Ernesto Geisel e Luiz Inácio Lula da Silva presidiram o Brasil em momentos muito diferentes: este, afiliado a um partido de esquerda, eleito pelo voto popular e assumindo o cargo num mundo onde um único país concentrava os maiores níveis de poder material, militar e ideológico. Aquele, escolhido por uma Junta Militar, num contexto mundial marcado pela disputa entre duas potências. Apesar das diferenças, os dois presidentes carregam pelo menos um elemento em comum: em sua política externa, os dois buscaram adotar uma postura universal, o que acarretou uma aproximação, em especial, do continente africano. Esta pesquisa busca entender a construção discursiva que fundamentou a renovação das relações Brasil-África nestes dois períodos da história brasileira, através de uma análise dos pronunciamentos dos chefes de Estado e dos seus Ministros de Relações Exteriores. Ao observar as construções discursivas, buscaremos determinar quais elementos do discurso se mantém, quais são ressignificados e quais são descartados. Através da comparação dos discursos, buscaremos compreender melhor os paradigmas normativos que sustentaram a política africana do Brasil, bem como a concepção estratégica da África em cada um deles. O método utilizado é o histórico-indutivo, associado ao uso do método comparativo. A partir dos discursos obtidos em livros e sites oficiais, a amostra foi limitada aos pronunciamentos que continham citação ou referência ao relacionamento com a África, sendo posteriormente realizada análise com especial atenção para os componentes textuais e simbólicos discutidos nos marcos teóricos da pesquisa. Os resultados obtidos mostram que as disputas travadas no campo simbólico ajudam a compreender a elaboração do que é entendido como interesse nacional. / Ernesto Geisel and Luiz Inácio Lula da Silva were Presidents of Brazil in very different moments: the later, a member of a left-wing party, was elected by popular vote and took office in a world where only one country concentrated the highest levels of material, military and ideological power. On the other hand, the former was chosen by a Military Junta and had to deal with an international reality of constant dispute among two powers. Despite their differences, both Presidents had at leat one element in common: in their foreign policies, both adopted a universal attitude, which led to a rapprochement to Africa. This research aims at understanding the construction of the discourse about the renovation of Brasil-Africa relations in these two periods of Brazilian history, through the analysis of these Heads of State’s speeches, as well as their Foreign Minister’s. Through the observation of the discourse constructions, we seek to determine which elements are maintained, which are re-signified and which are discarded. Through the comparison of speeches, we seek to better understand normative paradigms which have grounded Brazil’s African policies, as well as the strategic dimension of Africa in each. The method used is inductive/historic associated to the comparative method. From speeches obtained in books and online, the research sample was limited to those which mentioned or referred to Brazil’s relations with Africa. Those were analyzed with special attention to textual and symbolic components discussed in the research’s theoretical framework. Results obtained point to the fact that disputes at the symbloci level help understand the elaboration of what is understood as national interest.

In the 1940s, Sweden adopted a policy known as Det fria kriget (approximately translated to The Free War) which was a conceptualization of a war in which its homeland had suffered a major invasion by a malignant and far stronger opponent. Det fria kriget remains, to this day, mostly a set of instructions outlining how the military were to reorganize itself, at that point, to uphold the nations military resilience. This paper compares, contrasts, and discusses established conceptualizations of guerrilla warfare along the traditions of Sun Tzu, Lenin, Mao, and Che Guevara and concludes that Det fria kriget is in fact a conceptualization of Swedish guerrilla warfare. This paper calls to action a deeper understanding of the tradition and how it might have changed up until today, if it is to serve the nation’s interests come tomorrow as well.

