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Esta pesquisa se utiliza do filme O poder vai dançar (Cradle will rock, 1999), dirigido por Tim Robbins, para entender a História, os avanços e limites de dois momentos históricos: a década de 1930 e a de 1990 nos Estados Unidos. Definido como uma história predominantemente verdadeira, o filme apresenta personagens e fatos reais e fictícios, que se alternam e se relacionam. Ele é composto por uma série de narrativas, aparentemente fragmentadas e desconexas, mas cujas relações são construídas em todo o seu decorrer. De modo geral, podemos dizer que o filme retrata a década de 1930, momento de potencial revolucionário na História dos Estados Unidos, uma vez que a crise econômica potencializou e tornou visíveis os problemas decorrentes do sistema capitalista. Em seu intento, o diretor se aproxima da concepção benjaminiana de História, à medida que, mais do que simplesmente reproduzir a narrativa desse período, opta por se apropriar de um momento explosivo do passado, carregado de elementos em comum com o presente, e utilizar a citação do passado como fonte de inspiração no combate presente. Ou seja, parte desse passado para na verdade dizer algo sobre a realidade em que está inserido, da década de 1990. Assim, ao pensar sobre esses contextos históricos, nos possibilita refletir sobre suas características, motivações e conseqüências. Para tanto, Tim Robbins se utiliza de elementos do teatro épico, e não apenas retrata os elementos históricos do período, mas busca principalmente provocar uma reflexão por parte da audiência. E tal reflexão vai além do entendimento da história, avança sobre questões como o reconhecimento pelo artista de sua condição de proletário da cultura e sobre o limite que se coloca entre fazer arte paga por empresas e a prostituição, entre outras. / This research makes use of the movie Cradle will rock (1999), directed by Tim Robbins, to understand the History, progresses and limits of two historical periods: the decades of 1930 and 1990 in the United States. Defined as a (mostly) true story, the movie presents real and fictional characters and facts, which are alternated and connected to each other. It has a series of narratives, aparently fragmented. However, its connections are built in the course of the movie. In general, we can say that the film portrays the decade of 1930, moment of revolutionary potential in the History of the United States, as a result of the economical crisis, that made visible all the problems deriving from the capitalistic system. In his intent, the director approaches the conception Benjamin has of the History, as he chooses to go beyond than only narrate the facts of the period and decides to appropriate of such an explosive moment of the past, replete of elements in common with the present, and use the citation of the past as a source of inspiration in the current battle. That is, uses the past in order to say something about the reality he experiences in the decade of 1990. In this manner, we can consider these historical periods and reflect on its characteristics, motivations and consequences. In order to do that, Tim Robbins makes use of elements of the epic theater, and not only depicts the historical elements of the period but also tries to provoke the audience and make them reflect about the facts and elements he exposes. These reflections surpass the understanding of the History and reaches questions such as the recognition of the artist of his condition of proletarian of the culture and the limit between making art sponsored by companies and the prostitution of the artist, among other.

