This study argues that the formation of Americo-Liberian identity overwhelmingly relied on White American middle class cultural values despite the founders' criticisms and rejection of racial oppression and slavery. Americo-Liberians' previous participation in a culture that downgrades African heritage fostered the internalization of Western notions of civilization and African inferiority that led them to establish an oppressive regime similar to the one they had escaped from, and even enslaved the indigenous population, which they considered "uncivilized." The study thus investigates how formerly oppressed and enslaved blacks became oppressors and enslavers of other black people in the name of a "civilizing mission." The relationship that developed between Americo-Liberians and indigenous Liberians provides a case study to explore the impact of White supremacy ideology on enslaved Africans and racial uplift ideology. Building on contributions of social theory and conflict theory my analysis of Americo-Liberians demonstrates how social class and ideology interacted to produce socio-economic developments that led to the Liberian Civil War. This study covers the founding of Liberia as a republic during the 1840's through the League of Nation's intervention in 1928. It is during this time period that Americo-Liberians fostered an exploitative and colonizing relationship with the indigenous Liberian population. Previous scholarship regarding Liberia engages in descriptive analysis this study is the first to employ the theoretical framework of double-consciousness to further illuminate the ambivalent positions of the Americo-Liberians vis-a-vis indigenous Liberians

[pt] O objetivo deste trabalho é estudar a experiência imperial brasileira sob uma premissa original, a expansão para dentro, conjunto de práticas composto por elementos simbólicos, implantado e desenvolvido pelos dirigentes do Estado imperial, sob a direção saquarema, para inscrever a Ordem imperial nas almas dos súditos-cidadãos brasileiros. Estabeleceu-se, então, uma seleção de práticas simbólicas concernentes ao domínio do convencimento, para que os brasileiros fossem conformados e a identidade nacional, constituída, o que garantiria a inscrição da Ordem imperial nas almas dos brasileiros. Essa premissa é desenvolvida ao mesmo tempo em que também se demonstra que os dirigentes do Estado imperial empreenderam, concomitantemente, a constituição da Nação e a sua própria, enquanto camada dirigente. O trabalho se desenvolve ao longo de dois recortes cronológicos: a década de 1860, momento do apogeu da direção saquarema, e os aos de 1880, quando essa direção já sofria questionamentos diversos. No primeiro momento, o veículo escolhido para trabalhar a efetivação da expansão para dentro, em meio a severos debates e intensas contraposições, foi a estátua eqüestre de D.Pedro I, persona ressignificada pelo Partido Conservador como o arauto da liberdade e o garantidor da Ordem. A segunda temporalidade tem como eixo a tela de Pedro Américo, Independência ou Morte, no entorno da qual a expansão para dentro foi disputada pelos Conservadores das Províncias do Rio de Janeiro e de São Paulo, pelos monarquistas e pelos republicanos, todos com o objetivo de, ligando-se à obra e ao que dela emana, resgatar a concepção de liberdade associada, por uns, à Monarquia, procurando restaurar o caráter modernizador do regime em meio às severas críticas dirigidas ao mesmo e, por outros, à República, regime que descortinaria para o Brasil outros horizontes, relacionados à mesma e ao Progresso. / [en] The purpose of this dissertation is to study the Brazilian imperial experience under an original premise, the inland expansion, a set of practices composed by symbolic elements, to inscribe the imperial Order in the souls of the Brazilian citizens. Then a group of selected symbolic practices concerning the field of belief was established, so that the Brazilian people would be conformed and the national identity constituted, which would ensure the engraving of the imperial Order on the Brazilian souls. Concurrently with the development of this premise, it is displayed that the leaders of the imperial state had also carried out the establishment of the nation and their own establishment as statesmen. The dissertation is developed through two chronological backgrounds: the decade of 1860, during which the Saquarema direction has experienced its golden moment, and the 1880`s , when the Saquarema direction was already suffering severe criticism. In the first moment, the vehicle chosen to work the effectiveness of the inland expansion, in the midst of harsh debates and intense differences, was the equestrian statue of D. Pedro I, persona reinterpreted by the Conservative Party as the freedom´s herald and the Order´s guarantor. The second period of time features as centerpiece Pedro Américo`s Independência ou Morte painting, around which the inland expansion was claimed by the members of the Conservative Party on the Provinces of Rio de Janeiro and São Paulo, by monarchists and republicans, all of them aiming to, by connecting themselves to the painting and its meaning, reinstate the concept of freedom associated by some to monarchy - seeking to restore the regimen`s modernizing nature, among severe criticism the regimen was suffering - and, by others, to the republic - the regimen that would open up for Brazil, new horizons, associated with the republic itself and with Progress.

