Thesis (M.A.)--Ball State University, 2008. / Title from PDF t.p. (viewed on Sept. 09, 2009). Includes bibliographical references (p. [75]-80). Discography: p. [i]-iv.

Thesis (Ph. D.)--UCLA, 2006. / Vita. Includes bibliographical references (leaves 371-403).

This thesis has presented the organizational factors that made “Nueva Canción” so influential for socio-political movement in Argentina, Chile and Uruguay as well as the role that this genre of popular music played as a coalescing force for these social movements. This genre of music allowed a level of communication between artists and working classes as well as peasants that could not have been achieved through political literature, since most of them were illiterate. “Nueva Canción” also permitted an emotional connection to social causes for the listeners and among the artists. Through social networks created between musicians and resources that were facilitated through government (Salvador Allende’s Government in Chile), “Nueva Canción” affected influenced social movements and political structures. After military dictatorships came to power, their organization had to adapt because of government censorship and persecution. Through their continued musical efforts while in exile, “Nueva Canción” artists maintained social causes and the lack of democracy in the international limelight. / Literary review : social movements in Latin America -- Popular culture and politics -- Theory -- Case study : "e;Nueva Cancion"e; in Argentina, Chile and Uruguay -- Content analysis : songs of outrage and humanity. / Department of Political Science

Thesis (Ph. D.)--University of Texas at Austin, 2008. / Vita. Includes bibliographical references.

Thesis (Ph.D.)--York University, 2004. Graduate Programme in History. / Typescript. Includes bibliographical references (leaves 312-337). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://wwwlib.umi.com/cr/yorku/fullcit?pNQ99170

O presente trabalho tem por objetivo analisar o filme Im Not There (Não estou lá, EUA, 2007), dirigido pelo norte-americano Todd Haynes. A análise terá como seu principal objetivo detectar o tema central da obra, que retrata a vida e carreira de Bob Dylan através de seis personagens bastante distintos. Para isso, serão observados mais minuciosamente três personagens da película, os mais ligados ao universo musical, a saber, o menino que se apresenta como Woody Guthrie, Jack Rollins e Jude Quinn. Os outros três personagens (Robbie Clark, Arthur Rimbaud e Billy the Kid) serão discutidos à medida que suscitam temas relevantes para a compreensão da obra. Tal análise permite concluir que o tema central de Im Not There é a indústria cultural. A partir disso, é possível então ver de que maneira essa questão é abordada pelo filme e como ela serve de ponto de partida para uma discussão mais ampla, sobre o panorama social e político da década de 1960 nos Estados Unidos. Por fim, será debatida a importância de um filme contemporâneo ter como mote os anos 60 e como o próprio Im Not There, enquanto objeto de cultura, se relaciona com a discussão que ele próprio propõe sobre a indústria cultural / The aim of the present work is to analyze the movie Im Not There (USA, 2007), by the American director Todd Haynes. The analysis will have as its main goal pinpointing the central theme of the movie, which portrays the life and career of Bob Dylan through six very distinct characters. Therefore, three characters will be thoroughly observed, the ones more closely connected to the musical universe, namely the boy who presents himself as Woody Guthrie, Jack Rollins and Jude Quinn. The other three characters (Robbie Clark, Arthur Rimbaud and Billy the Kid) will be discussed insofar as they raise relevant issues for understanding the film. This analysis leads to the conclusion that the main topic in Im Not There is the culture industry. It is thus possible to see in which way the movie deals with this issue and how the theme works as a starting point for a broader discussion concerning the social and political panorama of the 1960s in the United States. Finally, it is necessary to debate the importance of a contemporary movie having as its topic the 1960s and how Im Not There itself, as a cultural object, relates to the discussion it proposes regarding the culture industry

