Finns det ett religiöst anspråk i Disneyfilmer? Är det kristna symboler åskådaren bevittnar, är de återkommande samt vad har dessa för inverkan på det psykologiska hos människan och vilken inverkan Disney har på omvärlden? Utifrån ett jungianskt perspektiv tar denna uppsatsen ansats i att förstå hur symboler gör anspråk på det psykologiska hos en människa och vad dessa symboler kan innebära. Baserat på symbollexikon och andra källor har en symbolanalytisk analys utförts genom att identifiera symboler och vilka betydelser symbolerna innefattar. Studien behandlar även hur ett barn påverkas av det världsomfattande bolaget Walt Disneyskapade, samt vad symboler som integreras i Disneyfilmer har för inverkan på barn. Genom att titta på ett urval av Disneyfilmer och noterat symboler som är anmärkningsvärda har en uppsats vuxit fram.

O objetivo principal desta Tese é produzir uma leitura crítica da construção, por Walt Whitman Rostow, do desenvolvimento enquanto ideologia e enquanto política de Estado dos Estados Unidos no contexto da Guerra Fria. O desenvolvimento é concebido como uma política econômica internacional principalmente para resolver o problema da necessidade de expansão internacional do capitalismo como sistema mundial no pós-guerra, sob a hegemonia americana. O confronto político-ideológico capitalismo versus comunismo é certamente relevante, mas secundário. Uma forte ideologia do desenvolvimento se torna necessária para induzir os chamados países subdesenvolvidos a adotar o desenvolvimento como seu objetivo maior, o que a política internacional do desenvolvimento poderia ajudar a promover oferecendo empréstimos internacionais e assistência técnica. Uma vez aceito, um esquema como esse poderia garantir o funcionamento de uma nova ordem capitalista internacional, em substituição ao velho colonialismo. Walt Whitman Rostow é talvez o intelectual mais importante na criação e na promoção do desenvolvimento como ideologia e como política de Estado. Esta Tese é centrada na sua produção teórico-política sobre o desenvolvimento, abrangendo o período que se considera como efetivamente criativo desta produção, ou seja, até a sua definição da seqüência de estágios-de-crescimento em As Etapas do Crescimento Econômico. Um Manifesto Não-Comunista. Também se analisa a busca de W. W. Rostow por uma fundamentação teórica por meio de sua crítica a Marx e à abordagem estrutural-funcional nas ciências sociais. / This Thesis\' main objective is the production of a critical reading of the Walt Whitman Rostow\'s construction of the development as an ideology and as a State policy of the United States in the Cold War context. The development is conceived as an international economic policy mainly to solve the serious problem of the need for international expansion of capitalism as a world system, in the post-war period, under the American hegemony. The political-ideological confrontation capitalism versus communism is certainly a relevant one, but secondary. A strong ideology of development becomes necessary to induce the so called underdeveloped countries to adopt the development as their primary goal, which the international development policy could make easier by the supply of international loanable funds and technical assistance. One accepted, this scheme would guarantee the functioning of a new international capitalistic order, replacing the old colonialism. Walt Whitman Rostow is perhaps the most important intellectual in the creation and promotion of the development as an ideology and a State policy. This Thesis is centered upon his theoretical-political production about the development, covering the effective creative period of this production, that is, until Rostow\'s definition of his stages-of-growth sequence in The Stages of Economic Growth. A Non-Communist Manifesto. There is also an analysis of Rostow\'s search for theoretical foundations by means of his criticism of Marx and of the structural-functional approach in the social sciences. .

