A pesquisa empreende uma reflexão histórica inscrita no campo científico da História da Educação, embasada teoricamente nos pressupostos da História Cultural e da história da cultura escrita e da leitura, com o uso de autores como Michel de Certeau e Roger Chartier. Seu objeto de análise situa-se no âmbito da história da imprensa de educação e ensino, e destaca a produção de impressos estudantis. Detém-se na análise de um corpus documental que corresponde a 31 exemplares da revista O Estudo, publicada entre os anos de 1922 a 1931, pelo Grêmio de Estudantes da Escola Complementar/Normal de Porto Alegre, Rio Grande do Sul. E propõe a compreensão das práticas de escrita e de leitura das alunas através da publicação da revista. Para isso, a proposta de Chartier sobre a análise de práticas de escrita e de leitura se torna essencial, ou seja, estudar as relações entre o suporte, o texto e as práticas de leitura. O suporte, isto é a materialização da revista O Estudo, com sua apresentação física, sua composição gráfica e sua circulação, propagou textos que foram dispostos, impressos e publicados de maneira diversa. Também revelou os tipos de relação que a equipe de redação procurava estabelecer entre os textos e os leitores. A revista O Estudo pode ser compreendida como um produto da cultura escrita de um tempo, no contexto de uma instituição e de uma ação formativo-pedagógica. Nela o escrito se faz presente através de uma vasta produção textual, que contribuiu para uma maior circulação da palavra escrita e para suprir a demanda por material escrito. As alunas coordenaram escrita com leitura ao apresentarem textos referentes às aulas práticas, valendo-se das teorias difundidas no processo de formação e das experiências escolares. As leituras que integram a formação de professoras também estão apresentadas na publicação de textos transcritos, traduzidos e adaptados, recurso amplamente utilizado para a composição d’O Estudo. Esses usos dos textos demonstram a forma como foram apreendidos, (re)utilizados, (re)escritos e produzidos no impresso estudantil e dispostos conforme a intenção editorial das alunas. Nesse processo de composição, difusão e apropriação, a instituição escolar passa a ter um contributo significativo, pois além do processo do ensino da leitura e da escrita, também colabora através dos novos usos e práticas que faz dos impressos. A Escola lança mão da prática de escrita de um impresso em formato de revista, um artefato sociocultural existente, incluindo como prática escolar. Isto é, a Escola, e mais especificamente as alunas da Escola Complementar/Normal, manipularam, compreenderam e apreenderam a palavra escrita em circulação na sociedade e estiveram envolvidas com a produção de um impresso estudantil, incentivado como prática escolar. / The research presents a historical reflection inscribed in the scientific field of History of Education, with the purposes of Cultural History and the history of writing and reading, with the use of Michel de Certeau and Roger Chartier. His object of analysis lies in the history of education press and teaching, and highlights the production of student press. Focuses on the analysis of 31 copies of the journal O Estudo, published between the years 1922 to 1931, for the Grêmio de Estudantes da Escola Complementar/Normal Porto Alegre, Rio Grande do Sul. For this, the Chartier’s proposed on the analysis of practices of writing and reading becomes essential, ie, to study the relationships between the suport, the text and reading practices. The suport, i.e. the materialization of the journal O Estudo, with their physical presentation, graphical composition and circulation, spread texts that were arranged, printed and published in a different way. It also revealed the types of relationship that the editorial team sought to establish between texts and readers. Finally, the students produced the magazine genre in the school and encouraged the production of printed student. The journal O Estudo can be understood as a product of the culture of a time writing in the context of an institution and an action pedagogical-training. Here the writing is present across a wide textual production, which contributed to greater circulation of written words and to meet the demand for written material. The students coordinated with reading when submitting written texts related to practical lessons, using theories widespread in the educational process and school experiences. The readings in the training of teachers are also presented in the publication of texts transcribed, translated and adapted, widely used resource for the composition of O Estudo. These uses of texts demonstrate how were seized, (re)used, (re)written and produced in student press and arranged according to the intention of publishing students. In the process of composition, diffusion and appropriation, the school institution is replaced by a significant contribution, because beyond the process of teaching reading and writing, also works through new uses and practices that make the print. The school makes use of the practice of writing in a printed journal format, an sociocultural artifact, including how school practice. That is, the school, and more specifically the students of the Escola Complementar/Normal, manipulated, understood and seized the written word circulating in society and were involved with the production of a student press, encouraged as school practice.

