During World War I, dogs held a contradictory place in American society. These animals functioned simultaneously as patriots, pets, and pests. This essay surveys the ways in which dogs either contributed to the war effort or seemed to subvert it through their uselessness as companion animals and their predation as feral ones. Ultimately, even worsening conditions on the homefront could not cause the American public as a whole to consider surrendering its affection for these animals, including the worthless ones. In the face of impending legislation that threatened to eliminate man’s best friend as a war measure, the American people successfully defended the dog, while citizens in several of the other warring nations could not afford to do so. American admiration for the patriot, combined with affection for the pet, outweighed anxiety over the pest.

In the 1880s, two cycling clubs formed in New Orleans—the New Orleans Bicycle Club in 1881 and the Louisiana Cycling Club in 1887. These clubs were institutions of Victorian middle class culture that, like other athletic clubs, arose from the conditions of urban modernity and Victorian class anxieties. The NOBC, like other American cycling clubs, conformed to Victorian values of order and respectability. The attitudes and activities of the LCC, whose membership was younger, reflected instead a counter-Victorian ethos. This paper examines these two clubs in the context of late Victorian culture in New Orleans as it responded both to the conditions of urban modernity common to American cities in this period and to the particular cultural situation of New Orleans at the end of the nineteenth century, including proximity to and amalgamation with the recently-dominant, non-Anglo culture of the Creoles.

The demands of WWII mobilization led to the creation of the first standing women's army in the US known as the Women's Army Corps (WAC). An unintended consequence of this was that the WAC provided queer women with an environment with which to explore their gender and sexuality while also giving them the cover of respectability and service that protected them from harsh societal repercussions. They could eschew family for their military careers. They could wear masculine clothing, exhibit a masculine demeanor, and engage in a homosocial environment without being seen as subversive to the American way of life. Quite the contrary: the outside world saw them as helping to protect their country. This paper looks at the life of one such queer soldier, Dorothee Gore. Dorothee's letters, journals, and memorabilia demonstrate that for many lesbians of her generation, service in the WACS during WWII was a time of relatively open camaraderie and acceptance by straight society.

Abstract This thesis explores the influence of masculinity in twentieth century American foreign policy through examining the career of Guy “Machine Gun” Molony. Molony was an Irish American mercenary from New Orleans, whose career saw the transformation of Honduras from a banana republic to a recipient of dollar diplomacy. Unlike the majority of mercenaries who did not use their experience to build successful careers, Molony made a name for himself in American newspapers, becoming respected and even feared by policemen and politicians. His life tells a fascinating tale of the individual male in American foreign policy, where rebellious youth used war and instability to create heroic images of themselves. This thesis argues that the U.S. State Department borrowed from the independent mercenary model, building on a foundation laid out by men like Molony to implement dollar diplomacy. Guy Molony’s career is a telling example of how perceived ideas of manhood carried imperial intentions during the era of manifest destiny and the Monroe Doctrine. Although scholars tend to focus on Western expansion when examining the ideology of manifest destiny, this thesis explores how mercenaries like Guy Molony, followed by the U.S. State Department, continued to look southward to Central America as a means for American expansion.

Dans cette thèse, nous nous intéressons au regard porté par les hommes de l’Antiquité grecque et romaine sur les oiseaux de proie. Nous nous concentrons d’abord sur des questions de classements zoologiques, afin de voir dans quelle mesure il est possible de parler d’une catégorie de rapaces. Nous étudions ensuite la place que tiennent ces oiseaux dans l’imaginaire en cernant l’image culturelle des zoonymes les plus courants. Enfin, la question des rapports que les hommes entretiennent avec les rapaces amène à se demander si les rapaces ne peuvent être rangés (ou dispersés) dans diverses catégories dont la cohérence n’est peut-être pas simplement zoologique. / In this thesis, our general aim is to try to know what people thought about birds of prey inGreek and Roman Antiquity. We focus first on zoological classes in order to see in what waywe can speak about raptors as a category. We then study the cultural image for the most usualzoonyms in order to find what place these birds have in the imagination. Lastly, through thequestion of the relationships between humans and raptors, we wonder whether these birdscan’t belong to some other categories whose unity is maybe not only zoological.

