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The Global ETD Search service is a free service for researchers
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Networked Digital Library of Theses and Dissertations.
Our metadata is collected from universities around the world. If you manage a university/consortium/country archive and want to be added, details can be found on the NDLTD website.
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Showing 351 to 359 of 359 (0.019 seconds)| 351 |
Controversial Politics, Conservative Genre: Rex Stout's Archie-Wolfe Duo and Detective Fiction's Conventional FormCannon, Ammie 15 June 2006 (has links) (PDF)
Rex Stout maintained his popular readership despite the often controversial and radical political content expressed in his detective fiction. His political ideals often made him many enemies. Stances such as his ardent opposition to censorship, racism, Nazism, Germany, Fascism, Communism, McCarthyism, and the unfettered FBI were potentially offensive to colleagues and readers from various political backgrounds. Yet Stout attempted to present radical messages via the content of his detective fiction with subtlety. As a literary traditionalist, he resisted using his fiction as a platform for an often extreme political agenda. Where political messages are apparent in his work, Stout employs various techniques to mute potentially offensive messages. First, his hugely successful bantering Archie Goodwin-Nero Wolfe detective duo—a combination of both the lippy American and the tidy, sanitary British detective schools—fosters exploration, contradiction, and conflict between political viewpoints. Archie often rejects or criticizes Wolfe's extreme political viewpoints. Second, Stout utilizes the contradictions between values that occur when the form of detective fiction counters his radical political messages. This suggests that the form of detective fiction (in this case the conventional patterns and attitudes reinforced by the genre) is as important as the content (in this case the muted political message or the lack of overt politics) in reinforcing or shaping political, economic, moral, and social viewpoints. An analysis of the novels The Black Mountain (1954) and The Doorbell Rang (1965) and the novellas "Not Quite Dead Enough" and "Booby Trap" (1944) from Stout's Nero Wolfe series demonstrates his use of detective fiction for both the expression of political viewpoints and the muting of those political messages.
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Gothic Agents Of Revolt: The Female Rebel In Pan's Labyrinth, Alice's Adventures In Wonderland And Through The Looking GlassMarkodimitrakis, Michail-Chrysovalantis 21 April 2016 (has links)
No description available.
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Age of Activism in the Face of Fascism : Mobilizing Grandmotherhood through the Movement Identity of OMAS GEGEN RECHTSSchäfer, Nicola January 2022 (has links)
In critical times of reawakening right-wing ideologies in Germany, the social movement OMAS GEGEN RECHTS (transl. ‘Grannies against the far right’) sets a determined, yet by many unexpected, political statement against fascism. This thesis draws on collective identity theory and symbolic interactionism to conceptualize the activists’ communicative and strategic use of the grandmother self-designation. Based on semi- structured interviews, photo elicitation method, participant observation, and song lyrics, the work explores the expressive and symbolic meaning of their collective action, communicative objects and processes. The grounded analysis points to four themes of identity negotiations – (1) loudness, (2) visibility, (3) commemoration and (4) peacefulness versus ruthlessness – to reveal how OMAS GEGEN RECHTS re-appropriate grandmotherhood. With the lens of feminist gerontology, it becomes apparent that the activists’ self-designation ‘OMA’ extends far beyond anti-fascist commitment by challenging traditional images of female ageing. / In kritischen Zeiten wiedererstarkender rechter Ideologien in Deutschland setzt die soziale Bewegung OMAS GEGEN RECHTS ein entschlossenes, wenngleich für viele unerwartetes politisches Zeichen gegen den Faschismus. Mit Theorien der kollektiven Identität und des symbolischen Interaktionismus konzeptualisiert diese Arbeit den kommunikativen und strategischen Gebrauch der Selbstbezeichnung ‚Oma‘. Deren expressive und symbolische Bedeutung in Form von kollektiver Aktion sowie kommunikativer Objekte und Prozesse wird auf Grundlage von Interviews (mit visueller Unterstützung), teilnehmenden Beobachtungen und Liedtexten untersucht. Die fundierte Analyse verweist auf vier Themen der Identitätsverhandlungen – (1) Lautstärke, (2) Sichtbarkeit, (3) Gedenken und (4) Friedfertigkeit versus Wehrhaftigkeit. Die Themen zeigen auf, wie OMAS GEGEN RECHTS den Begriff der ‚Großmutterschaft‘ neu interpretieren und ihn sich aneignen. Aus der Perspektive der feministischen Gerontologie wird deutlich, dass die Selbstbezeichnung der Aktivistinnen ‚OMA‘ weit über antifaschistisches Engagement hinausgeht, indem sie traditionelle Bilder des weiblichen Alterns in Frage stellen.
