Thesis (M.A.)--Miami University, Dept. of History, 2003. / Title from first page of PDF document. Document formatted into pages; contains 59 p. Includes bibliographical references (p. 55-59).

Thesis (doctoral)--Universität, Hamburg.

My dissertation brings a new historical perspective and a theoretical reflection on 1970s French intellectuals’ activism and relationship to power and politics through the history of the Groupe d’Information sur les Prisons (GIP), a group of activists who decided to make the hermetic border between the societal space and the prisons more porous. The GIP, founded in 1970 by Michel Foucault, Jean-Marie Domenach, and Pierre Vidal-Naquet, and including thinkers and writers like Hélène Cixous, Daniel Defert, Gilles Deleuze, Simone de Beauvoir, Jean-Paul Sartre and Jean Genet, aimed at providing information on carceral conditions in France and in the United States. These intellectuals interviewed prisoners, family members, guards, and published their findings in pamphlets to spread awareness about the inhumane conditions prisoners were forced to live in. Thanks to the work of Artières, Zancarini-Fournel, Harcourt, Zurn and Dilts's work, the GIP slowly emerges from the shadows. However, very few of the Anglophone articles and books dedicated to the group look at the GIP from a French and European historical and philological perspective, underlining the specificity of this group and activism in French intellectual history. My dissertation thus aspires to highlight and better understand the place of the GIP in contemporary French history, history of French activism, prison history as well as in French intellectual history. As the GIP archives are currently being translated into English, my work reveals the historical intricacies of this group with French contemporary events (such as the events of May '68), and its relationship to other forms of activism in the 1970s: feminist activism, legal activism, psychoanalytic activism and global prison activism. In my dissertation, I argue that these overlapping types of activism displaced the main lines between two conceptions of the intellectual in twentieth-century France: l’intellectuel universel and l’intellectuel spécifique. According to me, the GIP, by rejecting the figure of the universal intellectual yet showing the failure of the specific intellectual, discloses a crisis in the mid-70s French intelligentsia, leading on the one side to a new definition of l’intellectuel engagé. My research on the Groupe d’Information sur les Prisons (GIP) draws on a three-tiered methodological approach: close textual analysis of primary source material; interpretation of primary texts through theoretical frameworks; and historical contextualization of both primary documents and broader socio-cultural framework through archival research and testimonies. My original and translation constitute a new perspective on the role of intellectuels engagés— particularly philosophers and key figures of the “French Theory” movement. By reflecting on the concept of engaged intellectual from the 1894 Dreyfus affair to the debates about the Nouveaux Philosophes, my project also brings about a fundamental investigation about the genealogy of the intellectuals —particularly philosophers and the so-called “French Theory”— and their roles in French politics.

This dissertation explores the rise of transnational state torture and the efforts of the Left to resist and denounce it in South America in the 1970s. Looking principally to Brazil and Argentina, I ask how torture was understood by the officials who employed it and the revolutionaries who resisted and denounced it at a time when such calibrated violence stood at the heart of political struggle. While torture’s status as a grave violation of human rights is often taken for granted today, I show that in 1970s-era southern South America, many perpetrators and victims alike instead regarded torture as a powerful counterrevolutionary weapon, one capable of generating the raw data on which the region’s sophisticated information-management systems relied. At the same time, both revolutionaries and regime agents recognized such systematic torture as a grave liability for its practitioners. Militants and their allies abroad capitalized on this liability by disseminating testimonies that drew the world’s attention to South American torture chambers. Their efforts helped to consolidate the politics of bodily integrity at the heart of the current global human rights regime, yet they were unable to curb state violence or advance socialism. Drawing on dozens of archival collections from ten countries, I reconstruct the now-forgotten meanings of torture that defined this formative juncture, demonstrating the potential of history to reinvigorate a policy debate centered for too long on the question, “Does torture work?” Instead, I ask readers to consider the work that torture and its denunciation have performed at a critical moment in the past, in order to generate new strategies to counteract it today.