Esta pesquisa se utiliza do filme O poder vai dançar (Cradle will rock, 1999), dirigido por Tim Robbins, para entender a História, os avanços e limites de dois momentos históricos: a década de 1930 e a de 1990 nos Estados Unidos. Definido como uma história predominantemente verdadeira, o filme apresenta personagens e fatos reais e fictícios, que se alternam e se relacionam. Ele é composto por uma série de narrativas, aparentemente fragmentadas e desconexas, mas cujas relações são construídas em todo o seu decorrer. De modo geral, podemos dizer que o filme retrata a década de 1930, momento de potencial revolucionário na História dos Estados Unidos, uma vez que a crise econômica potencializou e tornou visíveis os problemas decorrentes do sistema capitalista. Em seu intento, o diretor se aproxima da concepção benjaminiana de História, à medida que, mais do que simplesmente reproduzir a narrativa desse período, opta por se apropriar de um momento explosivo do passado, carregado de elementos em comum com o presente, e utilizar a citação do passado como fonte de inspiração no combate presente. Ou seja, parte desse passado para na verdade dizer algo sobre a realidade em que está inserido, da década de 1990. Assim, ao pensar sobre esses contextos históricos, nos possibilita refletir sobre suas características, motivações e conseqüências. Para tanto, Tim Robbins se utiliza de elementos do teatro épico, e não apenas retrata os elementos históricos do período, mas busca principalmente provocar uma reflexão por parte da audiência. E tal reflexão vai além do entendimento da história, avança sobre questões como o reconhecimento pelo artista de sua condição de proletário da cultura e sobre o limite que se coloca entre fazer arte paga por empresas e a prostituição, entre outras. / This research makes use of the movie Cradle will rock (1999), directed by Tim Robbins, to understand the History, progresses and limits of two historical periods: the decades of 1930 and 1990 in the United States. Defined as a (mostly) true story, the movie presents real and fictional characters and facts, which are alternated and connected to each other. It has a series of narratives, aparently fragmented. However, its connections are built in the course of the movie. In general, we can say that the film portrays the decade of 1930, moment of revolutionary potential in the History of the United States, as a result of the economical crisis, that made visible all the problems deriving from the capitalistic system. In his intent, the director approaches the conception Benjamin has of the History, as he chooses to go beyond than only narrate the facts of the period and decides to appropriate of such an explosive moment of the past, replete of elements in common with the present, and use the citation of the past as a source of inspiration in the current battle. That is, uses the past in order to say something about the reality he experiences in the decade of 1990. In this manner, we can consider these historical periods and reflect on its characteristics, motivations and consequences. In order to do that, Tim Robbins makes use of elements of the epic theater, and not only depicts the historical elements of the period but also tries to provoke the audience and make them reflect about the facts and elements he exposes. These reflections surpass the understanding of the History and reaches questions such as the recognition of the artist of his condition of proletarian of the culture and the limit between making art sponsored by companies and the prostitution of the artist, among other.

Although the International Drinking Water Supply and Sanitation Decade has generated great interest from foreign aid donors, its impact. in terms of increased service levels has been poor. These disappointing results have been explained by the UN and other donors in terms of inadequate funding and lack of cost recovery, poor operations and maintenance, lack of personnel, unacceptable technology, poor logistics and non involvement of the beneficiaries. However, an alternative explanation revolves around factors contributing to poor project design. These include the lack of understanding of the development process, donor bias and self interest, and poor coordination and commitment by the recipient government. A review of the development and trends of contemporary aid philosophy and its translation in to rural development and water and sanitation projects, which led to the launch of the IDWSSD, provides a number of lessons that can be used to formulate a hybrid model for project design and the sector development process, that defines the relative roles of donors, recipient governments and people themselves. The model is based on coordinated development, community participation, and sector growth from pilot projects to large scale programmes. The developments in the rural water and sanitation sector that took place in Zimbabwe from 1974 to 1987, provide a unique opportunity to test this model using a systems analysis approach. After gaining Independence in 1980, Zimbabwe's development assistance funding grew tenfold with the influx of foreign donors, and major commitments were made by the new Government to rural development and the goals of the IDWSSD. However, the large investments in water and sanitation which included the preparation of a national master plan with external technical assistance, had both positive and negative impacts on the continuing development of the sector, the start of which can be traced back, well before Independence, to small pilot projects sponsored by non government organizations that used appropriate technology developed by the Rhodesian Government. This development process and the changing approach to project design is illustrated by a series of case studies of projects supported by multilateral and bilateral donors, and non government organizations, that were milestones during this period. Finally the project and sector development model is modified based on the practical lessons from Zimbabwe and recommendations for future practice are made together with suggestions for areas of further research.