Essa tese investiga a representação da região amazônica nos filmes longas-metragens documentais do cineasta luso-brasileiro Silvino Santos Amazonas, maior rio do mundo (1918-1920) e No paiz das Amazonas (1921/1922), considerando sua dimensão histórica e estética. Busca-se discutir as particularidades apreendidas em cada um deles por meio da análise fílmica e à luz da história e das tradições discursivas sobre a região enfocada. As análises empreendidas procuraram demonstrar o multifacetado trânsito de referências históricas e culturais que se encontram na origem da criação cinematográfica de Silvino Santos e das elites locais com os quais se relacionou. Foram utilizados elementos diversos, oriundos de relatórios oficiais, críticas de jornais, livros, fotografias, pinturas, cartões postais que corroboram diversas estratégias de filmagens, sejam elas \"documentais\", ficionalizantes, encenadas etc.. Buscou-se dar a ver o trânsito complexo de raízes, procedimentos e efeitos reconhecidos nos objetos tratados. Bem como buscou-se atentar para a relação dos discursos fílmicos com o contexto colonialista vigente no cinema dito silencioso. O percurso da pesquisa apresenta também um estudo panorâmico sobre as principais produções discursivas, sobretudo visuais, que remontam ao final do século XIX, auge da economia da borracha e período da implementação da propaganda moderna financiada e demandada pelas elites governamentais e comerciais do Amazonas. Considerações da Nova História do Cinema, História Cultural e História Social da Arte foram tomadas como referenciais teóricos. / This thesis investigates the representation of the Amazon region in the documentary feature films of the Portuguese-Brazilian filmmaker Silvino Santos Amazonas, maior rio do mundo (1918-1920) and No paiz das Amazonas (1921/1922), considering its historical and aesthetic dimension. It seeks to discuss the particularities apprehended in each of them through the filmic analysis and the light of the history and the discursive traditions about the focused region. The analyzes attempted to demonstrate the multifaceted transit of historical and cultural references that are at the origin of the cinematographic creation of Silvino Santos and the local elites with whom he related. Various elements were used, from official reports, criticisms of newspapers, books, photographs, paintings, postcards that corroborate diverse strategies of filming, whether they are \"documentary\", ficionalizantes, staged etc. The aim was to show the complex transit of roots, procedures and effects recognized in the treated objects. As well as an attempt was made to look at the relation of the filmic discourses with the current colonialist context in the so-called silent film. The course of the research also presents a panoramic study on the main discursive productions, mainly visual, dating back to the end of the 19th century, the boom of the rubber economy and the period of implementation of the modern propaganda financed and demanded by the governmental and commercial elites of Amazonas. Considerations of the New History of Cinema, Cultural History and Social History of Art were taken as theoretical references.

Orientador: Marisa da Silva Dias / Resumo: O objetivo da pesquisa é investigar as contribuições que as produções acadêmicas publicadas desde 2014 podem oferecer para subsidiar a construção de um currículo para o desenvolvimento do pensamento algébrico nos 4º e 5º anos do Ensino Fundamental. A pesquisa está baseada na metodologia de Análise de Conteúdo cuja coleta foi realizada nos bancos de dados SciELO (Scientific Eletronic Library Online), BDTD (Biblioteca Digital de Teses e Dissertações), Web of Science e Google Acadêmico, guiada pela pergunta: quais contribuições acadêmicas sobre o desenvolvimento do pensamento algébrico de estudantes dos 4º e 5º anos do Ensino Fundamental foram publicadas desde 2014?A metodologia resultou em um corpus constituído de dez documentos, que geraram a grelha com as categorias: generalização, variável, linguagem e situações de aprendizagem. Frente a cada uma das categorias, a análise sob a base da Teoria Histórico-Cultural, se direcionou às características do pensamento algébrico – com enfoque na variável,generalização e linguagem nas situações de aprendizagem de cada documento a fim de contribuir com maior proximidade ao conteúdo curricular.Foram incluídos também apontamentos e reflexões sobre o ensino de álgebra em documentos norteadores para o ensino fundamental: a Base Nacional Comum Curricular (BNCC), os Parâmetros Curriculares Nacionais (PCN) e os Principles and Standards for School Mathematics, elaborado pelo NCTM (National Council of Teachers of Mathematics), o Currículo Comum d... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: The objective of the research is to investigate the contributions that the published academic productions since 2014 can offer to subsidize the construction of a curriculum for the development of algebraic thought in the 4th and 5th years of Elementary School. The research is based on the methodology of Content Analysis whose collection was carried out in the SciELO (Scientific Electronic Library Online), BDTD (Digital Library of Theses and Dissertations), Web of Science and Google Scholar databases, guided by the question: which academic contributions on the development of algebraic thinking of students in grades 4 and 5 have been published since 2014? The methodology resulted in a corpus consisting of ten documents, which generated the grid with the categories: generalization, variable, language and situations of learning. Facing each of the categories, the analysis based on the HistoricalCultural Theory, focused on the characteristics of algebraic thinking - focusing on the variable, generalization and language in the learning situations of each document in order to contribute with greater proximity to the content curricular. We also included notes and reflections on the teaching of algebra in guiding documents for elementary school: the National Curricular Common Base (BNCC), the National Curriculum Parameters (PCN) and the Principles and Standards for School Mathematics, developed by the NCTM ( We can verify that most of the analyzed academic contributions explore learni... (Complete abstract click electronic access below) / Mestre