Esta tese analisa a obra do historiador norte-americano Richard Morse (1922-2001) sobre a história de São Paulo. Publicado pela primeira vez em 1954 nas comemorações do IV Centenário de São Paulo como De comunidade a metrópole: biografia de São Paulo, o trabalho é fonte importante dos estudos históricos urbanos sobre São Paulo ainda hoje. Editado em inglês em 1958 nos Estados Unidos, foi republicado no Brasil em 1970 - com algumas diferenças importantes - com o título Formação histórica de São Paulo: de comunidade à metrópole. Essa obra é examinada aqui por três perspectivas - como história urbana, como uma história cultural e como parte do debate sobre a urbanização das cidades na América Latina. Inserindo-a no campo dos estudos históricos urbanos norte-americano e brasileiro, no momento de sua constituição, pretende-se contribuir para o campo da história urbana preenchendo certas lacunas da historiografia da cidade de São Paulo. Ao retraçar os vínculos entre cidade, história e literatura que a obra parece conter, a tese contribui para a discussão de uma história cultural urbana de São Paulo. Reconhecendo o autor como personagem chave na constituição do debate sobre a cidade latino-americana entre as décadas de 1940 e 1970 - justamente o período em que se realizam as três edições -, o exame da obra permite ainda lançar luz em décadas fundamentais da urbanização latino-americana, retomando temas e questões sobre a metropolização em curso na cidade de São Paulo e no continente latino-americano. / This thesis analyzes the work of the American historian Richard Morse (1922-2001) on the history of São Paulo (Brazil). First published in 1954 in celebration of the fourth centenary of São Paulo, under the title of De Comunidade a Metrópole: Biografia de São Paulo, until today the work is an impor6 tant source of urban historical studies of São Paulo. Published in English in 1958 in the United States, was republished in Brazil in 1970 as Formação Histórica de São Paulo: de Comunidade à Metrópole, with some important differences. This work is examined here from three different perspectives - urban history, cultural history and as part of the urbanization of Latin American cities discussion. Entering on the urban historical studies in the U.S. and Brazil, at the time of its constitution, the thesis aims at contributing to the urban history field in order to fill certain gaps in the historiography of the city of São Paulo. By retracing the links between city, history and literature that seems to contain the work, the thesis contributes to the discussion of an urban cultural history of São Paulo. Recognizing the author as a key person in the establishment of the debate on the Latin American city between the 1940s and 1970s - precisely the period in which are held the three editions - it also allows the examination of the work and shed light on fundamental decades of urbanization in Latin America, taking up issues and questions about the ongoing metropolisation in the city of São Paulo and in the Latin American continent.

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.

