"If it sounds good, it is good." - Duke Ellington "Like music, a work acquires its value only through the love it manifests." - Eileen Gray "...but in the mud and scum of things There alway, alway something sings." - R.W. Emerson / Master of Architecture

This thesis attempts to demonstrate how Reverend and Professor Hubert Herring’s dedication to Congregationalism motivated him to advocate for the autonomy of Latin American nations through the pursuit of non-interventionist policies, an approach the U.S. government ultimately adopted when it best suited its interests during World War II.

The approach of this study is balance of power theory, providing an analysis to explain how Sino-American Relations in that region is full of conflicts and cooperation. In the study, there are two major aspects for further analysis, one is the regional security, the other is regional economy. After the end of Cold War Era, the power structure in Northeast Asia has faced adjustment. The power of China has raised and profoundly influenced on the aspect of economic and security of the region. United States, out of its consideration of national interests, adopts ¡§balancing¡¨ strategies to confront any possible threat. In general, conflicts may break out between the two countries, but, there are some possibilities for two sides to cooperate, for example, the denuclearization of Korea Peninsula and development of clean Energy promote China and U.S to collaborate with each other. The results of this study provide information for the Taiwanese Government to further develop national security and economic strategies.

O primeiro livro de Jorge Amado traduzido para o idioma inglês foi publicado nos Estados Unidos em 1945, pela Alfred A. Knopf Publishers, por meio de patrocínio do Departamento de Estado americano, que mantinha um programa de intercâmbio cultural como parte da Política de Boa Vizinhança do presidente Roosevelt. A literatura traduzida era, então, vista como um caminho para compreender o outro. Criou-se, a partir daí, um padrão de comportamento que perdurou por décadas. Érico Veríssimo, Gilberto Freyre, Alfred e Blanche Knopf, Samuel Putnam e Harriet de Onís foram atores importantes nesse cenário. Apesar de seu contínuo posicionamento de esquerda, após desligar-se do Partido Comunista no final da década de 1950, Jorge Amado tornou-se um bestseller norteamericano, como resultado dessa vertente diplomática e do renovado projeto de tradução (e de amizade) de Alfred A. Knopf. Entretanto, outras redes de influência também atuavam sobre a recepção da obra do escritor, fazendo com que ela fosse assimilada de forma própria, metonímica, diferente da que ocorreu em países do leste europeu, por exemplo. Esta pesquisa investigou a relação entre os atores mencionados, tais redes de influência e a representação cultural do Brasil na literatura traduzida de Jorge Amado nos Estados Unidos. / The first book by Jorge Amado in English translation was published in the United States in 1945 by Alfred A. Knopf Publishers, under the auspices of the U.S. State Department, who sponsored a cultural interchange program as part of president Roosevelts the Good Neighbor Policy. Translated literature was seen, at the time, as a way of understanding the other. Érico Veríssimo, Gilberto Freyre, Alfred and Blanche Knopf, Samuel Putnam and Harriet de Onís were actors in this scenario. In spite of his support of the tenets of the political left, after leaving the Communist Party in the late 1950s Jorge Amado became an American bestseller, a result of such diplomatic movement as well as Alfred A. Knops translation project. Nevertheless, other influence networks also affected the authors reception in the United States, which turned out to be quite different from that in the Eastern Europe, for instance. This research investigates the relation between the aforementioned actors, such influence network and Brazils cultural representation in Jorge Amados translated literature in the United States.

