La imagen ha cumplido una función de documento y espacio de representación a lo largo de la historia. De este concepto no se puede excluir a la fotografía que, desde sus inicios, ha buscado ser retrato de la realidad y de la historia, asimismo, ha buscado representar, imitar, a veces interpretar e, incluso, inventar una realidad. Como señala Burke, la fotografía, como imagen, da lugar a la imaginación del pasado de una manera viva: “al situarnos frente a una imagen nos situamos frente a la historia” (2001: 17). Así, al ser cusqueña y habiendo terminado mi carrera de Comunicación Audiovisual, me interesé en investigar sobre la historia del registro visual de mi región, Cusco, y encontré que no todo está dicho.

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.

Submitted by Irvana Coutinho (irvana@ufpa.br) on 2013-09-20T13:40:10Z No. of bitstreams: 2 license_rdf: 22974 bytes, checksum: 99c771d9f0b9c46790009b9874d49253 (MD5) Dissertacao_HistoriaCidadeCompondo.pdf: 1938811 bytes, checksum: e34122536fd55026e6ea9dbae82ed403 (MD5) / Approved for entry into archive by Ana Rosa Silva(arosa@ufpa.br) on 2013-09-30T14:46:58Z (GMT) No. of bitstreams: 2 license_rdf: 22974 bytes, checksum: 99c771d9f0b9c46790009b9874d49253 (MD5) Dissertacao_HistoriaCidadeCompondo.pdf: 1938811 bytes, checksum: e34122536fd55026e6ea9dbae82ed403 (MD5) / Made available in DSpace on 2013-09-30T14:46:58Z (GMT). No. of bitstreams: 2 license_rdf: 22974 bytes, checksum: 99c771d9f0b9c46790009b9874d49253 (MD5) Dissertacao_HistoriaCidadeCompondo.pdf: 1938811 bytes, checksum: e34122536fd55026e6ea9dbae82ed403 (MD5) Previous issue date: 2008 / Trata da gestação de uma ocupação urbana no município de Marituba-Pará, hoje bairro Che Guevara, levando em conta, principalmente, noções de tempo, estratégias e representações dos sujeitos que compuseram relações sociais em um novo lugar de moradia. Neste sentido, a ideia é trilhar um percurso entre o individual e o coletivo no que se refere aos significados do morar e como esses significados interferem na construção das relações sociais do lugar de convivência com outros sujeitos. Apesar da difícil definição das fronteiras entre a História e a Antropologia, a ideia de construção do lugar de moradias remete a um debate em torno do tempo histórico, aqui concebido como o que busca sistematizar um enredo com base em uma diversidade de informações de diferentes documentos escritos e orais e, também, o antropológico, ao considerar a diversidade de formas de apresentação do tempo descrito pelos sujeitos envolvidos na trama. A pluralidade de versões sobre a construção de um ambiente urbano na Amazônia considera as narrativas que as memórias dos sujeitos oferecem. / The pregnancy of an urban occupation in the city of Marituba-PA, today neighborhood Che Guevara, taking into account, mainly, notions of time, strategies and representations of the subjects that composition social relations into a new place of residence. In this sense, the idea is along a route between the individual and the collective regarding the meanings of living and how those meanings interfere in the construction of social relations of the place of coexistence with other subjects. Despite the difficult definition of the borders between the History and Anthropology, the idea of building the place of housing refers to a debate on the long history here that the search designed as a systematic plot based on a variety of information from many written documents and oral and also the anthropological, in considering the diversity of forms of submission of the time described by subjects involved in the plot. A plurality of versions on the construction of an urban environment in the Amazon takes into account the narratives that the memories of the subjects offered.