Made available in DSpace on 2016-03-15T19:48:55Z (GMT). No. of bitstreams: 1 Marco Andre Oliveira Sales.pdf: 387349 bytes, checksum: f601c6719bdad615d21b23334f13805a (MD5) Previous issue date: 2009-12-17 / Excluding the confessional-theological systematic approach and literary-cricticism speech analysis, this paper proposes a dialogue link between theology and literature, in the field of the sciences of religion, through a hermeneutic analysis with an anthropologic approach, trying to understand the beliefs and behavior of Brazil‟s Northeast religiosity inside the roman-catholic Christian tradition, and elects the cordel poems written between 1860 and 1920 as a path of this interface some of them literally transcripted in the commemorative work 100 Cordeis Historicos segundo a Academia Brasileira de Literatura de Cordel, Gonçalo Ferreira da Silva (org.), Mossoró: Queima-Bucha, 2008. Based upon Michel de Certeau‟s theory (1925-1986) quotidian logic and formality in the ways of telling which realizes and searchs the survival tactics adopted by the ordinary man inside the tales and popular legends, this work considers two main points: first, cordel literature is the file, the record and the translator of a popular way of telling the ordinary man‟s beliefs and experiences in the Brazilian Northeast and, second, those beliefs and experiences may be analyzed and described as religiousness pictures in a larger social and cultural environment, beyond the borders of a religious faith or tradition. Thereafter the purpose is to enrich the records of existing works about the Brazilian religousness subject the understanding related to the beliefs and experiences of the ordinary man, whether in town or in the wilderness. / Passando ao largo da abordagem sistemático-teológica confessional e análise de discurso crítico-literário, o trabalho propõe um diálogo entre teologia e literatura, no campo das ciências da religião, com uma análise hermenêutica, pelo viés antropológico, que busca compreender os modos de crer e agir da religiosidade nordestina dentro da tradição cristã católico-romana, e elege os poemas de cordel entre 1860 e 1920 como matiz dessa interface alguns transcritos na íntegra na obra comemorativa 100 Cordéis Históricos segundo a Academia Brasileira de Literatura de Cordel, Gonçalo Ferreira da Silva (org.), Mossoró: Queima-Bucha, 2008. À luz da ideia de Michel de Certeau (1925-1986) a formalidade e a lógica do cotidiano nos modos de dizer que percebe e busca as táticas de sobrevivência do homem comum nos contos e lendas populares, o trabalho parte de dois pressupostos: primeiro, a literatura de cordel é arquivo, registro e intérprete de uma arte popular de dizer as crenças e vivências do homem comum no Nordeste brasileiro e, segundo, essas crenças e vivências podem ser analisadas e descritas como retratos da religiosidade em um âmbito sócio-cultural mais amplo, para além das fronteiras de uma confissão ou tradição religiosa. Pretende-se assim contribuir com o inventário dos trabalhos desenvolvidos a respeito do campo da religiosidade brasileira a compreensão das crenças e vivências do homem comum, na cidade ou no sertão.

L’histoire des relations culturelles internationales à travers l’étude des circulations et des transferts culturels, dans un contexte de mondialisation, est un sujet de plus en plus fréquent. Nous comprenons alors que l’action dans le domaine culturel correspond à l’intérêt que portent les États et les nations à faire connaître leur réalité sociale, politique, économique, scientifique et technique, afin de mieux échanger leurs réalisations. Dans le contexte particulier de la Corée du XXe siècle, les spectacles en langue française sont davantage perçus pour leur approche académique. Si ces derniers sont compris comme des œuvres savantes, mais aussi critiques et politiques, les spectacles coréens se focalisent davantage sur leur popularité auprès du grand public. En revanche, la comédie musicale de langue française, déjà présente sur le sol coréen mais qui jusqu’alors était perçue pour son approche académique, investit désormais le champ du divertissement populaire. Nous pouvons relever les principaux facteurs contribuant à ce succès au travers d’une approche esthétique et une méthodologie propre au marketing. Dans un contexte de circulation internationale des produits culturels, le plus important est de saisir dans quelles mesures cette culture peut s’adapter et influencer le développement d’une autre culture. Notre étude consacrée à la réception de la comédie musicale de langue française en Corée devrait constituer un moyen de révéler les points de convergences ou de différences entre deux cultures radicalement éloignées, géographiquement, certes, mais aussi sur le plan historique, social ou généalogique. Notre analyse du rôle de la mondialisation repose sur la réception d’une culture sur un terrain étranger afin d’évaluer les influences réciproques que se portent ces deux cultures. / The history of cultural relations in the international arena, carried out through circulations andtransfers, has come to be a subject emerging more and more frequently in the context of globalization. It hasbecome apparent that actions of interchange in and from cultural domains respond to the states’ interestwhile countries allows others to acknowledge their social, political, economic, scientific and technical reality,in order for their realizations to be exchanged better. As for the context of Korea in the midst of its 20thcentury development, performances in French have been well perceived mainly through their academicapproach. They tend to be understood as technical, as well as critical and political maneuvers, whereasKorean performing arts exhibit the tendency of focusing on gaining popularity from a large public. On theother hand, musical theatre in French, readily present in Korean stages but perceived predominantly in thelight of academic approach, is starting to shift to the popular entertainment realm. Some of the principalfactors to its success can be studied through an aesthetic approach and methods oriented on marketing. Interms of international flow of cultural products, with the recognition of globalized economies, the essentialquestion is to grasp to what extent one culture can be assimilated into and influence the development ofanother. The efforts directed towards the Korean reception of musical theatre in French will have to give riseto a system in which the point of convergence or the differences between two radically distinct cultures notonly in geographical, but also in historical, social and genealogic respect should be duly noted. Our analysisof the role of the process of globalization lies on the inflow of one culture into a foreign territory, with thereciprocal influences arising from the relationship between the two.