Public sector corruption is a major problem in Monrovia. Successive national governments have instituted anticorruption measures in the 1970s and 2000s, and anticorruption agencies were established to eradicate corruption. However, there appears to be a significant lack of resources and political willpower to prosecute corrupt government officials. A failure to curb political corruption indicates that current policies are not working. Government works when there is a perception that it delivers results and that the needs and safety of the citizenry are protected. The purpose of this qualitative phenomenology study was to gain a deeper understanding of public sector corruption at high levels of government in Monrovia. The conceptual framework for this study was based on the sociological theory of collaboration, within which governance is seen as a component of interpersonal relationships and a way to build trust and social interactions. Data were collected from open-ended semistructured interviews with former and present government officials (N = 8). The results were coded using descriptive coding to take an inventory of the contents, and to classify the coding into themes and subthemes. Results indicated that distrust among stakeholders and various governing institutions has hindered cooperation. Civic engagement and participation, patriotism, decentralization of the central government, job creation, safety and security, law and order, education and healthcare, and diluting the powers of the presidency, etc., were some of the issues raised by the participants. This dissertation may support positive social change in a meaningful way by providing policymakers with the information to make the country safe and governable, increase the standard of living and bring needed relief to the citizenry.

Orientador: Jorge Coli Sidney Junior / Acompanha: Anexo de imagens / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-08-05T06:12:55Z (GMT). No. of bitstreams: 1 Christo_MaralizdeCastroVieira_D.pdf: 118941212 bytes, checksum: a00d61ad3cd1d1ec497802cd6cf35f16 (MD5) Previous issue date: 2005 / Resumo: A tela Tiradentes esquartejado, de Pedro Americo, produzida em 1893, pertencente ao acervo do Museu Mariano Procópio de Juiz de Fora (Minas Gerais -Brasil), representa, em grande formato, o corpo esquartejado do protomártir da República brasileira, executado em 1792 por crime de lesa-majestade, acusado de liderar um movimento pela Independência do Brasil. A leitura iconográfica da tela acentua a gênese de seu processo criativo, identificando a proposta inicial do artista em apresentar Tiradentes esquartejado não como tela isolada, mas compondo uma narrativa sobre a Conjuração Mineira, estruturada na forma de tragédia, enfatizando a fragilidade do movimento. A tela insere-se nos dilemas da criação do panteão nacional republicano, em pleno ocaso da pintura histórica na cultura ocidental. As vicissitudes da produção, circulação e recepção da imagem permitem compreender seu esquecimento por mais de meio século e atualidade. A análise do método de trabalho de Pedro Americo denota o intenso diálogo com a história da arte, assim como o processo de desconstrução dos heróis no conjunto da obra do artista, enfatizando sua consonância com a pintura internacional do final do século XIX e originalidade / Resume: La toile Tiradentes écartelé de Pedro Americo, peinte en 1893, appartient à Ia collection du Musée Mariano Proc6pio de Juiz de Fora ( Minas Gerais - Brésil).Ellereprésente,engrand format, le corps écartelé du protomartyre de Ia République brésilienne, exécuté en 1792 pour crime de lese-majesté, accusé de commander un mouvement pour l'indépendance du Brésil. La lecture iconographique de Ia toile souligne Ia génese de son processus créateur, tout en identifiant Ia proposition initiale de l'artiste de présenter Tiradentes écartelé non en tant que toile isolée mais comme une narration de Ia Conjuration "Mineira", structurée sous Ia forme d'une tragédie qui révele Ia fragilité du mouvement. La toile s'insere dans les débats de Ia création du panthéon national