Insurgency is considered to be the principal form of conflict in the world today. Since the end of WWII, large-scale conventional war between states has been minimal. In Iraq, a band of insurgents are attempting to defy the strongest power in the world. This insurgency in Iraq may be the beginning of a new phenomenon of insurgency conflict. This thesis argues that the Iraqi insurgency has no center of gravity, with no clear apparent leader or leadership. As seen in other examples of insurgency throughout history, no leadership has emerged in response to any of the conditions present in Iraq. There is no attempt to seize and actually hold territory, and no single, defined, or unifying ideology. Most important, through the research of this project, there has been no identifiable insurgent organization. It is true that there are multiple organizations involved, such as Al Qa’ida and Al Ansar, but there is no clear indication of any cohesion in the insurgency. This insurgency involves small groups who communicate, coordinate, and conduct their campaigns without a precise central command. The command and control is a very loose environment where individuals gravitate toward one another to carry out armed attacks, exchange intelligence, trade weapons, and then disperse at times never to operate together again. The immediate goal of the insurgency in Iraq is to disrupt the political process and drive US forces out of Iraq. However, each element of the insurgency is also driven by its own unique motivations. No matter the differences, they fight together for a common cause. Their strategy is to seize power by draining the Coalition financially and winning popular support through coercion and fear. Their resources may be unlimited, and with support coming in from all corners of the earth, they may be unstoppable. The future will determine whether or not the insurgency in Iraq is a new type of insurgency. If the Iraqi example fails to spread to other countries, then it can be said that the insurgency in Iraq was a phenomenon unique only to Iraq and its conditions.

This thesis examines the Alberto Korda Guerrillero Heroico image within the realm of U.S. Latino/a fiction. Drawing from several trends that constitute Latino/a identity as either resistant to white mainstream hegemonies, or as a performative construct, I argue that a collective Hispanic identity is found somewhere between these two extremes. Corporate discourses have perpetuated stereotypes of Latino masculinity to limit any alternate and nuanced portrayal of Latinidad. Specifically, I posit that the corporate use of the Che photograph illustrates Latin men as hypermasculine, limiting Latin-ness to a performance of its mainstream depiction. To combat the commercialization of the print, the novel Loving Che imagines new possibilities for the Hispanic community and its relationship to the U.S. market, challenging the idea of a pan-Latino/a identity with archival photographis of the comandante. Together, both texts bridge performative and resistant trends, providing a potential Latinidad that resists and eludes corporate hegemonies. / by Johanna Ayala-Walsh. / Thesis (M.A.)--Florida Atlantic University, 2012. / Includes bibliography. / Mode of access: World Wide Web. / System requirements: Adobe Reader.

Esta tese é um panorama da história gráfica brasileira de 1837 até 1931, visto pela ótica da representação cômica, do design gráfico e da mentalidade. A idéia principal foi partir de um plano geral para encontrar na década de 1920 a obra conjunta do humorista Aparício Torelly, o Barão de Itararé, e do artista gráfico paraguaio Andrés Guevara. Passando pelos autores mais relevantes deste período, a inspiração rizomática é a própria cronologia, onde os assuntos relacionados a humor, design e mentalidade trepidam e se desdobram em conexões pertinentes e interessantes para o próprio tema. A tese foi concebida em três partes, a saber: A primeira versa sobre o objeto de conhecimento, objeto de estudo, metodologias e fontes; assim como fala brevemente sobre os autores principais Barão & Guevara , mote da estratégia de abordagem do assunto. A segunda parte destrincha os antecedentes históricos sob as óticas propostas através de uma amostragem de fontes primárias (imagens & autores) em contraponto com trechos de importantes fontes secundárias, costurado com comentários que vão propondo novas interpretações e olhares para os mesmos temas e objetos, sem aplicação de juízos de valor, mas apenas mostrando que foi assim que as coisas se passaram. A terceira parte está focada na década de 1920, e é onde encontro os autores alvo e aplico um detalhamento maior, evidenciando um momento de forte gênese e experimentação no design gráfico brasileiro frente à mudança completa de paradigmas com a introdução da estética modernista, e a assimilação e difusão acentuada dos valores burgueses no campo social. / This thesis is an overview of the Brazilian graphic history from 1837 to 1931, seeing by comic graph representations, graphic design and historical mentalities. The main idea was start from a general plan to reach in the 1920s the four hands works of the humorist Aparício Torelly (Barão de Itararé) and the Paraguayan graphic artist Andrés Guevara. Passing by the more relevant artists of this period, the root inspiration is the chronology itself, were the subjects related to humor, design and mentality tremble and unfolding pertinent and interesting connections for the own theme. The work was conceived in three parts: The first one runs upon the knowledge subject, application subject, methodologies and the wellspring of informations; as well as talk briefly about the main authors Barão de Itararé & Guevara , reason of the strategy subject approach. The second part clear up the historical foregoings under the proposed look through an stamp of original wellsprings (images and authors) put against extracts of the more important Brazilian bibliography, sewed with comments that proposes new interpretations and new looks over the same themes and subjects, without judgements, but just showing that was the way the things took place. The third part is focused on 1920 decade, and is where I meet the target authors and apply for more details, making evident the moment of strong creation and experimentation in the Brazilian graphic design face to the complete change of paradigms in order of the introduction of modernist esthetics and the assimilation and great dissemination of burgess values in the social field.