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[en] NATIONAL COMMISSION OF TRUTH, ART AND PUBLIC INTERVENTION / [pt] COMISSÃO NACIONAL DA VERDADE, ARTE E INTERVENÇÃO PÚBLICAALINE JOBIM E SOUZA 10 July 2018 (has links)
[pt] A dissertação Comissão Nacional da Verdade, Arte e Intervenção Pública pretende estabelecer um diálogo entre design / comunicação visual, arte política e história do período ditatorial no Brasil, tendo como base empírica o Relatório da CNV (especificamente o Volume III: Mortos e Desaparecidos Políticos). A partir da análise do Relatório da Comissão Nacional da Verdade, criamos oficinas de estratégias de comunicação visual no âmbito da intervenção no espaço público, com a participação de jovens na faixa etária de 18 a 22 anos. Nessa pesquisa de campo, a metodologia desenvolvida propõe-se a provocar um debate ético e estético com o público alvo. O processo criativo desenvolvido com os alunos de graduação em design da disciplina de Linguagem e Comunicação Visual II, ministrada pela professora Simone Formiga - 2017.1 - PUC-Rio, proporcionou a construção de narrativas imagéticas sobre questões morais relativas às gravíssimas violações de direitos humanos deflagradas pelo regime ditatorial e expostas no Relatório. Ou seja, a partir dos conteúdos discursivos gerados nesta disciplina, desenvolvemos narrativas visuais ocupando o espaço público, com a finalidade de provocar questionamentos e reflexões na população acerca das vítimas do período do regime militar brasileiro. / [en] The dissertation National Commission of Truth, Art and Public Intervention intends to establish a dialogue between design - visual language -, political art and history of the dictatorial period in Brazil, with empirical basis on the CNV Report (specifically Volume III: Political Dead and Disappeared). Analyzing the work of the National Commission of Truth, we created workshops on visual communication strategies in the framework of artistic intervention in public space, with the participation of a group aged from 18 to 22 years. In the field research, the methodology developed aims to provoke an ethical and aesthetic debate with the target audience. The creative process developed with the undergraduate design students at Language and Visual Communication II discipline, given by Professor Simone Formiga - 2017.1 - PUC-Rio, provided the construction of imaginative narratives on moral issues about the severe violations of human rights triggered by the dictatorial period and exposed in the documents of the National Commission of Truth. So, from the discursive contents generated in this discipline, we developed visual narratives occupying the public space, with the purpose of provoking questions and reflections about the victims of the Brazilian military coup.
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Fascisme et antifascisme dans l'immigration italienne en Belgique, 1922-1940Morelli, Anne January 1984 (has links)
Doctorat en philosophie et lettres / info:eu-repo/semantics/nonPublished
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Les réseaux unissant francs-maçons et laïques belges et italiens de la fin du XIXe siècle jusqu'à la Deuxième guerre mondiale: prémisses et réalisation de l'accueil en Belgique des fuorusciti italiens / Free-mason and free-thinker networks connecting the Belgians and the Italians from the end of 19th century till the Second World War: premises and realisation of the arrival of the Italian political emigrants in Belgium.Casano, Nicoletta 11 March 2013 (has links)
Ce travail vise à approfondir certains aspects de l’expérience des francs-maçons et laïques italiens qui ont été exilés en Belgique, suite à la persécution opérée contre eux par la dictature de Mussolini. <p>En effet, les premières associations qui ont été poursuivies légalement par le dictateur italien ont été les associations maçonniques et celles de la Libre Pensée. Jusqu’au il y a quelques années, l’historiographie ne pouvait pas analyser davantage les conséquences de cet exil, faute d’accès aux archives de ces associations. <p>À présent, il nous a été possible d’étudier cette documentation qui nous a permis de démontrer que certains francs-maçons et libres-penseurs italiens, qui ont pris la décision de quitter leur pays afin