In order to understand black women's socio-political role in the construction of, and participation in resistance culture, it is essential to look at the historic developments as a whole. To define women's social and political role in resistance as inherently separate would infact marginalize women from the broader overview, and therefore discredit their contribution to resistance politics. Women should be seen as part of public society. If to be separate is, inherently, to be unequal, then it is only by integrating the study of women into the study of society that "women's studies", by ceasing to exist, will, paradoxically, have had the impact on academic fields that it deserves. l Information collected for this thesis, was based on information given by and taped at . African National Congress (ANC), United Democratic Front (UDF) and Pan African Congress (PAC) resistance rallies, meetings and conferences. The women and men I interviewed were affiliated to one of the above mentioned political organizations. I do not wish to speak on behalf of these or any black women, nor do I claim to understand what they had to endure during the eighties. My aim, however, is to document the toyi-toyi as it pertained to black women, and the history surrounding its creation, and the symbolic meaning inherent in its performance, as accurately as possible. I believe the toyi-toyi spoke and still speaks about important political and social issues. Ignoring this voice, and letting it go unnoticed would be an intellectual crime and socially irresponsible. History speaks through the actions of people. A very powerful performance and vehicle of communication will be lost if the toyi-toyi is left undocumented. We as researchers must not only document the words of leaders, we must let the voices of the people be heard. I know many white South Africans are afraid of the toyi-toyi performance. They associate it with unruliness, violence and crime. The SABC news media has done a good job of documenting it as such. News flashes of the toyi-toyi was and is still shown in relation to burning tyres, stone throwing and the "violent, chanting black crowd." The aim of my research and the reason behind writing this thesis, is to let the voices of black people, but especially black women be heard - let the toyi-toyi speak to those who hide from its performance. Endnotes. M.Z. Rosaldo Women, Culture and Society, (Stanford 1874), 128. / Thesis (M.Mus.)-University of Natal, Durban, 1994.

Thesis (Ph. D.)--Howard University. / Facsimile, microfilm-xerography. Ann Arbor : Xerox University International, 1976. Includes bibliographical references (leaves 182-189).

O presente trabalho tem por objetivo analisar o filme Im Not There (Não estou lá, EUA, 2007), dirigido pelo norte-americano Todd Haynes. A análise terá como seu principal objetivo detectar o tema central da obra, que retrata a vida e carreira de Bob Dylan através de seis personagens bastante distintos. Para isso, serão observados mais minuciosamente três personagens da película, os mais ligados ao universo musical, a saber, o menino que se apresenta como Woody Guthrie, Jack Rollins e Jude Quinn. Os outros três personagens (Robbie Clark, Arthur Rimbaud e Billy the Kid) serão discutidos à medida que suscitam temas relevantes para a compreensão da obra. Tal análise permite concluir que o tema central de Im Not There é a indústria cultural. A partir disso, é possível então ver de que maneira essa questão é abordada pelo filme e como ela serve de ponto de partida para uma discussão mais ampla, sobre o panorama social e político da década de 1960 nos Estados Unidos. Por fim, será debatida a importância de um filme contemporâneo ter como mote os anos 60 e como o próprio Im Not There, enquanto objeto de cultura, se relaciona com a discussão que ele próprio propõe sobre a indústria cultural / The aim of the present work is to analyze the movie Im Not There (USA, 2007), by the American director Todd Haynes. The analysis will have as its main goal pinpointing the central theme of the movie, which portrays the life and career of Bob Dylan through six very distinct characters. Therefore, three characters will be thoroughly observed, the ones more closely connected to the musical universe, namely the boy who presents himself as Woody Guthrie, Jack Rollins and Jude Quinn. The other three characters (Robbie Clark, Arthur Rimbaud and Billy the Kid) will be discussed insofar as they raise relevant issues for understanding the film. This analysis leads to the conclusion that the main topic in Im Not There is the culture industry. It is thus possible to see in which way the movie deals with this issue and how the theme works as a starting point for a broader discussion concerning the social and political panorama of the 1960s in the United States. Finally, it is necessary to debate the importance of a contemporary movie having as its topic the 1960s and how Im Not There itself, as a cultural object, relates to the discussion it proposes regarding the culture industry

This thesis will attempt to trace the evolution and historical development of American anti-war and peace songs. Researching the study has been an adventure into an unknown aspect of American history. No published account of a similar or related study was discovered. The Library of Congress has no catalogue classification for pacifist songs. The Swarthmore College Peace Collection contains perhaps the only specific collection of peace songs in the country. Nevertheless, this study can draw upon a collection of over two hundred songs gathered from public and university libraries and interested individuals across the country.