In our thesis we will discuss political philosophy of Slavoj Žižek. Our aim is to explore his thoughts in the context of searching for an emancipatory strategy for 21st century. In first par of our thesis we will concentrate on the analysis of functioning of capitalism from the perspective of Lacan's discourse of university. Then we will move to the criticism of static subject in Marxism and dispersed subject in thoughts of post-Marxist radical democrats. We will continue to so called communist hypothesis. In second part of our thesis we will discuss how Žižek's theoretical approach affects his position to the three selected social conflicts and movements. Powered by TCPDF (www.tcpdf.org)

Latin-American guitarist-composers Ernesto Cordero, Leo Brouwer, and Sergio Assad are three of the most influential figures in the contemporary world of classical guitar. In addition to their important compositions for solo guitar, their compositions for guitar ensemble represent significant contributions to the concert repertory. These three guitarist-composers share a knowledge of popular, folkloric and classical music and demonstrate a commitment to bridging these realms in their compositions in the classical tradition. This study reviews the history of the guitar quartet. It then examines the different cultural influences in selected compositions for classical guitar quartet by each composer, exploring the significance of these choices for the performer and for the medium. The document also offers a performer’s guide for accurate and stylistic performance. When performed well, these quartets represent the vitality of contemporary Latin American composition and confirm the stature of the guitar quartet as a compelling medium for the concert artist.

Made available in DSpace on 2016-04-27T19:32:22Z (GMT). No. of bitstreams: 1 Henri de Carvalho.pdf: 6251172 bytes, checksum: 12bccd7000e389cbdf53fc09e23d54b4 (MD5) Previous issue date: 2009-05-26 / The objective of this work is to insert the music esthetics of Mário de Andrade in a brazilian historical context, with a intriguing social transformation, taken into account the political and cultural transformations in the first half of twenty centuty It can be admitted that Mário de Andrade is a man who goes through different experiences related to modernity. Therefore, to understand his work it will be necessary to comprehend the establishment of the relations among modernity, historical experience and modernism. It has been as a reference the music composed by himself, something that seems to be the best way, having as criterion of study the emanate reading from the elements of his work, they demonstrate his main influences and intentions, historically warrantable in a country that has in its economic and social development features of colonialism. The duality of feeling provided for the experience in the modernity is between the threshold of living a revolutionary and materialistic progressive age, being at the same time present in a world that is not entirely materially and spiritually modern, exactly for attending to the needs and maintenance of exclusive interests of capitalism, and not to solve human nor social problems, historically present. Mário de Andrade romantism is in the simbolism psychological force, in militant art for a national cause, in the research of terrantesa music and in the systematical use of ithis like raw material to bring about erudit music. These three points have appeared in Mário de Andrade syntomatic expressions of a social organization that showed spirtually and materially, to take and carry with itself the real impressions of historical specification of economic development very late of capitalism in Brasil / O objetivo deste trabalho é inserir a propositura estético-ideológica musical de Mário de Andrade num contexto histórico do Brasil na primeira metade do século XX. Pode-se admitir que Mário de Andrade é um homem que passa por experiências relacionadas com a modernidade. Logo, para a compreensão de sua obra haverá a necessidade de estabelecer relações entre modernidade, experiência histórica e modernismo. Tendo como referência a própria teoria estético-ideológica musical por ele composta, algo que parece ser o melhor caminho, depreendendo-se como critério de estudo a leitura imanente dos elementos contidos em sua obra, e que evidenciam suas principais influências e intenções, justificáveis historicamente, num país que tem seu desenvolvimento econômico e social com características próprias da via colonial. A dualidade de sentimentos que a experiência na modernidade proporciona, está entre o limiar do viver uma era revolucionária e de progressos materiais, estando ao mesmo tempo presentes em um mundo que material e espiritualmente não chega a ser moderno por inteiro, exatamente por atender às necessidades e manutenção dos exclusivos interesses do capital, e não de resolver problemas humanos e sociais historicamente construídos até então. Seu romantismo, em síntese, reside no simbolismo de força psicológica, na arte militante por uma causa que era a nacional, na pesquisa da música terrantesa e no emprego sistemático dessa como matéria prima para produção da música erudita. Estes três pontos surgem em Mário de Andrade como expressões sintomáticas de uma organização social que se manifestou espiritual e materialmente, de modo a carregar consigo as marcas da especificação histórica do desenvolvimento econômico hiper-tardio do capitalismo no Brasil

