Este trabalho tem a intenção de compreender a maneira como se realizava a construção do espaço no que este implica a noção de participação - nos percursos de Sérgio Ferro e Hélio Oiticica durante a década de 1960, através da análise de suas obras - escritos e propostas artísticas/ arquitetônicas à luz de seus interlocutores teóricos. Sérgio Ferro e Hélio Oiticica de certa maneira diferenciavam-se dos movimentos predominantes no período, seja pelo tipo de abordagem política, pela aproximação ao popular, pela defesa da participação individual e coletiva, ou pelas relações propostas entre objeto e sujeito. O arquiteto, a partir de uma análise marxista, criticava o desenho moderno, a alienação e exploração na construção civil, e defendia o \"trabalho livre\" e criativo, a participação, o engajamento no canteiro de obras, enfim, a \"re-humanização\" do trabalho. Já o artista plástico propunha a antiarte como uma totalidade arte-vida-ação, a fim de alçar novos sentidos de espaço e de tempo, novas relações entre sujeito e objeto, e desencadear impactos sociais e políticos a partir de uma abordagem artística. Experimentação e participação apareciam articuladas em ambos os artistas como uma possibilidade de contestar uma realidade estabelecida e de gerar transformações. A relevância destes debates provém, então, do fato de representaram manifestações simbólicas perante a realidade vigente na década de 1960, que suscitaram novas questões e reflexões no âmbito da arte e arquitetura, e desencadearam ressonâncias sensíveis para a atualidade. Frente ao espaço organizado, harmônico e do comando, ao tempo abstrato e programado, à racionalidade do sujeito alienado e do objeto autônomo, Hélio Oiticica e Sérgio Ferro, cada qual a sua maneira, buscarão discutir maneiras de (re)apropriação do objeto, do espaço e do tempo pelo sujeito. É com base nestas discussões que nos aproximaremos de suas propostas. / This work intends to understand how space was constructed - in the sense concerning the notion of participation - in the routes of Sérgio Ferro and Hélio Oiticica, during the decade of 1960, by means of the analysis of their works - writings or artistic/architectonic propositions - in the light of their mean theoretical interlocutors. Sérgio Ferro and Hélio Oiticica were somehow distinct from the prevailing movements in this period, be it for their political approach, their engagement to the popular, their defense of individual and collective participation, or the relations between object and subject they proposed. The architect Sérgio Ferro, from a marxist approach, criticized the modern drawing, the alienation e exploitation in the construction, and supported the creative and \"free work\", the participation, the engagement in the construction site, that is, the \"re-humanization\" of work. As for the artist Hélio Oiticica, the anti-work consisted in a totality among art-life-action, with the purpose to reach new senses of space and time, new relations between subject and object, and to generate social and political impacts from an artistic approach. Experimentation and participation appeared connected in both artists, as a possibility to question an established reality, and to engender transformations. The relevance of these debates is thus based on the fact that they represent symbolic manifestations against the prevailing reality in 1960, which inspired new questions and reflections in the fields of art and architecture, and have resonances to actuality. Before the organized, harmonic and controlling space, the abstract and programmed time, the rationality of an alienated subject and the autonomous object, Hélio Oiticica and Sérgio Ferro, each one in his own way, will search for manners of (re) appropriation of the object, space and time. It is thus basing on these aspects that we intend to analyze their propositions.

This thesis is a study of the ‘race relations’ work of Christians in the sixties in England, with specific reference to a Methodist church in Notting Hill, London. As such, it is also a study of English racisms: how they were fought against and how they were denied and facilitated. Additionally, the thesis pays attention to the interface of ‘religion’ and politics and the radical restatement of Christianity in the sixties. Despite a preponderance of sociological literature on 'race relations' and 'religion' in England, there has been a dearth of historical studies of either area in the post-war period. Therefore, this thesis is an important revision to the existing historiography in that it adds flesh to the bones of the story of post-war Christian involvement in the politics of 'race', and gives further texture and detail to the history of racism, 'race relations', and anti-racist struggles in England. Moreover, the thesis implicitly challenges the received wisdom of the decline of the churches in the sixties and shows an active engagement of Christians with politics. Using a wide range of private and public archives and interviews, the thesis takes a micro-study of the Notting Hill Methodist Church and places it within its wider contexts: how English Christians approached 'race' and 'race relations', what kinds of racialised political engagements existed in Notting Hill, and what kinds of racisms were expressed in England. The contextualised and detailed micro-study has enabled the thesis to capture the texture and depth which is needed to better understand 'race' and 'race relations' in post-war England. In doing so, the thesis sheds detailed light on some active 'civil rights' struggles in England and therefore challenges the received wisdom which views these struggles as being an American rather than an English (or British) story.

