CoordenaÃÃo de AperfeÃoamento de Pessoal de NÃvel Superior / Esta dissertaÃÃo à sobre a forma como prÃticas policiais sÃo forjadas com base nos contextos situacionais locais do patrulhamento ostensivo da PM no CearÃ. Procuro articular a produÃÃo das prÃticas policiais com as interaÃÃes e relaÃÃes mantidas entre polÃcia e populaÃÃo de bairros considerados âproblemÃticosâ, em alusÃo ao grande contingente de ocorrÃncias policiais incididas no local. Especial atenÃÃo à dada à tessitura conflituosa que permeia a execuÃÃo do âserviÃo de ruaâ pelos PMs. Tal dimensÃo alimenta a produÃÃo de prÃticas reflexivas e manobras morais mediadas pelas maneiras de fazer, ver e dizer dos PMs e moradores da Zona de Policiamento Noir, nome fictÃcio adotado para uma Ãrea de OperaÃÃes (AO) do programa de policiamento Ronda do QuarteirÃo em Juazeiro do Norte - CE. A polÃcia à investigada, aqui, sob uma perspectiva etnogrÃfica, objetivando descrever e analisar as dinÃmicas relacionais da vida social dos policiais e moradores com base na implicaÃÃo do patrulhamento ostensivo, realizado abordo de uma das Viaturas do Programa de Policiamento Ronda do QuarteirÃo em Juazeiro do Norte - CE, no cotidiano do local. Este recorte construiu-se com base na minha participaÃÃo abordo da viatura junto aos PMs do referido programa durante a realizaÃÃo do patrulhamento da Ãrea no perÃodo de 2011 à 2013. Os dados, produzidos na etnografia, explicitaram os processos atrelados Ãs dinÃmicas relacionais de polÃcia e populaÃÃo, desencadeadas pela circulaÃÃo da polÃcia diuturnamente nos bairros, convertidos em Ãrea de operaÃÃes, durante a realizaÃÃo do patrulhamento. HÃ, aqui, a abertura para pensar as formas como a polÃcia realiza seu trabalho a partir das especificidades locais e como os moradores, a partir de seus contextos, acionam a PM em suas tramas cotidianas atravÃs dos chamados realizados à polÃcia. A etnografia explora como estas relaÃÃes estÃo permeadas por disputas agonÃsticas, relaÃÃes de poder reificadas por zonas de penumbras entre a legalidade e a ilegalidade construindo reciprocidades conflituosas entre polÃcia e populaÃÃo. / This dissertation is about how police practices are forged based on local situational contexts of Military Police (PM) ostensive patrolling in CearÃ, Brazil. I analyze how the production of police practices are linked to the interactions and relationships maintained between police and population of neighborhoods considered âproblematicâ, in allusion to the large contingent of police occurrences in the place. Special attention is given to the conflictual network that permeates the execution of âstreets patrolâ by PMs. This dimension influences the production of reflective practices and moral maneuvers mediated ways of making, seeing and saying of the PMs and residents of âZona de Policiamento Noirâ, fictitious name adopted for the Area of Operations (AO) of the policing program âRonda do QuarteirÃoâ in the Juazeiro do Norte city. The police are investigated here under an ethnographic perspective, aiming to describe and analyze the relational dynamics of police and residents in social life based on the implication of the ostensive patrolling performed aboard one of the Policing Program Cars âRonda do QuarteirÃoâ in Juazeiro do Norte City, in everyday life in the place. This focus was built based on my participation on board the vehicle with the PMs of this program during the course of patrols in the area in the period 2011 to 2013. The data produced from the ethnography clarified the processes linked to the possibilities of relationships between police and residents, triggered by the police daily presence in the neighborhoods, converted into an area of operations, while performing patrols. There is, here, the opening to think about the ways police work from local specificities and how residents, from their contexts, request the police in their everyday plots performed through reports at police. The ethnography explores how these relationships are permeated by agonistic disputes, power relations reified by zones of shadows between legality and illegality building conflictive reciprocity between police and population.