suite aux persécutions de la dictature, avaient été des exilés politiques et avaient trouvé asile dans certains pays européens grâce aux réseaux maçonniques et laïques qui y existaient déjà depuis la fin du XIXe siècle. La Belgique a été l’un de ces pays d’accueil, mais en outre elle avait été le pays où ces réseaux étaient nés et s’étaient le plus efficacement développés. <p>C’est cette généalogie des réseaux maçonniques et laïques qui nous a permis d’expliquer pour quelles raisons, même si la Belgique n’a pas été le principal pays d’accueil des exilés maçons et laïques italiens, un certain nombre d’entre eux y sont passés ou s’y sont installés avec l’aide de la Franc-maçonnerie et de la Libre pensée belges, pendant leur exil./<p><p><p>The aim of my research project is to investigate further into the experience of the Italian free-masons and free-thinkers who had to go on exile as a consequence of their persecution by the Mussolini dictatorship. As a matter of fact, the first associations to be persecuted by the Italian dictator were the free-mason and free-thinkers associations, but till few years ago, the contemporary historiography hadn’t really focused on the consequences of these actions because of the limited access to the Archives of these associations.<p>It was only at the beginning of this century that these documents were found and have been left at the disposal of the researchers.<p>The study of part of these documents allows me to demonstrate that these free-masons and free-thinkers who had taken the decision to leave their country, in order not to accept the dictatorship, were political emigrants and<p>that they found asylum in some European countries thanks to the free-mason and free-thinker networks that they had established since the end of 19th century. Belgium was one of these countries, but more importantly the one<p>where the relation networks concerned were born and developed.<p>This fact allows us to explain the reason why a lot of Italian free-masons and free-thinkers passed in Belgium or some of them lived. Even if Belgium wasn't the country to which the most of these people exiled. <p> / Doctorat en Histoire, art et archéologie / info:eu-repo/semantics/nonPublished
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Die Weimarer Jahre und Weimars Ende in den frühen Romanen von Victoria WolffWenzel, Telse 18 October 2021 (has links)
Frauen*studium, Wirtschaftskrise, die Welt der Angestellten, der Topos der „Neuen Frau“ Weimars: Das sind einige der Themen von Victoria Wolffs ersten beiden Romanen – „Mädchen wohin?“ (1932) und „Eine Frau hat Mut“ (1933). „Gast in der Heimat“ (1935) und „Die Welt ist blau“ (1933) reagieren dann auf das Erstarken des Faschismus' und die Errichtung des NS-Regimes: „Gast in der Heimat“ schildert diese Zeit aus dem Blickwinkel einer deutsch-jüdischen Familie aus dem gehobenen Bürgertum, der Roman „Die Welt ist blau“ formuliert als Reaktion auf den moralischen Sinkflug in Deutschland auf einer seiner Ebenen Gegenentwürfe zum faschistischen Frauen*- und Gesellschaftsideal.
Ich möchte danach fragen, welche Interpretationen, Gedanken, Positionen die Texte bei ihrem Blick auf die damalige Gegenwart formulieren – und mit welchen literarischen Mitteln sie das jeweils tun. / Studying women*, economic crisis, the world of employees, the topos of Weimar's „New Woman“: These are some of the themes of Victoria Wolff's first two novels – „Mädchen wohin?” („Girl, Where are You Heading to?“) (1932) and „Eine Frau hat Mut” („A Woman Of Courage“) (1933). „Gast in der Heimat” („A Guest in the Homeland“) (1935) and „Die Welt ist blau” („The World is Blue”) (1933) respond to the rise of fascism, as well as the establishment of the Nazi regime: „Gast in der Heimat” („A Guest in the Homeland“) describes this time from the perspective of a German-Jewish family from the upper middle class, while the novel „Die Welt ist blau” („The World is Blue”) formulates, on one of its levels, alternative drafts to the fascist ideal of women* and society as a replica to the moral decline in germany.
I would like to ask the following questions: What interpretations, thoughts and positions do the novels formulate in their view of the present? And what literary means do they use to do it in each case?