A presente dissertação aborda o pensamento arquitetônico europeu dos anos sessenta. Foca, particularmente, sobre a produção \"visionária\" do holandês Victor Nieuwenhuys (cujo pseudônimo era \"Constant\"), do grupo de arquitetos ingleses Archigram e dos grupos de arquitetos e designers italianos Archizoom e Superstudio. Analisa em que medida o avanço tecnológico e as novas teorias de informação/comunicação influem sobre tal arquitetura, produzindo uma hibridização entre conceitos advindos de diferentes esferas disciplinares. Avalia, como estudos de caso, alguns exemplos destas projeções: o projeto para a New Babylon, de Constant; a Plug-in City, de Archigram; o Monumento Continuo, de Superstudio; e a No-Stop City, de Archizoom; e como estas articulam a busca por emancipação social e/ou coletiva e as implicações do projeto arquitetônico com a crescente afirmação de uma sociedade de massas orientada para o consumo. Indaga, finalmente, sobre como estas propostas de cidades - ou não-cidades - ficcionais relacionam-se com as transformações sociais, políticas e econômicas em curso, quais as suas implicações em relação ao panorama histórico no qual se situam e que tipo de contribuição trazem para o debate acerca dos problemas das cidades reais. / The following thesis approaches European sixties\' architectural thinking. It focuses particularly on the \"visionary\" production of Dutch Victor Nieuwenhuys (whose pseudonym was \"Constant\"), English group of architects Archigram and Italian groups of architects and designers Archizoom and Superstudio. It analyses in which point technological advance and new information/communication theories act on such architecture, producing a hybridization among concepts coming from different disciplinary fields. It evaluates, as case studies, some examples of those projections: Constant\'s project for New Babylon; Archigram\'s Plug-in City; Superstudio\'s Continuous Monument; and Archizoom\'s No-Stop City; and how they articulate the search for social and/or individual emancipation and architectural project\'s implications with the increasing affirmation of a consumption-oriented mass society. Finally, it inquiries how these proposals of fictional cities - or non-cities - relate themselves to the ongoing social, political and economic transformations, what are their implications in relation to the historic moment where they are situated and what kind of contribution they bring to the debate over real cities.

La musique psychédélique britannique est née grâce à la conjonction de quatre facteurs : 1. Un contexte socio-économique et culturel extrêmement favorable. 2. La présence simultanée d'un nombre significatif de musiciens de grand talent 3. La disponibilité de drogues psychédéliques sur le territoire britannique. 4. Une série d'innovations technologiques qui ont modifié les perspectives de création sonore. Cette thèse analyse l'interaction entre ces quatre éléments et en détermine l'importance respective pour la genèse du style musical

La hipótesis de este trabajo es que la obra americana del arquitecto Josep Lluis Sert (1902-1983) aparentemente homogénea, tiene tres etapas distintas, caracterizadas por la evolución de los intereses formales de su autor.La primera es la de atención predominante al envoltorio o superficie del edificio, con dos periodos denominados, respectivamente, "la piel gruesa" y "la piel delgada". La segunda es la de utilización extensiva de la fragmentación del volumen del edificio para lograr valores de escala humana. La tercera es la de una búsqueda de control de la configuración de los espacios con utilización de trazados proporcionales y geometrías puras para los espacios más singulares.El estudio parte del inventario de unos 30 edificios proyectados entre 1955 y 1980 en la oficina de Sert en Cambridge, Massachusetts. Analiza, a lo largo de 4 capítulos, 417 páginas escritas y más de 240 ilustraciones, los más significativos de aquellos edificios, situándolos en contexto y justificando en cada caso su pertenencia a una etapa determinada. Además de los capítulos, reúne en cuatro apéndices una reseña diacrónica de temas complementarios: contexto americano, clientes, colaboradores y, finalmente, ideas. Ello permite la lectura del contenido a dos velocidades. La fuente principal de documentación la constituye la propia experiencia del autor, colaborador durante más de doce años del maestro Sert, a la cual se une material original elaborado a partir de 1983.