A partir da década de 1970 os espaços de experiência cotidiano foram invadidos pelos mais variados equipamentos microeletrônicos. Estes equipamentos provocavam uma completa transformação na maneira como a cultura é produzida, compartilhada e consumida nos quatro cantos do mundo. Dentre esses equipamentos microeletrônicos, sem dúvida, o computador pessoal foi aquele que canalizou tanto as expectativas quanto os temores do período, tornando-se a tecnologia emblemática do último quarto do século XX. A popularização do computador pessoal e da computação doméstica foi acompanhada pela articulação de construções discursivas e imagéticas que promoviam esses equipamentos como objetos vindos do futuro que traziam promessas de eficiência, democracia, liberdade, mobilidade, pluralidade, entre outras benesses para a humanidade. Assim sendo, o objetivo foi problematizar e compreender as transformações sociais do final do século a partir dos discursos escritos e imagéticos relacionados à computação e aos computadores pessoais, perceber como essas transformações e esse discursos foram disseminados no Brasil e perscrutar a inserção do país nesse contexto mundial de mudança. A análise foi centrada em três tipos de documentos: anúncios publicitários, reportagens de jornais e revistas e manifestos relacionados à tecnologia. Essa documentação foi abordada pelos vieses da história da cultura e dos estudos de cultura material. O intuito foi compreender como práticas, pensamentos e representações que hoje são \"naturalizados\" foram, na realidade, apenas algumas das alternativas que estavam em disputa no período estudado. O texto é apresentado em 4 capítulos nos quais o tema é tratado em ordem cronológica: no primeiro, que compreende o final do século XIX, passando ao longo de todo o século XX até o ano de 1977, é apresentada uma breve história da computação e os principais discursos relacionados ao computador nesse período; o segundo capítulo é sobre o final dos anos 1970 e tem como principal temática as mudanças culturais proporcionadas pela difusão da microeletrônica, mostrando o computador como um dos principais símbolos dessas mudanças; o terceiro capítulo, dedicado à década de 1980, é discutida a relação entre os computadores e a ideia de um futuro que invadia o presente; no quarto capítulo são analisados os principais discursos associados ao computador no decorrer da década de 1990 relacionando-os com os discursos da globalização. / From From the 1970s, the spaces of experience in everyday life were invaded by a variety of microelectronics devices. These equipment brought a complete transformation in the way the culture was produced, shared and consumed in all corners of the world. Among such devices, undoubtedly, the personal computer was the one that gathered hopes and fears of the period thus becoming the iconic technology of the last quarter of the twentieth century. The popularization of personal computers and home computing was accompanied by the articulation of discursive and imagetic constructions which presented this equipment as objects from the future, as pledges of efficiency, democracy, freedom, mobility, plurality, among others benefits for the humankind. Thus, the aim in this work was to argue about the social transformations by the end of the century, from written and imagistic discourses related to computing and to personal computers, to understand how these transformations and discourses were disseminated in Brazil and to examine the insertion of the country in this global context of change. The analysis focused on three categories of documents: advertisements, newspapers and magazine reports, as well as manifestos related to technology. These documents have been examined under the perspective of Cultural History and Material Culture. The intention was to understand how these practices, thoughts and representations that are nowadays \"naturalized\" were, in reality, just some of the alternatives in struggle in the period under study. The text is presented in 4 chapters in which the subject is treated in chronological order: the first chapter, which considers the end of the nineteenth century, passing through the whole of the twentieth century to the year 1977, presents a shorthistory of computing and shows the main discourses related to the computer the period studied; chapter two is about the late 1970s and its main subject are the cultural changes brought by the spread of microelectronics, presenting the computer as one of the main symbols of these changes; chapter three, dedicated to the 1980s, examines the relationship between computers and the idea of a future that reached the present; chapter four discusses the main arguments associated with the computer in the 1990s, relating them to the discourses of globalization.

No Ocidente moderno, o vampiro é mais do que uma personagem, é um tipo. Ao se tornar objeto de diversas modalidades de produção simbólica desde teórico-investigativa a poética e ficcional o vampiro é constituído em uma temática. Esta pesquisa busca compreender o alcance de tal tematização: premissas, procedimentos comuns. Muito problemático é o pressuposto de uma correlação derivativa entre vampiro literário e conteúdos folclóricos. De resto, ao longo do séc. XIX, o que será chamado de cultura popular sofrerá uma radical matização de significados. O trabalho consiste no esforço de contextualização histórico-interpretativa de um grande conjunto de textos; busca averiguar os modos pelos quais são relacionados os elementos tematicamente agrupados. / More than a character, the vampire is best described as a type in the modern Western culture. Lending itself to many modalities of symbolic production comprehending viz. the theoretical-investigative bias as well as poetic and fictional treatments the vampire takes shape in its corresponding thematics. The scope of the present study lies in elucidating the extent of such thematisation: premises, common proceedings. The assumption of a derivative correlation between literary vampire and folkloric repertoires involves problematic underlying aspects. Furthermore, in the course of the Nineteenth century the meanings of what may be called popular culture achieve a radical variance. This study attempts to re-contextualize a large ensemble of texts from a historical-hermeneutical point of view; to instantiate some modes and means by which the thematically grouped elements are conformed to a mutual relation.

Este projeto pretende analisar a produção humorística de Millôr Fernandes na revista Veja entre os anos de 1968 e 1982. A partir da interpretação desse material, apontar novos subsídios para futuras pesquisas sobre humor e história cultural durante a última ditadura brasileira. / This project aims to analyze the humorous production of Millôr Fernandes in Veja magazine between 1968 and 1982. The proposal is from the interpretation of this material to point new subsidies for future research on humor and cultural history during the last Brazilian dictatorship.