O objetivo principal desta Tese é produzir uma leitura crítica da construção, por Walt Whitman Rostow, do desenvolvimento enquanto ideologia e enquanto política de Estado dos Estados Unidos no contexto da Guerra Fria. O desenvolvimento é concebido como uma política econômica internacional principalmente para resolver o problema da necessidade de expansão internacional do capitalismo como sistema mundial no pós-guerra, sob a hegemonia americana. O confronto político-ideológico capitalismo versus comunismo é certamente relevante, mas secundário. Uma forte ideologia do desenvolvimento se torna necessária para induzir os chamados países subdesenvolvidos a adotar o desenvolvimento como seu objetivo maior, o que a política internacional do desenvolvimento poderia ajudar a promover oferecendo empréstimos internacionais e assistência técnica. Uma vez aceito, um esquema como esse poderia garantir o funcionamento de uma nova ordem capitalista internacional, em substituição ao velho colonialismo. Walt Whitman Rostow é talvez o intelectual mais importante na criação e na promoção do desenvolvimento como ideologia e como política de Estado. Esta Tese é centrada na sua produção teórico-política sobre o desenvolvimento, abrangendo o período que se considera como efetivamente criativo desta produção, ou seja, até a sua definição da seqüência de estágios-de-crescimento em As Etapas do Crescimento Econômico. Um Manifesto Não-Comunista. Também se analisa a busca de W. W. Rostow por uma fundamentação teórica por meio de sua crítica a Marx e à abordagem estrutural-funcional nas ciências sociais. / This Thesis\' main objective is the production of a critical reading of the Walt Whitman Rostow\'s construction of the development as an ideology and as a State policy of the United States in the Cold War context. The development is conceived as an international economic policy mainly to solve the serious problem of the need for international expansion of capitalism as a world system, in the post-war period, under the American hegemony. The political-ideological confrontation capitalism versus communism is certainly a relevant one, but secondary. A strong ideology of development becomes necessary to induce the so called underdeveloped countries to adopt the development as their primary goal, which the international development policy could make easier by the supply of international loanable funds and technical assistance. One accepted, this scheme would guarantee the functioning of a new international capitalistic order, replacing the old colonialism. Walt Whitman Rostow is perhaps the most important intellectual in the creation and promotion of the development as an ideology and a State policy. This Thesis is centered upon his theoretical-political production about the development, covering the effective creative period of this production, that is, until Rostow\'s definition of his stages-of-growth sequence in The Stages of Economic Growth. A Non-Communist Manifesto. There is also an analysis of Rostow\'s search for theoretical foundations by means of his criticism of Marx and of the structural-functional approach in the social sciences. .

En tant que première destination touristique aux Etats-Unis, les parcs à thèmes Disney représentent un phénomène culturel important et une opportunité unique d’évaluer les médias de masse à l’aune de leur influence sur les usages et les conduites. L’analyse se propose d’interroger le concept d’imachination (imagineering), qui désigne chez Disney la conception des environnements thématiques et narratifs des parcs. Au travers de l’examen des protocoles de création des parcs, il s’agit de déterminer comment leurs concepteurs réunissent dans l’environnement certains critères de la narrativité ainsi que les récits qu’ils s’attachent à y raconter. Ainsi, le parc offre l’image d’un monde fictionnel qui, reflétant sous une forme objective certaines valeurs portées par la société américaine, décrit les conditions d’une bonne entente entre le visiteur et son environnement. Investi par le moyen de récits d’attributs psychologiques (souvenirs, valeurs), l’espace du parc oeuvre à la répartition des tâches entre le paysage et l’usager : en assignant un rôle à l’un et à l’autre, l’espace narratif soumet leurs interactions à un script préalable, si bien que les conduites et les émotions du second y relèvent d’une performance.En même temps qu’ils décrivent implicitement les conditions du bon usage du parc, les récits servent à la mobilisation d’acteurs distincts, et, ce faisant, à l’élaboration d’un système sociotechnique : de grands récits de progrès technique et économique ont ainsi permis à la compagnie de s’attacher le concours de grandes corporations américaines et d’obtenir pour son complexe floridien un statut juridique particulier, donnant le jour à un système de production inédit. / As the number-one tourist destination in the United States, the Disney theme parks are asignificant cultural phenomenon and present a unique opportunity to evaluate mass communication inlight of its influence on the user’s behavior and practices. This study aims to provide an analysis of “Imagineering”—that is, the design of narrative environments in the Disney-branded theme parks. By examining the design processes at work in the parks, the analysis shows what stories theso-called “Imagineers” intend to tell as well as how these stories fulfill the requirements of narratives in the very environment of the parks. The park thus presents the image of a fictional world that reflects the values of American society in an objective form, and in so doing provides the conditions for conformity between the user and the environment. As the repository of subjective and psychological traits (memories, values), the narrative space of the park distributes the tasks at hand between the visitor and the environment. By assigning each its role, the park subjects their interaction to a pre-established script—so well that the visitor’s behaviorsand emotions take on the appearance of performances. Besides providing implicit instructions for the proper use of the parks, narratives also serve to mobilize various social agents and in doing so create new sociotechnical systems. Grand narratives of technical and economic progress have thus helped the company secure the collaboration of prominent American corporations as well as a specific legal status for its Florida resort, giving rise to a new production system.