À la fin du XIXe siècle, alors que l’Europe assiste au retour triomphal de la métaphysique dont Henri Bergson est une figure de proue, sur le positivisme, l’Espagne de la Restauration bourbonienne fait figure de résistante. La répartition bipolaire de l’intellectualité espagnole, entre les conservateurs néo-thomistes et les réformateurs de plus en plus attirés par la psychologie scientifique notamment, rend le dialogue primordialement impossible avec le bergsonisme, à la fin du XIXe siècle. Seul Leopoldo Alas tente de faire entendre la « philosophie nouvelle », dans son pays. Après que le bergsonisme ait été boudé, durant ces premières décennies d’existence par l’Espagne, la crise théologique moderniste de 1907 précipite son entrée dans la péninsule. Les premiers acteurs « philosophiques » du bergsonisme sont anti-bergsoniens et catholiques. Cet anti-bergsonisme religieux se double, pendant la Grande Guerre, d’un rejet politique de ce que symbolise Bergson, principalement lors de sa visite diplomatique à Madrid, en 1916. Parallèlement, les réformateurs, férus de pédagogie, qui ont créé en 1876 la Institución Libre de Enseñanza, découvrent la conceptualité bergsonienne qu’ils intègrent progressivement, entre 1900 et 1920, dans leur nouvelle science psychopédagogique. Toutefois, les véritables acteurs de la régénération métaphysique sont les poètes symbolistes, appelés « modernistes » en Espagne, puis les avantgardes esthétiques. Ce sont eux qui transfigurent le bergsonisme en une [méta]physique intime et organique. Ce n’est que dans un second temps, dans les années 1910, et non sans obstacles que les spécialistes espagnols de philosophie intègrent le bergsonisme. / At the end of the 19th century, Europe witnessed a revival of neo-thomist metaphysics, championed by Henri Bergson, over positivism. Spain, under the restored Bourbon monarchy, resisted the trend. Spanish intellectuels were split between neo-thomist conservatives and reformers increasingly attracted notably by scientific psychology, making dialogue with Bergsonism impossible in practice during this period. Only Leopoldo Alas endeavored to spread the "new philosophy" in his home country. After this rejection of bergsonism in its early decades, the modernist theological crisis of 1907 precipitated its arrival in the Iberian preninsula. Paradoxically, the first actors of Bergsonian philosophy were its Catholic opponents, whose religious opposition was complemented by political opposition to all that Bergson symbolised; this was particularly flagrant during his diplomatic visit to Madrid during the 1st world war in 1916. In parallel, those reformers, with a pedagogical bent, who had created in 1876 the Institución Libre de Enseñanza, were discovering the Bergson conceptual framework that they incorporated progressively between 1900 and 1920 into their new psycho-pedagogical science. However the real motor of this metaphysical renaissance were the Symbolist poets, called "Modernists" in Spain, followed by avant-garde aesthetes. It is these groups who gave bergsonism an organic [meta-]physical reality and it was only in the years after 1910, did Spanish philosophers per se accept, not without difficulty, the tenets of bergsonism.