El presente trabajo estudia una parte del Periodismo médico murciano del primer tercio de siglo XX. Se realiza un análisis estadístico, formal, de edición y de composición de tres revistas relacionadas entre sí por sus fundadores (Murcia Médica 1915-1918, Revista de Tisiología y Especialidades 1919-1926, y Levante Médico 1928-1932); y un estudio prosopográfico de sus directores y de autores destacados murcianos. Supone el inicio del conocimiento en profundidad del periodismo sanitario de la Región de Murcia, global, centrado en las publicaciones científicas y sus responsables. Se han localizado los números existentes de las revistas en hemerotecas y archivos españoles, se han catalogado los artículos científicos y otros contenidos publicados, y se ha elaborado un tesauro para analizar la actividad científica de autores. La especialidad predominante en los artículos científicos estudiados es la microbiología/infecciosas, y la patología más frecuente es la tuberculosis. / The work of Dr. Juan Antonio Martínez Ladrón de Guevara in medical journalism from Murcia (1915-1932). The present paper examines part of the Medical Journalism from Murcia in the first third of the twentieht century. It has been performed a statistical, as well as formal, editing and compositional analysis of three journals which are interrelated to each other by its founders (Murcia Médica 1915-1918, Revista de Tisiología y Especialidades 1919-1926, y Levante Médico 1928-1932), in addition to a prosopographical study of its editors and other prominent authors from Murcia. This study represents the beginning of the in-depth knowledge of the health journalism in the Region of Murcia, a global study, focused on the scientific publications and the professionals responsible for them. The existing issues of the journals have been found in Spanish newspaper and periodical libraries and archives, scientific articles and other published contents have been catalogued, furthermore a thesaurus has been developed in order to analyze the scientific activity of authors. The predominant speciality in the scientific articles which have been studied is the microbiology/infectious diseases where tuberculosis is the most common pathology.

This dissertation explores the central paradox of Mexico's foreign relations with Cuba and the United States in the decade following the Cuban Revolution--why did a government that cooperated with the CIA and practiced conservative domestic policies defend Castro's communist regime? It uses new sources to prove that historians' previous focus on the foreign and ideological influences on Mexico's relations with Cuba was misplaced, and that the most important factor was fear of the domestic Left. It argues that Mexican leaders capitalized upon their country's "special relationship" with Castro as part of their efforts to maintain control over restive leftist sectors of the Mexican population. This project uses new sources to illuminate how perceptions of threat shaped Mexico's foreign and domestic politics. In 2002, the Mexican government declassified the records of the two most important intelligence organizations--the Department of Federal Security and the Department of Political and Social Investigations. The files contain the information that Mexico's presidents received about potential dangers to their regime. They reveal that Mexican leaders overestimated the centralization, organization, and coordination of leftist groups, and in so doing gave them more influence over policy than their actual numbers or resources logically should have afforded. The dissertation uses the concept of threat perception as an analytic and organizational tool. Each chapter considers a different potential source of danger to the Mexican regime in the context of the Cold War and the country's relations with Cuba. For the sake of clarity, it breaks the threats into the categories of individual, national, and international, even though these subjective categories may blend into one another throughout the course of the analysis. The first chapter begins with an individual threat: Lázaro Cárdenas, a powerful former president who became one of Fidel Castro's most dedicated supporters. The next three chapters analyze threats on the national level by looking at the domestic groups that Mexican leaders perceived to be the greatest dangers to their regime. The final two chapters move to the international level and examine the roles of Cuba and the United States. As a whole, this study of the connections between Mexico's foreign and domestic politics makes a significant and timely contribution to the historiographies of modern Mexico, U.S.-Latin American relations, and the Cold War. / text