O primeiro livro de Jorge Amado traduzido para o idioma inglês foi publicado nos Estados Unidos em 1945, pela Alfred A. Knopf Publishers, por meio de patrocínio do Departamento de Estado americano, que mantinha um programa de intercâmbio cultural como parte da Política de Boa Vizinhança do presidente Roosevelt. A literatura traduzida era, então, vista como um caminho para compreender o outro. Criou-se, a partir daí, um padrão de comportamento que perdurou por décadas. Érico Veríssimo, Gilberto Freyre, Alfred e Blanche Knopf, Samuel Putnam e Harriet de Onís foram atores importantes nesse cenário. Apesar de seu contínuo posicionamento de esquerda, após desligar-se do Partido Comunista no final da década de 1950, Jorge Amado tornou-se um bestseller norteamericano, como resultado dessa vertente diplomática e do renovado projeto de tradução (e de amizade) de Alfred A. Knopf. Entretanto, outras redes de influência também atuavam sobre a recepção da obra do escritor, fazendo com que ela fosse assimilada de forma própria, metonímica, diferente da que ocorreu em países do leste europeu, por exemplo. Esta pesquisa investigou a relação entre os atores mencionados, tais redes de influência e a representação cultural do Brasil na literatura traduzida de Jorge Amado nos Estados Unidos. / The first book by Jorge Amado in English translation was published in the United States in 1945 by Alfred A. Knopf Publishers, under the auspices of the U.S. State Department, who sponsored a cultural interchange program as part of president Roosevelts the Good Neighbor Policy. Translated literature was seen, at the time, as a way of understanding the other. Érico Veríssimo, Gilberto Freyre, Alfred and Blanche Knopf, Samuel Putnam and Harriet de Onís were actors in this scenario. In spite of his support of the tenets of the political left, after leaving the Communist Party in the late 1950s Jorge Amado became an American bestseller, a result of such diplomatic movement as well as Alfred A. Knops translation project. Nevertheless, other influence networks also affected the authors reception in the United States, which turned out to be quite different from that in the Eastern Europe, for instance. This research investigates the relation between the aforementioned actors, such influence network and Brazils cultural representation in Jorge Amados translated literature in the United States.

After the end of War World II, Latin-American literature has used the theme of Nazism to create and recreate a wide variety of stories. In some cases, these stories are conceived as a critique to specific aspects of real life, which reminds the reader of the often blurred duality between reality and fiction. This critique is based on the relationship of the characters in the stories, as well as by the socio-political and philosophical views they represent, as can be seen in Juan G. Vásquez’s Los informantes or Jorge E. Pardo’s El pianista que llegó de Hamburgo, both novels written by Colombian authors. Furthermore, it can also be seen in Argentinian literature, as examined here in two specific narratives, Jorge Luis Borges’s short-story, “Deutsches Requiem,” and Osvaldo Bayer’s novel Rainer y Minou. Each of these incorporates the theme of Nazism or topics related to it, and therefore, in this project I set out to analyze how these narratives represent Nazism from a fictional point of view, while also examining how the political and social aspects of each particular case shape the narratives as they relate to the incursion of Nazism in their plot. This, for example, is the case of the blacklists in Los informantes or the irony from escaping a European country in the midst of a war to end up living in a Latin-American country that faces an even worse situation, as is narrated in El pianista que llegó de Hamburgo. The mentality of a Nazi German soldier and his reasons to transform the world is also presented in “Deutsches Requiem,” to conclude this analysis with the representation of guilt and shame that is passed to the children of Nazi soldiers condemned for executing Jews in Rainer y Minou.

The purpose of this study was to examine the effects of soft power versus hard power in U.S. policy towards Latin America. In recent years America's unipolar moment has been challenged from populist leaders in the region to its inability to get a handle on the flow of illegal immigrants and illicit drugs that reach its shores. This thesis is a step to understanding the difference between power and influence as well as the effects of hard power and soft power in U.S. foreign policy. A historical comparative case study analysis has been conducted utilizing the cases of FDR's Good Neighbor policy and Reagan's contra war policies. This qualitative approach examined specific short-term and long-term goals of each policy and analyzed each strategy's ability to achieve those stated goals. The results of the study reveal that both soft and hard power approaches can have positive as well as negative effects on American influence in Latin America.

Este projeto tem como objetivo central analisar a formação da coleção latino-americana do Museu de Arte Moderna de Nova York (MoMA), entre 1931 e 1943, buscando entender as relações entre política e cultura. Essas balizas cronológicas se abrem com a primeira exposição do pintor mexicano, Diego Rivera, ocorrida em 1931, e se fecham com a primeira exposição coletiva de artistas da América Latina no MoMA, em 1943. Por meio da análise do extenso catálogo publicado sobre a coleção, pretendemos acompanhar a sua criação e os principais atores envolvidos nesse empreendimento. Pensamos que o texto tinha a finalidade de justificar artisticamente a formação da coleção e de mostrar uma determinada visão sobre a arte da América Latina. Entendemos que a coleção está conectada com as perspectivas da chamada Política da Boa Vizinhança, que marcou as relações entre os Estados Unidos e os países da América Latina nesse período. / This dissertation aims to analyze the making of the Latin American Collection of the Museum of Modern Art (MoMA) in New York, between 1931 and 1943, emphasizing the relationship between politics and culture. It begins with the first exhibition of a Mexican artist, Diego Rivera, at the Museum, which took place in 1931, and it ends with the first exhibition of Latin America artists in 1943. Our main source is the extensive catalog of the collection that presents the actors and the ideas involved in the project. The relevance of the collection is connected to the so called Good Neighbor Policy, which designed the international relations between the United States and the countries of Latin America in the period between 1933 and 1945.