Magistro kvalifikaciniame darbe analizuojama 1960 - 1970 metų mada Lietuvoje. Darbo tikslas išanalizavus septintojo dešimtmečio Vakarų Europos ir sovietinės mados tendencijas, naudojant lyginamosios analizės metodą, palyginti su Lietuvoje vyravusiomis ir nustatyti jų transformacijos priežastis. Atlikta mokslinės literatūros analizė ir empirinis tyrimas iš esmės patvirtino darbe iškeltą hipotezę - madų tendencijos Lietuvoje atsiliko (laiko atžvilgiu) nuo Vakarų Europos, jaučiamas šių madų tendencijų skirtumas, atkeliavusios iš Vakarų Europos madų tendencijos Lietuvoje transformavosi. / There is analysing 1960 - 1970 years Lithuanian fashion trends in this master qualification work. Aim of work is analysing seventh decade West Europe's and Soviet fashion ruling trends, using comparative analysis method, compared to Lithuanian and to set the causes of this transformation. An analysis of scientific literature and an empirical study in principle approved the hypothesis in this work that the fashion trends in Lithuania felt behind (by time) comparing to West Europe's, appreciable the difference between West Europe's and Soviet fashion trends and the trends which came from West to Lithuania transformed.

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Na presente Dissertação investigamos como a configuração do narrador em Abdias formaliza, literariamente, a figura do intelectual brasileiro mediano dos anos 1930. Desse modo, propomos a leitura analítica do romance de Cyro dos Anjos numa chave que leve em conta a relação entre a matéria ficcional e os elementos sociais e culturais que ali estão representados. / This dissertation investigates how the configuration of the narrator of Abdias formalaises, literarily, the figure of the brazilian middle-class intelectual of the 1930\'s. In this sense, it proposes an analytical analyses of Cyro dos Anjos\' novel in a perspective that takes into consideration the relation between the fiction and the social and cultural elements that are there represented.

Este trabalho procura fazer levantamentos sobre histórias em quadrinhos que narram fatos históricos, com ênfase nas histórias produzidas no Brasil na década de 50, principalmente aqueles produzidas pela editora EBAL. Uma analogia com outros países que produziram quadrinhos similares no mesmo período é apresentada no intuito de comparar as narrativas em cada um deles e no Brasil. As narrativas são analisadas de forma separada, ou seja, o texto e as imagens que compõem a história em quadrinhos são primeiramente classificados e depois um paralelo é traçado para que se possa verificar a forma como artistas e roteiristas trabalhavam este gênero. O estudo mostra como os artistas trabalhavam a informação histórica e como faziam sua adaptação para histórias em quadrinhos. Mostra também como esta narrativa de fatos históricos produzida no Brasil, na década de 50, foi influenciada e no que influenciou posteriormente. / This work try makes a survey in comics what tell about historical facts, with emphasis in histories produced in Brazil in the decade of 50, mainly those produced by the EBAL publishing company. An analogy with other countries that had produced similar comics in the same period in intention to compare the narratives in each one of them and Brazil. Narratives are analyzed in separate form, or either, the text and the images that compose the comics are classified in first and after a parallel are traced to verify the form as artists and scriptwriters worked this sort. The study it shows as the artists worked the historical information and how they did adaptation for comics. Sample also as this narrative of historical facts produced in Brazil, in the decade of 50, was influenced and in that influenced later.