Thesis (Ph. D.)--University of Chicago. / Includes bibliographical references. Also available on the Internet.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / To conceive a movie as a document and as a historic tool is important nowadays, when images are considered fundamental in the acceptance and reception of specific purposes in the teaching level or in people s everyday lives. This dissertation intends to study the representative connections of the American approach policies in the 40 s through a cinematographic perspective, especially through the Disney movies Saludos, amigos! (1942) and The three caballeros (1945). These movies highlight some aspects of the Argentinean and Brazilian history, as well as of some other Latin-American countries, revealing the American impressions about South American countries and Mexico during World War II. This period featured the approximation of the North American and Latin American politics. This dissertation intends to provide a critical analysis of the historical and political fields in relation to the cultural and cinematographic universes, highlighting their closeness and detachments, taking in consideration the theoretic studies that relate the movies as an advertisement tool, spreader of ideologies, of moral codes, of philosophical divagations and of political propositions that would result in the spectator s acceptance and abidance. / Conceber um filme como documento e instrumento da história é importante nos tempos de hoje em que as imagens são tratadas como fundamentais na aceitação e na recepção de determinados propósitos sejam eles em nível de docência ou no cotidiano das pessoas. Esta dissertação pretende estudar os vínculos representativos das políticas de aproximação dos Estados Unidos na década de 1940 a partir do viés cinematográfico, em especial o cinema de Walt Disney nos filmes Saludos, amigos! (1942) e The three caballeros (1945). Esses filmes evidenciam aspectos da história da Argentina e do Brasil e de outros países latino-americanos -, a partir de questões culturais e históricas, revelando, também, uma visão dos Estados Unidos sobre os países sul americanos e sobre o México, durante o período da Segunda Guerra Mundial. Esse momento se caracterizou pelo estreitamento dos laços entre a política norte-americana e a América Latina. Desse modo, a realização desta dissertação visa proporcionar uma análise crítica entre os campos históricos e políticos com os universos culturais e cinematográficos, evidenciando suas proximidades, seus distanciamentos e, levando em conta os estudos de teóricos que relacionam o cinema enquanto instrumento de propaganda, divulgador de ideologias, de questões morais, de divagações filosóficas e de proposições políticas que remeteriam à aceitação e a cooptação do espectador.

This research interrogates Bennie van der Walt’s third way as a solution for the “divided soul” of the African people - a divided soul that creates a false dilemma. This division is the creation of political colonialism and neo-colonialism, which impacts negatively on the African socio-economic and political structure. The myth of the superiority of Western culture propagates this vice. Van der Walt’s clarification of the concepts of a world view and culture are depicted in chapter 1. He wrestles with the complexity of culture and world view; showing that a world view is deeply religious and pre-scientific and shapes culture. He also shows how religion, world view and culture relate to one another. In chapter 2 Van der Walt’s comparison and evaluation of the African and Western cultures and their world views is reconstructed. It is pointed out that Van der Walt notices fundamental differences between the two cultures, and that he warns of difficulties in the reconstruction endeavour. He then identifies the underlying presuppositions of both the African and Western cultures. Chapter 3 discusses Van der Walt’s articulation of the impact of the world view clash between African and Western cultures on African society. This impact is felt in the socio-economic-political and educational environment. He considers the Western derogatory approach towards African culture and African reactions towards it. Van der Walt rejects especially ethnocentric approaches to African culture and also the African ethnocentric reaction. In chapter 4, the fundamentals of Van der Walt’s third way is enunciated. He notes that his views are founded on Scripture, acknowledgement of sin and redemption through Christ, the sustaining nature of God’s grace and the recognition of trans-cultural dialogue and non-reductionists ontology. Chapter 5 critically analyses Van der Walt third way. Major strengths and weaknesses of Van der Walt third way are identified. Solutions to Van der Walt’s weak points are recommended for his consideration. Finally, chapter 6 articulates that Van der Walt’s third way aimed to prevent any future damage to African culture as it counters a reductionist ontology prevalent in shaping Africa by propagating a non-reductionist ontology. This ensures that Africa’s problem of a false dilemma, divided soul, and negative ethnocentrism is resolved. / MA (Philosophy), North-West University, Potchefstroom Campus, 2015

This research interrogates Bennie van der Walt’s third way as a solution for the “divided soul” of the African people - a divided soul that creates a false dilemma. This division is the creation of political colonialism and neo-colonialism, which impacts negatively on the African socio-economic and political structure. The myth of the superiority of Western culture propagates this vice. Van der Walt’s clarification of the concepts of a world view and culture are depicted in chapter 1. He wrestles with the complexity of culture and world view; showing that a world view is deeply religious and pre-scientific and shapes culture. He also shows how religion, world view and culture relate to one another. In chapter 2 Van der Walt’s comparison and evaluation of the African and Western cultures and their world views is reconstructed. It is pointed out that Van der Walt notices fundamental differences between the two cultures, and that he warns of difficulties in the reconstruction endeavour. He then identifies the underlying presuppositions of both the African and Western cultures. Chapter 3 discusses Van der Walt’s articulation of the impact of the world view clash between African and Western cultures on African society. This impact is felt in the socio-economic-political and educational environment. He considers the Western derogatory approach towards African culture and African reactions towards it. Van der Walt rejects especially ethnocentric approaches to African culture and also the African ethnocentric reaction. In chapter 4, the fundamentals of Van der Walt’s third way is enunciated. He notes that his views are founded on Scripture, acknowledgement of sin and redemption through Christ, the sustaining nature of God’s grace and the recognition of trans-cultural dialogue and non-reductionists ontology. Chapter 5 critically analyses Van der Walt third way. Major strengths and weaknesses of Van der Walt third way are identified. Solutions to Van der Walt’s weak points are recommended for his consideration. Finally, chapter 6 articulates that Van der Walt’s third way aimed to prevent any future damage to African culture as it counters a reductionist ontology prevalent in shaping Africa by propagating a non-reductionist ontology. This ensures that Africa’s problem of a false dilemma, divided soul, and negative ethnocentrism is resolved. / MA (Philosophy), North-West University, Potchefstroom Campus, 2015

