The intention of this thesis is to analyze the figure of the post 9/11 Westerner as a modern character created from the preexisting archetype of the classic Westerner. 3:10 to Yuma (dir. James Mangold), The Assassination of Jesse James by the Coward Robert Ford (dir. Andrew Dominik), and There Will Be Blood (dir. Paul Thomas Anderson) were released in 2007 and featured post 9/11 Westerners dealing with issues of fatherhood, demonstrating the prevalence of this figure within the modern western genre. Fatherhood becomes the prism through which these characters are depicted, which becomes the main source of their anxiety. The events of 9/11 contributed to a fracture of the western myth established by the classic postwar western that results in the post 9/11 Westerner attempting to reclaim a similar mythic status. The post 9/11 Westerner becomes an inversion of the classic Westerner seen through his insecure masculinity and ultimate failure to live up to his own imagined ideals.

Made available in DSpace on 2014-12-17T15:25:11Z (GMT). No. of bitstreams: 1 LeandroAS.pdf: 625730 bytes, checksum: 21ca1cdc5ffeb6653dfba9db80d5b1d3 (MD5) Previous issue date: 2008-08-18 / Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior / This article claim to estabilish a epistemologic discourse from the science history?s point of view in a moment where its statute,methods , approachs and possibility conditions, in history?s crisis period, depares itself in risk, as universitary institutions as european?s social imagination about knowing for excellence. Our spotlight though is the concept of space, a strong question to a timeless snip, once philosophy and History renounced this concept due to the time question, so commum used until nowdays in both discourses. From this perspective, we search to elucidate Spengler?s history and space point of view, attempting to the occidental idea produced by the author, tapping to the symbolical and discursive dynamics and its dialogic relation with westerner?s political and cultural in the end of XIX century toward second great war. Thereby Spengler?s effort was always crucial to define concepts of history, science, art, space,civilizations, culture, city, country and mainly discussing spenglerian relation to social-political facts that sorrounded him. And finally, his project of cientific revolution, which was displayed by Spengler as a challenge to History of science?s paradigm / Esta disserta??o trata de estabelecer uma discuss?o epistemol?gica, do ponto de vista de uma hist?ria da ci?ncia hist?rica, num momento de sua hist?ria onde se definiam seu estatuto, seus m?todos, abordagens e condi??es de possibilidade e, acima de tudo, num momento de crise da hist?ria que se v? amea?ada na sua privilegiada posi??o , tanto nas institui??es universit?rias quanto no imagin?rio social coletivo dos europeus como saber por excel?ncia da cultura. Nosso foco ? o conceito de espa?o, quest?o forte para o recorte temporal em quest?o, tendo em vista a ren?ncia da filosofia e tamb?m da hist?ria em rela??o a esse conceito, e detrimento da quest?o do tempo centra at? ent?o (e at? hoje) em ambos os discursos. Nesta perspectiva, buscamos elucidar as vis?es de hist?ria e espa?os de Oswald Spengler, atentando para a id?ia de Ocidente produzida pelo autor a partir das duas categorias acima citadas, captando a din?mica de tal constru??o simb?lico-discursiva e sua dial?gica rela??o com a realidade politico-cultural do Ocidente no per?odo que vai de fins do s?culo XIX, at? as v?speras da Segunda Grande Guerra. Tendo como refer?ncia, para tanto, sempre, a obra de Spengler, como este definiu os conceitos de hist?ria, ci?ncia, arte, espa?o; civiliza??o, cultura, cidade, campo e, principalmente, discutindo a rela??o spengleriana com o mundo s?ciopol?tico que o cercava e constitu?a, com o qual o mesmo interagia, bem como com as tradi??es de pensamento as quais se filia e rejeita, e finamente: seu projeto de revolu??o cient?fica que Spengler apresentou como um desafio ao paradigma reinante na ci?ncia da hist?ria.