Made available in DSpace on 2016-04-27T19:31:06Z (GMT). No. of bitstreams: 1 Ibere Moreno Rosario e Barros.pdf: 3539715 bytes, checksum: bf4a006b200b3253afd7f4cfba9ac5b2 (MD5) Previous issue date: 2015-03-20 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This research analyzes the representation of the american soldiers as an image of the role model to the latin-americans. In this perspective, that the speech presented in the texts and images of the analyzed publication is part of the Good Neighbor Policy, it can be disclosed in the debate around the representation transmited and the internal influences that build it. The investigation arrises from the observation of the 48 editions of Em Guarda, the magazine published between 1941 and 1945, by the Office of the Coordinatior of Inter American Affairs. Starting from a quantitative analysis, in which it was identified the relapses, some of the editions were picked, based on the soldiers thematic, and the texts and imagens were put under a qualitative analysis. Understanding that this soldiers were presented as Heros-Citizen-Soldiers, the work focused on the debate of this concept, from the founding myth of being americans, and as a reference to the image of the cowboy. By this measures, its possible to understand some process and intentions of the americanization of the continent / Esta pesquisa se propõe a analisar a representação dos soldados americanos como a imagem de indivíduo modelar para os latino-americanos. Dentro da perspectiva de que o discurso apresentado na publicação analisada, tanto das imagens como dos textos, é parte da Política de Boa Vizinhança, pode-se desdobrar sobre a representação transmitida e as influências internas que a construíram. A problematização surge a partir observação das 48 edições da revista Em Guarda, produzida entre 1941 e 1945, pelo Office of the Coordinator of Inter American Affairs. A partir de uma análise quantitativa, na qual foram identificadas as reincidências, realizou-se uma seleção e uma análise qualitativa das imagens e textos então categorizados como parte da temática do soldado. Compreendendo que esses soldados são apresentados como Heróis-Soldados-Cidadãos, passou-se a trabalhar com o conceito, retomando questões desde os mitos fundadores do ser americano, se centrando na imagem do cowboy. Possibilita-se assim a compreensão de alguns pontos dos processos e das intenções da americanização por todo o continente

Este projeto tem como objetivo central analisar a formação da coleção latino-americana do Museu de Arte Moderna de Nova York (MoMA), entre 1931 e 1943, buscando entender as relações entre política e cultura. Essas balizas cronológicas se abrem com a primeira exposição do pintor mexicano, Diego Rivera, ocorrida em 1931, e se fecham com a primeira exposição coletiva de artistas da América Latina no MoMA, em 1943. Por meio da análise do extenso catálogo publicado sobre a coleção, pretendemos acompanhar a sua criação e os principais atores envolvidos nesse empreendimento. Pensamos que o texto tinha a finalidade de justificar artisticamente a formação da coleção e de mostrar uma determinada visão sobre a arte da América Latina. Entendemos que a coleção está conectada com as perspectivas da chamada Política da Boa Vizinhança, que marcou as relações entre os Estados Unidos e os países da América Latina nesse período. / This dissertation aims to analyze the making of the Latin American Collection of the Museum of Modern Art (MoMA) in New York, between 1931 and 1943, emphasizing the relationship between politics and culture. It begins with the first exhibition of a Mexican artist, Diego Rivera, at the Museum, which took place in 1931, and it ends with the first exhibition of Latin America artists in 1943. Our main source is the extensive catalog of the collection that presents the actors and the ideas involved in the project. The relevance of the collection is connected to the so called Good Neighbor Policy, which designed the international relations between the United States and the countries of Latin America in the period between 1933 and 1945.