This dissertation considers Jef Geys as an archivist of the cultural shifts of the ’60s and ’70s in Europe amidst the reception of American Pop in Belgium. Between these decades, Geys archived and played back the social and cultural effects of Pop to engage with the newly defined middle class that was constructed to account for and implement changes in both professional and social settings. Geys’s archive was instrumental in his roles as an artist and educator and he used it to reinterpret the implications of Pop. Geys’s consideration of Pop expanded its implications to test Pop’s institutional and social alignments in relation to the question of geography and population.

Thesis (Ph.D.)--Virginia Commonwealth University, 2010. / Prepared for: Dept. of Art History. Title from resource description page. Includes bibliographical references.

Orientador: Antônio Rafael Carvalho dos Santos / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-26T04:47:26Z (GMT). No. of bitstreams: 1 Nicodemo_ThaisLima_D.pdf: 71002880 bytes, checksum: 9f2bc4460cfda1a5d31f237395853114 (MD5) Previous issue date: 2014 / Resumo: O trabalho propõe um estudo sobre a obra e a trajetória do compositor Ivan Lins por meio da investigação de suas escolhas profissionais e poético-musicais entre os anos de 1970 e 1985. Buscamos compreender os sentidos que desprendem de sua produção e atuação em relação ao cenário cultural brasileiro, em um momento marcado por intensas transformações econômicas, políticas e sociais, durante o governo autoritário no país. A trajetória de Ivan Lins ajuda a iluminar uma nova dinâmica de atuação e de produção que passou a se estabelecer no meio artístico a partir da expansão capitalista promovida por um Estado de exceção, que levou a uma substancial reorganização das indústrias da cultura no período focalizado / Abstract: This work proposes a study about the production and trajectory of the songwriter Ivan Lins through an investigation of his professional and poetic-musical choices between 1970 and 1985. We aim to understand the meanings that may be extracted from his production and performance in relation to Brazil¿s cultural scene, in a moment marked by the intense economic, political and social transformations of the authoritarian regime period in the country. Ivan Lins¿ trajectory contributes to illuminate a new dynamic of action and production that was established in artistic circles in reaction to a capitalist expansion promoted by a Estate of exception, which led to a substantial reorganization of the cultural industries of that period / Doutorado / Fundamentos Teoricos / Doutora em Música

Orientador: Maria de Fatima Morethy Couto / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-14T11:45:58Z (GMT). No. of bitstreams: 1 Vicente_AndreiaMariaFarah_M.pdf: 19556829 bytes, checksum: 686cc2c66a287ef5728caa7f985b6a90 (MD5) Previous issue date: 2009 / Resumo: Este trabalho analisa o processo de inserção no cenário artístico nacional dos artistas plásticos João Câmara e Siron Franco - que, através da linguagem da pintura oriunda da técnica em óleo sobre tela, se destacaram no cenário artístico nas décadas de 60 e 70, época em que se discutia intensamente - tanto no Brasil como no exterior - a crise do suporte artístico tradicional em detrimento das novas linguagens artísticas. Como fator importante neste processo, destacamos a criação de Salões competitivos em outras capitais do Brasil nos quais as obras desses dois artistas foram selecionadas ou premiadas. A representação da figura humana é o principal eixo condutor da trajetória das obras de João Câmara e Siron Franco, sendo o corpo espaço metafórico para reflexões sobre os problemas humanos, críticas à sociedade e/ou ao momento político em que o país se encontrava no período acima citado. / Abstract: This dissertation analyses the insertion of the artists João Câmara and Siron Franco - artists that through the language of painting build up from the technique oil painting over canvas have appeared into the artistic scenario in the decades of 1960 and 1970. In this time it was discussed - in Brazil and abroad - the crisis of the traditional artistic support, taking only in consideration the new artistic languages. As an important factor of this process we point out the creation of competitive Art Salons in others main cities of Brazil, in which the works of those two artists were selected and won thefirst prizes. The representation of the human figure is the main axis of the trajectory of the works of João Câmara and Siron Franco, taking into account that the body is the metaphorical space for the reflections upon human problems, critics to the society and/or, to the political moment of the country related to the aforementioned decades. / Mestrado / Artes / Mestre em Artes