Education for sustainability (EFS) is emerging as a key strategy for learning and action towards sustainability. Community-based environmental groups are potentially important providers of, and contexts for, educating adults for sustainability because they engage the community in activities such as public awareness raising, advocacy and lobbying, community education, and participatory learning (UNESCO, 2004, p. 25). These groups have been identified as key stakeholders of EFS in UNESCO's strategic plan for the United Nations Decade of Education for Sustainable Development, from 2005-2014 (UNESCO, 2004). Despite this recognition, there are few models or precedents to guide groups or programs in developing and implementing EFS in their strategies or activities. Additionally, education commonly associated with community-based environmental groups has been rather narrowly conceived as public awareness raising and individual behaviour change, and disconnected from advocacy (Clover, 2002a; Whelan, pending). This thesis addressed this gap in understanding by investigating the dimensions of education and learning in two community-based environmental groups in South-East QueensIand. The aim of this research was to develop a framework to explain and understand the role of education and learning within and by community-based environmental groups. The research inquiry was motivated by an interpretive interest in uncovering the educative dimensions arising from group members' engagement in the activities of community-based environmental groups. This aim was addressed through an investigation of: (1) the community education initiatives of community-based environmental groups; and (2) the learning that occurs within these groups through participation in social action, Two community-based environmental groups that participated in this study were Smogbusters, an environmental advocacy group, which focused on air quality and transport issues in Brisbane; and the Pumicestone Region Catchment Coordination Association, (PRCCA) a community-based natural resource management group. Information was gathered through participant observation, interviews with group members and project staff, and the collection of relevant documents from both groups. A conceptual framework based on five convergent themes in the contemporary EFS literature was used to interpret and analyse the activities of these groups, These are: (1) participation; (2) critical thinking; (3) local relevance; (4) holistic, interdisciplinary and systemic approaches; and (5) values-driven approaches. The analysis of both groups' community education initiatives revealed the use of approaches that extend beyond pubhc awareness, didactic, and information-based approaches to strategies that engaged the community more actively than was possible with conventional approaches. This reflects a more sophisticated and considered approach that connects education with advocacy as an integral part of groups' strategy and practice. The two case studies illustrate the use of participatory learning and action that incorporates adult learning approaches to enhance participation and learning. These findings contribute to knowledge that can help bridge the gap between education and advocacy in the activities of community-based environmental groups (Clover, 2002a; Whelan, 2005). The findings strongly suggest that the two groups engaged a form of education and action that approaches the potential of EFS as envisaged in policy documents and vision statements. The groups provided opportunities for action learning through advocacy and lobbying for policy change, and through a range of activities associated with addressing issues of natural resource management. In Smogbusters, participation in advocacy and education contributed to building the capacity of individuals to engage in social action for sustainable transport and air quality. In the PRCCA, group members' participation in natural resource management related activities developed their skills, knowledge and capacity to advocate for sustainable natural resource management practices. These findings confirm that local participation in environmental action and decision making builds on the individual and collective experiences of participants. Participation in action empowered and enabled group members to engage in action and change. In particular, participants developed a strong sense of their capacity to enact change, and to engage in social action. The findings of this research suggest that community-based environmental groups are important places for adults to gain a stronger sense of personal and collective agency towards sustainability. Further, participation in these groups is an important mechanism for environmental change to be brought about through collective action (Apel & Camozzi, 1996). The research findings confirm that adult and popular education pedagogies can optimise learning in community-based environmental groups (Foley, 1999; Clover & Hall, 2000; Clover; 2002a; Follen & HaIl, 1998; Newman, 1995a). The framework may be able to assist project coordinators in developing and implementing community education strategies into their programs. Finally, the findings have implications for policy and program development in the Decade of Education for Sustainable Development.

The articles that recorded multicultural art lessons in the US P-12 classrooms in School Arts during the past decade revealed the condition of US multicultural art education from three aspects. First, the teachers’ interest in multiculturalism has been stable in the past decade. Second, the lessons covered multiple cultures unequally. Among pluralistic US cultures, Native American culture was favored while Asian-American, Arab-American, and Muslim-American cultures were neglected. Among global cultures, Mexican and African cultures were represented most often. Only 12.4% of world countries were represented. Third, most multicultural art projects were stereotyped, though some innovative projects emerged. Many art teachers selected cultural content to teach based on classroom population and local culture. The art teachers tended to teach the meanings of US ethnic cultures better than global cultures. The alteration of cultural materials and techniques caused the loss or change of cultural meanings.