Made available in DSpace on 2014-06-11T19:23:36Z (GMT). No. of bitstreams: 0 Previous issue date: 2011-01-17Bitstream added on 2014-06-13T18:09:53Z : No. of bitstreams: 1 silva_nf_me_mar.pdf: 613141 bytes, checksum: f189f2544f657ac67b3f9820b3f7dfe1 (MD5) / Nesta dissertação pretendemos fazer um estudo pormenorizado de três pontos essenciais presentes no pensamento de Ernesto Che Guevara: o homem novo, a consciência e o trabalho. Envolvido diretamente em todo o processo de conquista do poder enquanto comandante de uma das colunas guerrilheiras existentes em Sierra Maestra, Che Guevara, a partir da vitória dos insurrectos cubanos em 1959, passou a encarar um novo desafio: como fazer a transição do capitalismo miserável e dependente de Cuba para o socialismo e o comunismo. Utilizando-se de uma base teórica marxista, tentou esboçar uma teoria de um homem novo que, conscientemente e através de uma nova relação com o trabalho, seria capaz de construir uma nova sociedade, não somente com um novo modo de produção, mas, principalmente, com uma nova moral / In this dissertation we intend to introduce a detailed study of three essential points present on the Ernesto Che Guevara‘s thought: the new man, the conscience and the work. Directly involved in the whole process of conquest of power while commandant of a guerrilla warfare column existent at Sierra Maestra, Che Guevara, from the Cuban insurrects victory‘s in 1959 on, has begun to face a new challenge: how to make the transition from the dependent and miserable capitalism of Cuba to the socialism and the communism. Applying a Marxist theoretician base, he tried to sketch a theory about a new man that, consciously and by a new relation with his work, would be capable to build a new society, not only with a new production system, but mainly with a new moral

Esta tese é um panorama da história gráfica brasileira de 1837 até 1931, visto pela ótica da representação cômica, do design gráfico e da mentalidade. A idéia principal foi partir de um plano geral para encontrar na década de 1920 a obra conjunta do humorista Aparício Torelly, o Barão de Itararé, e do artista gráfico paraguaio Andrés Guevara. Passando pelos autores mais relevantes deste período, a inspiração rizomática é a própria cronologia, onde os assuntos relacionados a humor, design e mentalidade trepidam e se desdobram em conexões pertinentes e interessantes para o próprio tema. A tese foi concebida em três partes, a saber: A primeira versa sobre o objeto de conhecimento, objeto de estudo, metodologias e fontes; assim como fala brevemente sobre os autores principais Barão & Guevara , mote da estratégia de abordagem do assunto. A segunda parte destrincha os antecedentes históricos sob as óticas propostas através de uma amostragem de fontes primárias (imagens & autores) em contraponto com trechos de importantes fontes secundárias, costurado com comentários que vão propondo novas interpretações e olhares para os mesmos temas e objetos, sem aplicação de juízos de valor, mas apenas mostrando que foi assim que as coisas se passaram. A terceira parte está focada na década de 1920, e é onde encontro os autores alvo e aplico um detalhamento maior, evidenciando um momento de forte gênese e experimentação no design gráfico brasileiro frente à mudança completa de paradigmas com a introdução da estética modernista, e a assimilação e difusão acentuada dos valores burgueses no campo social. / This thesis is an overview of the Brazilian graphic history from 1837 to 1931, seeing by comic graph representations, graphic design and historical mentalities. The main idea was start from a general plan to reach in the 1920s the four hands works of the humorist Aparício Torelly (Barão de Itararé) and the Paraguayan graphic artist Andrés Guevara. Passing by the more relevant artists of this period, the root inspiration is the chronology itself, were the subjects related to humor, design and mentality tremble and unfolding pertinent and interesting connections for the own theme. The work was conceived in three parts: The first one runs upon the knowledge subject, application subject, methodologies and the wellspring of informations; as well as talk briefly about the main authors Barão de Itararé & Guevara , reason of the strategy subject approach. The second part clear up the historical foregoings under the proposed look through an stamp of original wellsprings (images and authors) put against extracts of the more important Brazilian bibliography, sewed with comments that proposes new interpretations and new looks over the same themes and subjects, without judgements, but just showing that was the way the things took place. The third part is focused on 1920 decade, and is where I meet the target authors and apply for more details, making evident the moment of strong creation and experimentation in the Brazilian graphic design face to the complete change of paradigms in order of the introduction of modernist esthetics and the assimilation and great dissemination of burgess values in the social field.