C’est dans les années 1910 qu’apparut l’expression de lecture publique, qui se popularisa dans les décennies suivantes. Elle désignait alors le service rendu par les bibliothèques publiques, entendues comme bibliothèques ouvertes à tous, qu’elles dépendent de collectivités publiques ou de groupements privés. C’était un nouveau modèle de bibliothèque que défendaient les « modernistes », ces bibliothécaires appelant, à travers leurs discours, à la modernisation des bibliothèques publiques, c’est-à-dire à l’application de mesures propres à organiser la lecture publique et à ouvrir les bibliothèques au plus grand nombre. Pour autant, tous les modernistes n’avaient pas exactement les mêmes motivations ni les mêmes opinions : le développement de la lecture publique n’a pas été aussi linéaire et progressif que l’histoire des bibliothèques a pu le laisser croire. Il importait donc d’étudier comment s’était forgé cet idéal moderniste, quelles en étaient les nuances et les limites, et l’évolution qu’il avait connue de la fin de la Première guerre mondiale à la création de la Direction des bibliothèques et de la lecture publique, à la Libération. Par ailleurs, la définition de la lecture publique était inhérente à la construction de l'identité professionnelle des bibliothécaires, qui s'opérait à cette période. Une grande attention a ainsi été portée aux parcours professionnels des acteurs de la lecture publique, ainsi qu'à leur formation et à leurs réseaux, pour comprendre les diverses influences qui s'exerçaient alors. Ce travail s'appuie sur la littérature professionnelle de l'époque et sur des sources archivistiques nombreuses et variées (archives de l'inspection générale des bibliothèques, de l'Association des bibliothécaires français, de l'Association pour le développement de la lecture publique, archives de bibliothèques municipales, archives privées...). Peu exploitées jusqu'à alors, elles ont permis de renouveler le regard traditionnellement porté sur les débuts de la lecture publique en France. / The phrase « lecture publique » appeared in the 1910's and spread in the following decades. It meant the activity of public libraries, libraries opened to everyone, whichever their legal status. It was a new paradigm for libraries that « modernists » advocated for ; the « modernists » were librarians who demanded public libraries' modernisation, which consisted in organizing the service and opening libraries to the general public. Nevertheless, modernists did not share the same exact motivations nor the same opinions : public libraries development was not so linear and gradual that the history of libraries led to believe. Therefore, it was important to study how this modernist ideal was created, which were its variations and limits, and how it had evolved from the First World War to the creation of the « Direction des bibliothèques et de la lecture publique » in 1945.Furthermore, defining the concept of « lecture publique » was inseparable from the process of professional identity construction which took place at this time. That is why working lives, trainings and networks of active public librarians were closely examined, in order to understand the influences at stake.This work is based on professional literature and varied archival sources (archives of the general inspection of libraries, the Association des bibliothécaires français, the Association pour le développement de la lecture publique, archives of public libraries and librarians...). Barely studied before, they allowed us to change the traditional outlook on the beginnings of modern public libraries in France.

Durant la première moitié du XVIIIe siècle, en Espagne, tout particulièrement à Madrid, principal lieu de résidence de la Cour et capitale du royaume, divers facteurs historiques, culturels et artistiques engendrèrent une évolution de la profession de comédienne vers une spécialisation lyrique.Dans chaque compagnie, le nombre de comédiennes-chanteuses augmenta régulièrement, les attributions de chacune (fonction ou emploi) se précisant peu à peu jusqu’à l’interprétation exclusive de drames en musique en espagnol. Aussi, la place principale que l’on attribua désormais aux comédiennes-chanteuses modifia-t-elle leur existence, leur formation et l’exercice de leur métier. D’autre part, la présence d’interprètes lyriques italiens à Madrid entre 1737 et 1759 réorienta l’évolution des fonctions des chanteuses espagnoles.Dans une perspective historique et sociale centrée sur la période 1700-1767, cette étude considère tout d’abord les origines et la vie privée de ces artistes dans la Villa y Corte, puis les différents aspects de leur vie professionnelle, enfin leur place dans la société madrilène et plus largement espagnole, ainsi que le regard porté sur elles par leurs contemporains. / During the first half of the XVIIIth century in Spain, particularly in Madrid, principal place of residence of the Court and capital of the Kingdom, various historical, cultural and artistic factors engendered an evolution of the profession of comedienne towards a more specialized lyrical interpretation.In each company, the number of comedienne-singers regularly increased, their remit becoming little by little more defined, until they reached the exclusive stage of interpreting musical dramatizations in Spanish. Consequently, the new position attributed from then on to the comediennes-singers altered their existence, their training and the practice of their art. Moreover, the presence of Italian opera singers in Madrid between 1737 and 1759 re-oriented the evolution of the role of Spanish singers.In a historical and social perspective focused on the period 1700-1767, this study considers initially the origins and private life of these artists in the Villa y Corte, then the different aspects of their professional life and finally their position in the Madrid society and, more widely, in the Spanish society, as well as the way they were considered by their contemporaries.