Both novels expose the "fake idea" that Aboriginal people in Canada can freely choose their identities. The dominant discourse forces a choice on them: assimilate or vanish. Those who refuse the choice face harsh racism. In April Raintree, April assimilates and her sister commits suicide; both "choices" forced on them by racism. In Slash, the hero realizes that it is crucial to retain his identity as an Okanagan person rather than to exhaust himself as an activist. Both novels end with a baby who will be raised in the traditions of his culture. Activism is seen as a dangerous choice for those too young to understand their identity.

Mémoire (M.Ed.)--Université du Québec à Chicoutimi, 1997. / Document électronique également accessible en format PDF. CaQCU

Thesis (M.A.)--Youngstown State University, 1999. / Title from PDF t.p. (viewed on May 7, 2006). Includes filmography and bibliographical references.

Depuis son invention, le cinéma a bouleversé la culture, au point que, de manière récurrente, des études s'interrogent sur l'influence qu'il a eue dans la pensée d'éminents intellectuels, par exemple Michel Foucault ou Erwin Panofsky. Mais qu'en est-il de l'influence du cinéma dans le travail des artistes ? Mimmo Rotella (1918-2006), peintre d'origine calalabraise installé après-guerre à Rome, spectateur assidu et passionné de cinéma, évoque un grand nombre de films dans un corpus d'œuvres réalisées autour de 1960 : des tableaux à base d'affiches de cinéma, de genres essentiellement populaires, décollées dans les rues. Ainsi, dans le contexte de l'apogée des studios de Cincecittà et d'un pic de fréquentation des salles obscures jamais égalé en Europe, l'articulation de la peinture et du cinéma prend à ce moment précis de sa pratique une tournure singulière qui exprime l'élargissement de l'art à des références inattendues. Mais, ce faisant, ses œuvres ne risqueraient-elles pas de n'être que le symptôme d'une pratique culturelle naissante, jonglant avec des références tantôt cultivées tantôt populaires, que plus tard Hal Foster nomme l'indistinction ou Richard Peterson l'omnivorité, ou incarnent-t-elles une réelle démocratisation de l'art ?Articulées autour du moment fort que constitue l'exposition monographique intitulée Cinecittà en 1962, les différentes parties de la thèse éclairent les aspects du travail de l'artiste qui introduisent le cinéma dans le champ de l'art. Deux bornes chronologiques, un voyage aux États-Unis qui le détourne de la peinture en 1952-53 et un séjour en prison en 1964 qui lui fait fuir l'Italie, l'éloigne du milieu romain et le coupe de la suite du déroulement de l'art italien, sont déterminantes pour la nature et le contenu du corpus d'œuvres étudiées.C'est tout d'abord l'arrière plan social et culturel comme contexte d'émergence du geste artistique Rotella qui est brossé. Ensuite, est opérée une caractérisation précise des films choisis à travers les affiches afin de développer la réflexion sur l'intrusion du cinéma populaire dans l'art. Puis, dans la partie centrale, l'exposition Cinecittà est étudiée depuis sa conception jusqu'à sa réception. La suite de la thèse analyse les conséquences de cette exposition dans l'œuvre de l'artiste qui se tourne vers des films plus reconnus qu'aux débuts, notamment en s'attachant de plus en plus aux figures de stars : un autre aspect de la culture populaire émanant du cinéma s'invite alors dans le milieu de l'art, le phénomène sociologique du fan. Mais étrangement, peu de référence sont faites au cinéma italien qui vit son âge d'or au même moment, ce dernier constat ouvrant une réflexion sur la cinéphilie confrontée à la conception de « l'homme ordinaire du cinéma » selon l'expression de Jean-Louis Schefer.Ponctué par des images qui apparaissent en tête de partie et de chapitre, le texte du volume 1 évoque les œuvres et les décrit, avec des renvois à un ensemble de planches en annexe dans le volume 2. Ces incursions iconographiques rappellent combien les oeuvres sont à la source de l'ensemble de la thèse.Ainsi, le corpus étudié est le point de départ d'une réflexion sur la manière dont le cinéma et la culture médiatique se sont introduit dans l'art italien des années 1950-1960, tout en débordant ce cadre : il permet de penser comment, depuis cette époque jusqu'à aujourd'hui, certaines références médiatiques constituent le socle d'une culture commune entre le public et les artistes. / Since its invention, cinema has transformed culture, to the point that studies have recurrently questioned the influence it has had on the thinking of prominent intellectuals, for example on Michel Foucault or Erwin Panofsky. But what of the influence of cinema in the work of artists? Mimmo Rotella (1918-2006), a painter from Calalabria who settled in post-war Rome, and an avid filmgoer with a passion for cinema, evokes a large number of films in a corpus of works produced around 1960: canvases based on movie posters, mostly of popular genres, torn off the city walls. Thus, at this precise time, in the context of the glory years of the Cincecittà studios and a peak of cinema attendance unequalled in Europe, the relationship between painting and cinema took a particular turn, reflecting a broadening of the art to unexpected references. But in embracing cinema, were Rotella's works not in danger of merely being a symptom of an emerging cultural practice, juggling sometimes cultivated and sometimes popular references, something which Hal Foster would later dub nobrow or Richard Peterson omnivorousness, or do they represent a genuine democratisation of art?Articulated around the high point of the 1962 monographic exhibition entitled Cinecittà, the various sections of the thesis illuminate aspects of the work of the artist who introduced cinema into the field of art. Two moments in time – a trip to the United States that diverted Rotella from painting in 1952-53 and a prison stay in 1964 that caused him to flee Italy, distancing him from the Roman scene and subsequently cutting him off from what was happening in Italian art – are critical to the nature and the content of the corpus of works studied.We begin by considering the social and cultural context in which Rotella's artistic act emerged. We then undertake a precise characterisation of the films he chose through the posters to analyse popular cinema's intrusion into art. Then, in the central part, the Cinecittà exhibition is studied from its conception to its reception. The thesis subsequently examines the consequences of this exhibition in the work of the artist, who begins to turn to more recognized films, for example by focusing increasingly on stars. Another aspect of popular culture stemming from cinema then enters the art world, the sociological phenomenon of the fan, although, strangely, no reference is made to Italian cinema, which in that very period was enjoying its golden age. This leads to a reflection on the love of cinema confronted with the conception of “the common man of cinema” as Jean-Louis Schefer puts it.Interspersed with images that appear at the head of the parts and chapters of the thesis, the text of volume 1 discusses the works and describes them with reference to a set of plates in the appendix in volume 2. These incursions into the iconography recall that the works are the source of the entire thesis.Thus the corpus studied is the starting point for a reflection on the way film and media culture were introduced into the Italian art of the 1950s-1960s, while extending beyond this context: it points to how, from that time to the present day, certain media references have constituted the foundation of a common culture shared by the public and artists.