républicain, en pIein déclin de Ia peinture historique dans Ia culture occidentale. Les vicissitudes de Ia production , de Ia circulation et de Ia réception de l'image nous menent à comprendre l'oubli dont cette toile a été victime pour plus d'un demi siêcle ainsi que son actualité. L'analyse de Ia méthode de travail de Pedro Americo étonne aussi bien pour son intense dialogue avec l'histoire de l'art que pour son processus de déconstruction des héros dans l'ensemble de son oeuvre, en soulignant sa consonance avec Ia peinture intemationale de Ia fin du XIXe siêcle et son originalité / Abstract: The painting Tiradentes esquartejado (Tiradentes Lacerated) by Pedro Américo was painted in 1893 and now belongs to the Mariano Procópio Museum in Juiz de For a. It portrays the lacerated body of a proto martyr of the Brazilian republic who was executed in 1792 for treason, after being accused of leading a conspiracy against the Portuguese Empire for the independence of the country. The iconographical analysis of the painting highlights the genesis of its creative process, identifying the artist' s initial proposal in exhibiting Tiradentes Esquartejado not as a single painting, but as part of a narrative on the "Conjuração Mineira"(Conspiracy in Minas Gerais), shaped into a tragedy, thus stressing the fragile feature of the movement. The painting is part of the dilemmas of creation of the national republican pantheon, exactly when historical painting in western culture is at its end. The vicissitudes of production, circulation and reception of the painting makes it possible for us to understand why it was forgotten for over half a century and also its up--to-dateness. The analysis of Pedro Americo's working method impresses for its intense dialogue with the history of art, as well as the heroes' deconstruction process in the artist' s works, stressing bis consonance with the intemational painting of the end of the 19thcentury and its originality / Doutorado / Historia Social / Doutor em História

Made available in DSpace on 2016-04-27T19:31:40Z (GMT). No. of bitstreams: 1 Sergio Estephan.pdf: 1215415 bytes, checksum: f61c9e77e2ecd69ada4230caf1026243 (MD5) Previous issue date: 2007-12-03 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / This research work has, as main target, to analyse the violinistic work from the native of the city of São Paulo, Americo Jacomino, the Canhoto (the Left-handed), (1889-1928). For that we ll first reflect about the theoretic-methodological aspects that served as reference for this research work, where History and Music dialogue frequently. Then, we ll stand out its professional route, when he started his career in circus, theathers anda movie-theathers until he gets into the mainly concert rooms in São Paulo: The Teatro Municipal and the Conservatório Dramático e Musical . After that, we ll analyse his musical production from this phonographic file and scores, looking for a reflect, about his compositional universe. Finally, as reference, the Argentinean Tangos composed and intepreted by Canhoto we ll make an investigation about the guitar in the South American continent, from the approach of Canhoto and Carlos Gordel, as well between the Brazilian and the Argetinean Tango, to finish, talking about the Paraguayan Agustin Barrios, one of the most important violinist from the beginning of the Twentieth Century / Este trabalho de pesquisa tem como objetivo central, analisar a obra violonística do paulistano Américo Jacomino, o Canhoto (1889-1928). Para tanto, refletiremos inicialmente sobre os aspetos teórico-metodológicos que serviram de referência para este trabalho de pesquisa, onde História e Música dialogam com freqüência Em seguida, destacaremos sua trajetória profissional, quando iniciou sua carreira tocando em circos, teatros e cinemas, até adentrar às principais salas de concerto de São Paulo: o Teatro Municipal e o Conservatório Dramático e Musical. Posteriormente, analisaremos sua produção musical, a partir de seus registros fonográficos e partituras, buscando um refletir sobre seu universo composicional. Por fim, tendo como referência os tangos argentinos compostos e interpretados por Canhoto, faremos uma investigação sobre o violão no continente sul-americano, a partir da aproximação das carreiras de Canhoto e Carlos Gardel, assim como entre o tango brasileiro e o argentino, para encerrarmos, com uma abordagem sobre este que foi um dos mais importantes violonistas deste início de século XX, o paraguaio Agustin Barrios