The Suffering South offers a cultural history of a yellow fever epidemic that swept through the Mississippi Valley in 1878. It argues that the yellow fever narratives created during this epidemic constituted a discursive attempt by Southerners to renegotiate Southern identity and social hierarchy following the Civil War and Reconstruction. White Southerners, in particular, used the epidemic as an occasion to foster a return to a more traditional foundation of white supremacy and patriarchy as the basis for Southern identity and belonging. The narratives written by these Southerners, in which they described their experiences with yellow fever and the effects of its epidemic ravages, thereby illustrate an explicit attempt to culturally redeem the South following the successful political Redemption of the region. Using themes and stock characterizations of heroes and villains that would have been readily familiar to a generation of Southerners who had lived through the Civil War and Reconstruction, these narratives presented the idealized Southerner as white and male. In turn, they castigated non-native outsiders, racial and ethnic minorities, and women who went outside of the prescribed social norms of their race, class, or gender. These narratives also acted to justify the racial disparity in the distribution of the relief generated by the national humanitarian response to the epidemic’s incredible scope and severity. In doing so, Democratic Redeemers directed money, medical attention, and rations away from African American communities in the South as evidence of their belief that these Southerners did not deserve equal access to aid as a right of citizenship. Finally, the memory of the epidemic continues to rely on these traditional primary sources which present the experience of yellow fever in 1878 through the written memories of white Southerners. The efforts to solidify the patriarchal, white-supremacist basis for Southern identity and belonging implicit in these sources continues to effect the historical narrative presented in commemorations and official histories. Yellow fever can be understood, then, not only as a physiological disease, but as a cultural construction encompassing a set of ideas that helped to maintain hierarchies of belonging and identity in the South. This dissertation thus follows in the steps of historians who have studied epidemics and other natural disasters to illuminate social and cultural hierarchies of power. It likewise examines how relief and public health efforts reinforced those hierarchies in the epidemic’s immediate aftermath and builds on the work of memory scholars to illustrate how the collective memory of the event continues to either reinforce or challenge those hierarchies over time.

This thesis examines the emergence, and then development, of what I call 'monetary mythology', a historical narrative, or version of history, concerning the inter-war period of Germany. Following the Second World War, it was left to West German elites to establish a new federal central bank, the Deutsche Bundesbank. A three-way power struggle emerged between the existing West German central bank - the Bank deutscher Länder - the federal government and the various state governments, all vying to influence the institutions and structure of this new monetary authority. In justifying their arguments, West German elites used various lessons derived from the turbulent experiences of the inter-war era. Monetary mythology, for its part, emphasised the lessons of Germany's two inflations; and the Bank deutscher Länder, and its allies, explicitly tied these lessons to the need for an independent central bank. And though it was once challenged by other competing historical narratives in the period 1949-51, monetary mythology emerged by 1956 triumphant in the public sphere in terms of framing the parameters through which West Germans viewed their monetary history. The doctoral project at hand approaches economic history from a cultural angle. In doing so, it offers an alternative history of the Bundesbank, as well as an alternative explanation for the cultural preoccupation surrounding inflation in West Germany. The thesis explains this cultural preoccupation in institutional terms. In providing for a central bank that was independent of political instruction, the Bundesbank Law of 1957 allowed for conflicts between the federal government and central bank to emerge. These conflicts often became 'dramatised' in the public sphere, creating controversies surrounding the Bundesbank's independence, and, in turn, giving rise to circumstances in which the lessons of the two inflations continued to remain relevant, geared in support of central bank independence.