Master of Arts / Department of History / Charles W. Sanders, Jr. / Today, Walt Whitman is considered a famous nineteenth-century American poet. At the outbreak of the American Civil War however, he was underrated and underappreciated by American readers. Three editions of his book of poetry, Leaves of Grass, were not received well by American readers and his future in writing looked bleak. This was despite the fact that Whitman’s literary friend, Ralph Waldo Emerson, wrote an encouraging review of the first edition, which Whitman included in the second and third iterations. Ironically, Whitman’s career made a turn for the better when his brother, George Washington Whitman, was reported to be among the wounded or killed in the Battle of Fredericksburg on December 13, 1862. A dedicated family man, Whitman immediately boarded a train in New York and headed for Falmouth, Virginia, to check on his brother’s wellbeing. Whitman visited several makeshift hospitals before coming across Chatham Mansion, the temporary Union Hospital Headquarters. He saw at the base of a tree a pile of human limbs that had been tossed out of a first floor window following amputations. The scene was horrific and he paused to record what he saw in his diary. This experience forever changed Whitman the man and Whitman the poet and the transformation was evident in his subsequent writing, as Whitman first took on the persona of what I have designated as the Wound Dresser and years after the war the Good Gray Poet. This evolution changed the public perception of Whitman, and it occurred in phases. The initial phase was before the war, his work was considered obscene among American society due to his previous publications. The second transformation in Whitman was initiated by fear of personal loss when his brother was listed among the wounded and dead at Fredericksburg and the sight of the amputated limbs at Chatham Mansion. Had Whitman been exposed to the war slowly over time, the effect might not have been so profound, but Chatham was an earth shattering event in his life, as he admitted. The third phase was the result of daily exposure for years to the wounded and dying in the hospitals. He developed a personal connection with the men and was determined to stay with them, despite direct orders from hospital doctors that he should return home for his own physical and emotional recovery. His experience in the hospitals had transformed from a middle aged healthy man to a frail and brittle shell, evident in photographs of him during these years. The final phase was marked by the transformation in his writing. It was in this phase that Whitman created the most memorable and remarkable Civil War poetry that is still celebrated today. It was this poetry that caused American’s to revere him as the “Good Gray Poet.”

"Spirited Media" analyzes distributed structures of authorship in the reform literature of the nineteenth-century United States. The literature that emerged out of reform movements like abolitionism often was a product of complex negotiations between speech and print, involving multiple people working across media in relationships that were sometimes collaborative, sometimes cooperative, and sometimes antagonistic. The cultural authority of print and individual authorship, often unquestioned in studies that focus on major or canonical figures of the nineteenth century, has tended to obscure some of this complexity. Moving from phonography, to Josiah Henson and Uncle Tom’s Cabin, to spiritualism, to Sojourner Truth and Walt Whitman, I consider four cases in which reporters, amanuenses, spirit mediums, and poets revived and remediated the voices of abolitionists, fugitive slaves, and figures from American history. By separating publication into events—speech, inscription, revision, and print—I show that "authorship" consisted of a series of interactions over time and across media, but that in the case of reform, the stakes for proving that authorship was a clear and indisputable characteristic of print were high. For abolitionist, African American, and spiritualist speakers and writers, authority depended on authorship, which in turn depended on the transparency of the print or the medium, or the perception of a direct relationship between speaker and reader. Like authorship, this transparency was constructed by a variety of social actors for whom the author was a key site of empowerment. It was authorized by appeals to revelation and race, two constructs often sidelined in media histories, yet central to discussions of society and politics in nineteenth-century America. Thinking of authorship as a distributed phenomenon disrupts models of the unitary subject and original genius, calling attention instead to uncanny acts of reading and writing in nineteenth-century literature. This dissertation argues that we should think about the transformative power of U.S. literature as located in revelation, not just creation, and in congregating people, not just representing them. / text