Although Walt Disney's early animated feature films were successful, a variety of economic, operational, and external forces required him to continually be on the cutting edge of new ideas and technologies in order for his studio to continue operations. Latin America became the studio's source of inspiration in the early 1940s, sprouting from Walt Disney's involvement with the Office of the Coordinator of Inter-American Affairs. Saludos Amigos and The Three Caballeros were the result. While many critics have decried Disney's involvement in Latin America as being an apparatus of cultural imperialism and economic exploitation, they almost universally give him credit for his pursuit of cultural authenticity within the films. They are, however, sparing in what ways such was done and are reticent in declaring that he fulfilled that quest. As one who was involved politically and economically in the shaping of a nation, with his enterprise benefiting as a result, Walt Disney can in fact be seen as a colonial, imperial power. Within Brazil, José Carioca was the "monument" he erected to that end. Unlike full-fledged colonial figures in earlier centuries, however, his "monument" was overall friendly and was not based on the image of a sovereign leader, but a character that was intended to be seen as native. Where Disney was bound by the interests of the government he represented, and consequentially the Brazilian government, his "monument" was imbued with hues that were inherently skewed toward those entities; however, he worked within those parameters to present a credible image. This thesis seeks to substantiate those ways and how the original monument-like figure Disney erected in the Brazilian public square, the image of José Carioca in Saludos Amigos and The Three Caballeros, led to unity—and not division—as most imperial monuments had done in earlier centuries. A possible explanation as to how Disney's multiple nuanced iterations of the character leads to such critique of the original "monument" will also be provided.

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.

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中共自文革後鄧小平掌權起，開始調整國內外作為與態度，不再盲從於意識形態爭鬥，漸納入國際體系規範中，注重國家實質利益追求。在銳意於自身改革同時，如何塑造一個安全環境，凝聚一個俾利於經濟與國家建設發展氛圍，即賴於制定一套符合前述對外關係政策，此一為中共近年來積極推動「睦鄰外交」濫觴。而一個國家外交政策與涉外制度往往受該國傳統政治思想觀念影響，中國是具有數千年傳承古國，曾長期在歷史上有輝煌、重要地位，如何在過去經驗中尋找未來出路，似成為可能選項。 中國過去2000多年所成就在東亞區域之長期優勢與霸權維繫，多賴於儒術「仁道」、「尊王」思維衍生之「朝貢體系」外交政策，藉由國際義務承擔、經濟利益供給、文明教化傳輸與自我實力信任、展現等措施所構建成熟；對應現今中共睦鄰外交中所強調「與鄰為善、與鄰為伴」、「做負責任大國」、落實「睦鄰、安鄰、富鄰」等政策作為，在精神與策略上似與過去推動「朝貢體系」相關聯，本文即從朝貢的體系架構與理論，就中國歷代施行「朝貢外交」在政治、經濟上的發展與難處，對應中共「睦鄰外交」之意涵與實踐過程，試圖觀察、探究這項涉外關係轉變對中共國家利益影響之可能性，並期預想睦鄰政策實踐中將面臨何種問題與困境。 / Chinese Communist Party after the Great Cultural Revolution Deng Xiaoping is in power,starts to adjust the domestic and foreign, achievement and the manner.The Chinese Communist Party which does not follow blindly in the ideology battle,gradually integrates in the international system standard, and pays great attention to the nationally essence benefit pursuit.While having firm will in their own reform, how to mold a security environment, and how to condense one to enable the economical and the national construction development atmosphere to be favorable, namely, in formulating a complete set for conforming to the fore-mentioned foreign relation policy. This is the positive impetus for the Chinese Communist Party in recent years to push “good-neighborly diplomacy” source.But a national foreign policy and the foreign system will often be influenced by this national traditionally political thinking. China is a country which has quite an inheritance of long history for several thousand years, and owns for a long time magnificent as well as the important position in the history. Then, how to seek an outlet in the future from the past experience seems to become the possible option. For more than past 2000 years, China has maintained quite an achievement in the East Asian region of long-term superiority and hegemony; which depends in the Confucianist method “ humanity” and “the kernel said that”, “reveres the king”, the thoughts which give rise to the system of paying tribute for the foreign policy. China constructs its maturity in diplomacy by means of undertaking international obligations,supplying the economic interests, transiting the civilized enlightenment and confidence in its own potentiality as well as development and so forth.The correspondence nowadays in the Chinese Communist Party good-neighborliness diplomacy stresses “friendly toward the neighbour countries”, “the partners to the neighbour countries”, and “being the responsible great nation”, to carry out “good-neighborliness, stabilized neighbour, and the rich neighbour” and so on. Such policy achievements resemble in the spirit and the strategy the past impels which are connected with their “tributary system”.In this article, we are attempting to observe and inquire into how the China’s foreign relation transform will probably influence its national interest in view of the construction of its tributary system and theory in previous dynasties and its economical development and difficulty in execution as well as the meaning and practice process in present Communist China’s good neighbourly diplomacy. Also,we are expecting to predict what kind of questions and difficult position which their policy execution of good-neighbourly diplomacy will face.