samenvatting Dit proefschrift vormt een poging van een discourstheoretische literaire analyse van het werk van Charlotte Mutsaers (1942). Charlotte Mutsaers schriftuur wordt vaak grillig genoemd. In dit proefschrift heb ik onder meer aangetoond dat de grillige, niet-lineaire schriftuur bij Mutsaers eerst en vooral een kritische dimensie heeft. Mutsaers ontregelt taal en de resulterende vreemde taal daagt de bestaande orde uit. Gevestigde hiërarchieën zoals die tussen mens en dier kunnen hierdoor op losse schroeven worden gezet. In deze analyse worden diverse ontregelende procédés zoals het rizomatische schrijven, het anagram, de opsomming, de digressie en de associatie nader onder de loep genomen. Als referentiekader dient de discourstheorie van Ernesto Laclau en Chantal Mouffe. De discourstheorie helpt om de kritische dimensie van Mutsaers schriftuur beter aan het licht te brengen. Résumé Cette dissertation est une analyse littéraire de lécriture de lauteur néerlandaise Charlotte Mutsaers (1942). Le style de Mutsaers est souvent caractérisé de grillig, c'est-à-dire capricieux, chaotique. Toutefois, on na jusqu'à présent que rarement spécifié en détail en quoi cette écriture est si capricieuse. Dans ce travail, jai essayé détablir un inventaire des stratégies discursives dérégularisantes dans luvre de Mutsaers. Jai observé des techniques comme lécriture rizomatique, lénumération, lanagramme, la digression et lassociation. Par son écriture volontairement désordonnée (doelgerichtige grilligheid), Mutsaers propose des logiques alternatives à ses lecteurs. Pour Charlotte Mutsaers écrire revient toujours à provoquer. Comme cadre théorique, jai utilisé, entre autres, la théorie du discours dErnesto Laclau et de Chantal Mouffe. Cest surtout le côté critique de luvre de Mutsaers qui est examiné en profondeur dans ce doctorat. summary This thesis offers a literary analysis of the work of the Dutch author Charlotte Mutsaers (1942). Mutsaers style is often called grillig, a word meaning chaotic or capricious. In this analysis I have tried to show to what extent this chaotic, digressive style of writing is, first and foremost, a critical one. With her associative, non-linear, rhizomatic style Mutsaers subverts many hierarchies, such as that between humans and animals. I have analysed some of these subversive techniques: rhizomatic writing, association, enumeration, digression and anagram. The theoretical framework of this analysis is provided by the discourse theory of Ernesto Laclau and Chantal Mouffe. This theory helps to emphasize the critical, subversive dimension of Mutsaers work.

Thesis (Ph. D.)--University of California, San Diego, 2002. / Vita. Includes bibliographical references (leaves 271-281).

La présente recherche porte sur les liens intertextuels entre L'Ange des ténèbres (Abaddón el exterminador) d'Ernesto Sábato et Don Quichotte de la démanche de Victor-Lévy Beaulieu. Partant du constat selon lequel ces deux romans mettent en scène des personnages écrivains qui s'approprient un nombre important de textes canoniques pour nourrir leur entreprise d'écriture, ce mémoire cherche à montrer, dans une perspective qui emprunte à la fois à l'analyse intertextuelle et au concept de figures de l'écrit, comment la présence de réseaux intertextuels partagés permet, d'une part, d'effectuer des rapprochements entre certaines réflexions spéculaires sur la fonction de la littérature et, d'autre part, d'étudier la façon dont les références communes s'intègrent dans les projets énonciatifs de chacun des romans. Après avoir exposé, dans un premier chapitre, les notions théoriques entourant le concept d'intertextualité et celles reliées à l'inscription matérielle des textes dans la fiction (figures de l'écrit, bibliothèques imaginaires), le deuxième chapitre s'emploie à analyser, à l'aide de la taxinomie de Genette, l'utilisation que font les deux romans de certaines références communes récurrentes, notamment celles liées à Don Quichotte de la Manche, de Miguel de Cervantès. Le troisième chapitre est consacré, quant à lui, à dégager l'ensemble des références intertextuelles partagées, de façon à constituer une carte des liens thématiques qui forment les métadiscours des romans étudiés. L'analyse de ce réseau souterrain, tissé autour de références intertextuelles secondaires, permet de comparer la conception de la fonction de la littérature et de déterminer la façon dont les discours quant au rôle de l'écrivain s'inscrivent dans un entrecroisement d'intertextes communs. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : intertextualité, figures de l'écrit, Victor-Lévy Beaulieu, Ernesto Sábato.