Orientador: Jorge Coli / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-08-04T16:40:11Z (GMT). No. of bitstreams: 1 Guarilha_HugoXavier_M.pdf: 37187520 bytes, checksum: f4b42138d15fc664793bdaa280cbc721 (MD5) Previous issue date: 2005 / Resumo: Trata-se da reunião da fortuna crítica dos dois quadros de batalhas pintados por Pedro Américo e Victor Meirelles, respectivamente a Batalha de Avahy e a Batalha dos Guararapes.As telas, de grandes dimensões e importância para o projeto de construção da História Brasileira, foram expostas quase lado a lado na Exposição Geral de 1879, o que motivou umapolêmica entre grupos de intelectuais distintos que se serviram dos periódicos da época para expressar suas posições. A reunião é antecedida por uma introdução que procura identificar nos textos elementos relevantes do pensamento crítico do período / Abstract: It is a reunion of art critic texts about two of the greatest pictures painted by Pedro Américo e Victor Meirelles, Batalha de Avahy and Batalha dos Guararapes respectively. Both the paintings have big dimensions and high importance to the project that intends to build a national history for Brazil. They were showed side by side in the 1879's arts exposition, and caused a great discussion between different groups of intellectuals that used the newspapers to express their opinions. This work has an introductory text before the reunion, which tries to identify over the artic1esrelevant points from the thoughts of that period / Mestrado / Historia da Arte / Mestre em História

Testing the Seams of the American Dream: Minority Literature and Film in the Early Cold War delineates the concept of the liberal tolerance agenda in early Cold War. The liberal tolerance message of the U.S. government, the Democratic Party, and others endorsed racial tolerance and envisioned the possibility of a future free from racism and inequality. Filmmakers in often disseminated a liberal message similar to that of the politicians in the form of “race problem” films. My shows how these films and the liberal tolerance agenda as a whole promises racial equality to the racial minority in exchange for hard work, patriotism, education, and a belief in the majority culture. My first chapter, “Washing White the Racial Subject: Hollywood’s First Black Problem Film,” performs a close reading of Arthur Laurents 1946 play Home of the Brave, which features a Jewish American protagonist, in conjunction with a reading of the 1949 film version, which has an African American protagonist. The differences between the two texts reveal the slippages in the liberal tolerance agenda and signal the inability of filmmakers to envision racial equality on the big screen. “The American Institution and the Racial Subject,” my second chapter, discusses the 1949 film Pinky as well as Américo Paredes’s George Washington Gómez and Monica Sone’s Nisei Daughter. All of these works suggests that the attainment of education promises entry into the mainstream by racial minorities, yet Paredes and Sone question this process by interpreting it as resulting in the dual segregation of their protagonists. My third chapter, “Earning and Cultural Capital: The Work that Determines Place,” looks at the promise that with hard work anyone can attain the American Dream. I show how the 1951 film Go for Broke!, Ann Petry’s The Street, and José Antonio Villarreal’s Pocho work to dispel this American myth. My final chapter, “The Regrets of Dissent: Blacklists and the Race Question,” examines the 1954 film Salt of the Earth alongside Chester Himes’s If He Hollers Let Him Go and John Okada’s No-No Boy to reveal the dangerous mixture of race and dissent in this era. / text