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Cinéma et expérience totalitaire : le laboratoire du genre du film de guerre dans l'Italie fasciste (1935-1943) / Cinema and the totalitarian experiment : the laboratory of the war film genre in Fascist Italy (1935-1943)Courriol, Marie-France 10 December 2015 (has links)
Cette thèse analyse les films de guerre de fiction produits dans l’Italie fasciste de 1935 à 1943, de la Guerre d’Ethiopie à la fin de la Seconde Guerre mondiale. Elle démontre que le genre de guerre fonctionne comme un laboratoire pour l’entreprise de révolution anthropologique de l’Italie, inhérente à l’expérience totalitaire fasciste. Ce modèle cinématographique et social est en effet célébré comme devant s’étendre à l’ensemble du monde cinématographique italien, et ses caractéristiques à l’écran sont censées fournir l’image d’une société fasciste idéale.Après avoir analysé la mise en place du film de guerre italien dans ses discours, ses institutions et ses circulations internationales, ce travail examine les réponses de la production cinématographique. Il se clôt sur la perception du genre de guerre, ses spectateurs, sa réception et sa publicité. Il montre que les films de guerre de la période forment un lieu où coexistent de nombreux objectifs servant des groupes variés. Reposant en grande partie sur des archives d’Etat et de cinéastes, ce travail se concentre sur des études de cas de producteurs (Scalera, Bassoli Film), de réalisateurs (Goffredo Alessandrini, Mario Camerini, Francesco De Robertis, Augusto Genina, Romolo Marcellini, Roberto Rossellini), de scénaristes (Asvero Gravelli, Gian Gaspare Napolitano) et de réception de films particuliers. Cette étude des réponses multiples aux demandes d’un système totalitaire en formation dans le champ cinématographique entend contribuer au débat historiographique sur l’adhésion populaire au fascisme, en en élargissant les paramètres. En outre, bien que le genre joue un rôle central dans le développement de l’industrie cinématographique nationale, ce travail démontre cependant la nécessité d’interpréter ces films en termes transnationaux et non comme simples produits politiques et nationaux. / This thesis analyses the fictional war films produced in Fascist Italy from 1935 to 1943, from the Ethiopian war to the end of WWII. It argues that this genre functioned as a laboratory for the anthropological renewal of Italy in the Fascist totalitarian experiment. Fascist critics celebrated it as a cinematic and social model that had to be applied to the whole Italian film world, and whose on-screen features were to become the mirror image of an ideal Fascist society. After tracing the foundations of the Italian war film genre (critical debates, international circulation), the thesis interrogates the positioning of film professionals in relation to Fascist cultural policies. Lastly, it redefines the genre in terms of its interactions with Italian viewers and through advertisement. This thesis shows that war films of the period constitute a contested site serving multiple purposes for multiple groups. Relying primarily on archival material from Italy’s state archives and filmmakers’ private papers, this work presents several case studies of producers (Scalera, Bassoli Film), directors (Goffredo Alessandrini, Mario Camerini, Francesco De Robertis Augusto Genina, Romolo Marcellini, Roberto Rossellini), screenwriters (Asvero Gravelli, Gian Gaspare Napolitano) and reception of specific films. A study of the multiple responses to the demands of an aspiring totalitarian system, both from the point of view of film consumption and filmmaking, contributes to the historiographical debate on Fascism by broadening the parameters of the longstanding debate on popular consent for the regime. In addition, this work demonstrates the need to interpret these films in a transnational perspective and not as mere political and national products.
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Technik und Bildung in der verwissenschaftlichten LebensweltLumila, Minna 02 June 2023 (has links)
Die Studie versucht, Husserls Modell einer nicht-wissenschaftlichen Lebenswelt für pädagogische Untersuchungen zum Verhältnis von Technik und Bildung in der verwissenschaftlichen Welt zu öffnen. Sie diskutiert Entwicklungsprobleme der Spätmoderne unter pluralen Fragestellungen und führt Ansätze und Traditionen zusammen, die unterschiedliche Wege zur Weiterentwicklung der modernen Bildungstheorie beschritten haben. Im Zentrum steht die Frage, wie moderne Technik einerseits als lebensweltliche Entfremdung des Menschen problematisiert und andererseits als Produkt menschlicher Freiheit und Weltgestaltung gewürdigt werden kann. In vier Kapiteln werden die methodischen Ansätze und Antworten vorgestellt, die der Philosoph und Pädagoge Eugen Fink (1905–1975), der Philosoph Martin Heidegger (1889–1976), der Philosoph und Erziehungswissenschaftler Theodor Litt (1880–1962) und der Soziologe Helmut Schelsky (1912–1984) auf die Frage nach dem Verhältnis von Bildung und Technik gegeben haben. Im Durchgang durch ihre Positionen wird ein Konzert erarbeitet, dessen Originalität darin liegt, Abstimmungsprobleme von Bildung, Technik und Lebenswelt aus postdualistischer, praxistheoretischer sowie posthumanistischer Perspektive zu thematisieren. / The study attempts to open Husserl's model of a non-scientific lifeworld for pedagogical investigations of the relationship between technology and “Bildung” in the scientific world. It discusses developmental problems of late modernity under plural questions and brings together approaches and traditions that have taken different paths to the further development of modern “Bildungs”-theory. The central question is how modern technology can be problematized on the one hand as the alienation of human beings from the world of life and on the other hand be appreciated as a product of human freedom and the shaping of the world. Four chapters present the methodological approaches and answers that philosopher and educator Eugen Fink (1905–1975), philosopher Martin Heidegger (1889–1976), philosopher and educationalist Theodor Litt (1880–1962), and sociologist Helmut Schelsky (1912–1984) have given to the question of the relationship between education and technology. In the course of their positions, a concert will be developed whose originality lies in addressing the coordination problems of “Bildung” (education), “Technik” (technology) and “Lebenswelt” (lifeworld) from a post-dualist, praxis-theoretical as well as post-humanist perspective.
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