Este trabalho apresenta uma investigação pioneira dos encadeamentos que conduziram a formação da coleção de arte brasileira do Museu de Arte Moderna de Nova York (MoMA), buscando desvendar os fatores que levaram peças nacionais a serem incorporadas ao acervo da proeminente instituição americana, partindo da primeira aquisição em 1939 e mapeando todos os ingressos ao longo dos anos 1940. O objetivo central do estudo é compreender os processos históricos que direcionaram a aquisição e permitiram a recepção das obras por parte da instituição no período investigado, bem como os fatores que permitiram que ela divulgasse a arte brasileira no contexto cultural americano no decênio de 1940. / This study presents a pioneering effort to set out the formation processes of the Museum of Modern Art in Ney York (MoMA) Brazilian art collection, revealing the sequence of events that lead artworks from Brazil to be acquired by this institution from 1939 to 1949. Its aim is to understand the historical scenarios that allowed these artworks to be received by the museum in the delimited time, as well as to comprehend the reasons that propelled MoMA to promote Brazilian art in the 1940s. The investigation work was based on correspondence of key people in this process Nelson Rockefeller, Alfred H. Barr Jr., Lincoln Kirstein and Cândido Portinari as well as on documents produced by the MoMA; the results of this research opens new possibilities of understanding the relations between Brazil and the United States, in the fields of art, culture and politics.

Este trabalho apresenta uma investigação pioneira dos encadeamentos que conduziram a formação da coleção de arte brasileira do Museu de Arte Moderna de Nova York (MoMA), buscando desvendar os fatores que levaram peças nacionais a serem incorporadas ao acervo da proeminente instituição americana, partindo da primeira aquisição em 1939 e mapeando todos os ingressos ao longo dos anos 1940. O objetivo central do estudo é compreender os processos históricos que direcionaram a aquisição e permitiram a recepção das obras por parte da instituição no período investigado, bem como os fatores que permitiram que ela divulgasse a arte brasileira no contexto cultural americano no decênio de 1940. / This study presents a pioneering effort to set out the formation processes of the Museum of Modern Art in Ney York (MoMA) Brazilian art collection, revealing the sequence of events that lead artworks from Brazil to be acquired by this institution from 1939 to 1949. Its aim is to understand the historical scenarios that allowed these artworks to be received by the museum in the delimited time, as well as to comprehend the reasons that propelled MoMA to promote Brazilian art in the 1940s. The investigation work was based on correspondence of key people in this process Nelson Rockefeller, Alfred H. Barr Jr., Lincoln Kirstein and Cândido Portinari as well as on documents produced by the MoMA; the results of this research opens new possibilities of understanding the relations between Brazil and the United States, in the fields of art, culture and politics.

No description available.

No description available.