Le mouvement punk a souvent été considéré comme le premier au sein de la musique populaire américaine à inclure un message féministe. Cette thèse vise cependant à démontrer qu’un tel message existait déjà entre 1967 et 1976 dans différentes musiques populaires car nombre de chanteuses et musiciennes s’inspirèrent de la seconde vague féministe ou y prirent activement part. L’étude porte sur la carrière de différentes artistes, notamment de Nina Simone Yoko Ono, Betty Davis, Buffy Sainte-Marie et Janis Joplin, et analyse leurs albums de musiques populaires et leurs pochettes, leurs concerts et leurs affiches ou encore différents entretiens qu’elles ont eu.La thèse met d’abord en lumière l’implication directe des chanteuses et musiciennes au sein de la seconde vague féministe américaine. Elle analyse les dynamiques complexes entre un mouvement régulièrement accusé de racisme et de classisme, et des artistes qui lièrent leur carrière musicale et leur participation au bouillonnement social de la période. Le rapport qu’elles entretenaient à l’industrie musicale, à la presse et aux fans est une autre facette de leur démarche féministe. L’image que ces femmes renvoyaient constitue alors un terrain de luttes central et l’acceptation de leur mise à l’écart de la société mainstream leur permit d’utiliser la figure féministe de la sorcière pour s’affirmer et espérer atteindre une forme d’émancipation personnelle ou professionnelle. / The punk movement has often been considered the first in American popular music to include a feminist message. However, this dissertation aims at demonstrating that such a message already existed in popular music between 1967 and 1976, as many female singers and musicians took inspiration from the second-wave feminist movement or actively participated in it. This study focuses in particular on the musical careers of Nina Simone, Yoko Ono, Betty Davis and Janis Joplin, and analyses their albums and covers, their concerts and their posters, or interviews given by artists.This work first sheds light on the direct involvement of female singers and musicians in the American second-wave feminist movement. It analyzes the complex dynamics between a movement that has regularly been accused of racism and classism, and artists who linked their career with an involvement in the social movements of their time. The way they dealt with the music industry, the press, and fans is another aspect of their feminist approach. The artists’ image then constitutes a key source of struggles, and these women managed to utilize the feminist figure of the witch to empower themselves by claiming their otherness in the public and private spheres.