This thesis discusses the Indignados movement, which arose in Spain in 2011, in the wake of the 2008 financial crisis. It makes the observation that the Indignados, and many other movements similar to it (like Occupy Wall Street, the Arab Spring, or the Global Justice Movement), gather large amounts of people, but are still struggling to be recognised as political subjects, as influential forces in the political environment. Many times, they are criticised for being too dispersed or too emotional, and lacking the cohesiveness to formulate concrete political aims. The Indignados can therefore be seen as challenging democracy and how political subjectivity is accorded, both in theory and practice. This leads this thesis to inquire into some of the theoretical underpinnings of democracy, and in particular political subjectivity. Its main research question is therefore: Can the Indignados spur a new reading of democracy?To further understand how we can conceive of the political subjectivity of an emotional and dispersed protest movement, this thesis turns to two approaches, social movement theory as well as deliberative democratic theory. After having examined extant literature on the matter, the thesis concludes that both of these approaches employ a distinct separation between emotion and reason, where political subjectivity is almost always hinged upon the latter. In addition, affect is seen as disjointed from signification, and therefore from political articulation. In order to circumvent this theoretical stalemate, this thesis turns to theories of radical democracy, and more specifically to the works of Ernesto Laclau. It argues that Laclau’s juxtaposition of Lacanian psychoanalysis and Derridian deconstruction opens up possibilities for a form of political subjectivity based on affect instead of reason alone. As such, Laclau’s theory of hegemony can shed light on those instances where affect and emotions play a central part in the creation of political subjectivity. In analysing Laclau’s theory, I respond to different analytical challenges that question the viability of explaining movements such as the Indignados through a theory of hegemony. Current observations point to that contemporary movements are not hegemonic (which place too much emphasis on verticality), but rather horizontal and networked. In order to address this critique, this thesis constructs a framework of the hegemonic project. This framework emphasises two commonly overlooked features of Laclau’s theory: the affective and transient nature of hegemony, which stresses the connection between affect and signification. Through two sets of empirical data – ethnographic fieldwork material and social media analysis – the thesis shows how the Indignados exhibit clear instances of verticality, albeit of an affective nature. This hegemonic, affective verticality speaks of two ways in which the movement can construct political subjectivity: viscerally (through unity in affective practices) and virtually (through social media).

Uppsatsens syfte är att undersöka värden som yrkesroll och värdskapet som praktik inom en svensk kontext, med målsättningen att studera arbetsförhållanden, anställningsvillkor och arbetsuppgifter, samt på en övergripande nivå de diskurser som värdar är aktiva inom. Studien presenteras i fyra delar, varav en fallstudie av konsthallen Artipelag är dess utgångspunkt. Dessutom presenteras en historisk tillbakablick på konsthallen Rooseums värdmetodik under åren 1988-1995, en rikstäckande enkätundersökning med 35 medverkande konsthallar och museer samt en undersökning av aktivt värdskap som metod, där verksamheten på Bonniers Konsthall och Göteborgs Konsthall utgör primära exempel. Intervjuer, deltagande observationer, interna dokument och externt kommunikationsmaterial har i huvudsak utgjort studiens källmaterial och metod, och diskursteorin utifrån Ernesto Laclau och Chantal Mouffe dess teoretiska ramverk. De tre perspektiven värdskap som ritual, värdskap som pedagogik och värdskap som service verkar som organiserande princip för undersökningen, men utgör även dess resultat. Perspektiven representerar tre aspekter av värdskapet, vilka belyser dess rituella och diciplinerande verkan i utställningsrummet, dess pedagogiska potential och avsikt samt dess serviceorienterade profil och upplevelseekonomiska anknytning.