing the cultural work that this combination can perform. Why did 2100 people turn out in 1968 to see a play in which most of the characters speak only in such apparently nonsensical phrases as "Red hus the beat trim doing going" and "Achtung swachtung"? And why would an Obie award-winning playwright move to New Jersey to write such a play in the first place? What led to the founding in 1978 of the San Francisco Poets Theatre by L=A=N=G=U=A=G=E writers, and why have those plays and performers been virtually ignored by critics despite the admitted centrality of performance to L=A=N=G=U=A=G=E writing's textual politics? Why would the renowned Yale Repertory Theatre produce in the 1990s the poetic, plotless plays of a theater newcomer twice in as many years--even when audiences walked out? What vision for the future of theater could possibly involve episodic drama with footnotes? In each example, part of the story is missing. This dissertation begins to fill in that gap. Attending to often overlooked aspects of theater language, this dissertation examines theatrical performances that use poetic devices to intervene in narratives of cultural oppression, often by questioning the very suitability of narrative as a primary means of social exchange. While Gertrude Stein must be seen as a forerunner to contemporary poets' theater, chapter one argues that the Living Theatre's late 1950s and early 1960s anti-authoritarian theater demonstrates key alliances between poetry and theater at mid-century. The remaining chapters closely examine particular instances of poets' theater by Amiri Baraka (known equally as poet and playwright), Carla Harryman (associated with West Coast poetry), and Suzan-Lori Parks (a critically acclaimed playwright). These productions put poetic theater on the backs of tractors in Harlem streets, in open gallery spaces, and in more conventional black box and proscenium architectures, and each case develops the importance of performance contexts and production histories in determining plays' cultural effects.

This dissertation asks how far Americans in the twentieth century reconciled the demands of global supremacy with the claims and realities of democracy. As an answer, it offers the first history of the movement for citizen education in world affairs. This movement, loose but coherent, acted on the belief that since the United States was a mass democracy, the creation of an interested, informed public for foreign policy was essential to its peace and security. After World War I, members of the foreign policy elite resolved to teach Americans to lead the world, and they created a network of new institutions to do so. The most important and visible of these institutions was the Foreign Policy Association, a non-profit, non-partisan group founded by New York progressives in 1918 to support Woodrow Wilson in the fight over the Treaty of Versailles. By 1925, it had morphed into the first true foreign policy think tank in the nation, with a research staff creating new, public-facing knowledge and disseminating it to a broadening public. The research staff’s Foreign Policy Reports and Foreign Policy Bulletin gave information to diplomats, scholars, editors, businessmen, lawyers, and teachers, information that was otherwise inaccessible. As democracy was threatened at home and abroad during the Great Depression, the Association became more ambitious, founding branches in twenty cities to circulate foreign diplomats and a new breed of experts in international politics around the country. It pioneered broadcasts over the nascent national radio network, and tapped into a broader movement for adult education. With the encouragement of Franklin Roosevelt, a former member, the Association promoted intervention in World War II, and became a key partner of the State Department in the selling of the United Nations. Many members of the foreign policy elite believed that the rise of the United States to world leadership entailed new responsibilities for its citizens. As the prewar functions of the Association had been rendered obsolete, it resolved after 1947 to promote community education in world affairs, to make world leadership a part of daily life. Under the rallying cry of “World Affairs Are Your Affairs,” the Association partnered with the Ford Foundation to help create dozens of World Affairs Councils, most of them patterned on the success of the Cleveland Council on World Affairs. These Councils became a stage for international politics, bringing the world to cities across America, and those cities to the world. But by its own measurements, let alone the results of surveys or the intuition of officials, this movement to make every citizen a statesman failed. The Association and its subsidiary Councils remained weak, short on cash and beset by rivalries. Increasingly, they took refuge in an ever-smaller, educated, white elite, and, informed by social science, they wrote off ever more of the American electorate as uninterested or incapable when it came to world affairs. Very few Americans, it became clear by the early 1960s, were willing to dedicate themselves to world affairs on the model of citizenship that their leaders hoped, and to those leaders, the public therefore seemed fundamentally apathetic. The infrastructure that the foreign policy elite had spent decades building calcified, even before the traumas of the Vietnam War. A chasm developed between policymakers and the public, one that has proven impossible to bridge since.

Three major trends are evident in Chinese ink painting: academic reformism, modernism and neo-traditionalism. While reformists are calling for stylistic freedom and a return to humanism, modernists seek the adoption of Western modes of thought and practice to develop and reform Chinese tradition. The new literati painting which has seen a resurgence of innovative theory and technique of an indigenous Chinese painting tradition distinguishes neo-traditionalism. Many scholars believe that developments in Chinese painting represent a decline in the history of Chinese art but, in this authors’ opinion, this has been a period of transformation in aesthetic conception and expression. Chinese ink painting, which is still the dominant stream in twentieth century Chinese art and a continuation of its development, can be seen in the work of many contemporary artists. It is more than likely that the pluralism in contemporary Chinese art discussed in this thesis will continue although the forms it takes will to some extent be determined by political and economic factors. It is unlikely that contemporary Chinese art will totally reject the established cultural and aesthetic systems and establish a new one, based on the Western system. The traditions of Chinese culture remain strong, and it appears much more probable that an internal ‘re-shaping’ of both indigenous and imported elements will result in an artistic tradition that remains distinctively ‘Chinese’ as well as contemporary / Master of Arts (Hons)

This thesis presents a feminist genealogy of ideas concerned with male violence against women from the late nineteenth to the late twentieth century. The thesis has two components: the first examines feminist, psychotherapeutic and socio-legal literature, examining how knowledge about female victims of male violence has been constituted; the second analyses memory work conducted with two groups of women exploring personal meanings about victims and violence. Each chapter describes pivotal moments in the history of women and violence showing how seemingly disparate ideas emerged to become precursors of contemporary knowledge which have given rise to a range of institutional responses to violence. Late nineteenth-century feminists created new ways of speaking about violence against women, however, their ideas were incongruent with prevailing discourses of the era. The advent of Freudian thought also brought about a new language with which to talk about violence placing the victim of violence firmly under the therapeutic gaze. During the 1930s and 1940s the founders of victimology utilised Freud's work as evidence for their proposition that female victims were often complicit in their own victimisation. In the1970s feminists challenged victim blaming ideology and redefined violence as a social and political issue. Twentieth century psychotherapeutic discourses tended to position victims of violence within discourses of psychopathology. However, more recently survivors have been defined in terms of traumatisation, constituting alternative possibilities for subjectivity following victimisation. The memory work used in this study enabled a consideration of the relationship between discourse and women's understandings of violence. Although remnants of all the discourses could be found in the women's narratives, some resonating with more authority than others, no one discourse operated deterministically to totalise subjectivity. Rather, it is evident that identities associated with survival are complex, dynamic and fluid. The legacy of the discourses described in this thesis continues to be apparent in community attitudes, institutional responses to violence and survivors' concepts of self. This thesis considers the potential implications of these discourses for women's subjectivity.