The 1960s have a special place in the cultural memory of the West Coast of Canada. They have informed its regional identity, the cityscape of Vancouver, and the social infrastructure of the modern state. But lost in the mythos that has surrounded Vancouver’s long sixties is the story of the Georgia Straight. Founded by a group of poets in 1967 to combat a campaign launched by the municipal government to discriminate against the counterculture, it is today, in 2018, the most prosecuted newspaper in Canadian history. Between 1967 and 1972, the municipal and provincial government deliberately took advantage of the legal justice system to censor an outlet for dissent, with the end goal of inhibiting it from publishing. This thesis challenges popular conceptions of the 1960s in British Columbia’s popular memory by demonstrating the extent to which the state deliberately censored freedom of expression by attempting to silence an outlet for dissent, and highlights how the municipal and provincial government infringed on the civil liberties of Vancouver’s counterculture community, in one instance in August 1971, threatening it with outright violence. / Graduate

abstract: Michael Apple's scholarship on curriculum, educational ideology, and official knowledge continues to be influential to the study of schooling. Drawing on the sociological insights of Pierre Bourdieu and the cultural studies approaches of Raymond Williams, Apple articulates a theory of schooling that pays particular attention to how official knowledge is incorporated into the processes of schooling, including textbooks. In an effort to contribute to Apple's scholarship on textbooks, this study analyzed high school American history textbooks from the 1960s through the 2000s with specific attention to the urban riots of the late-1960s, sixties counterculture, and the women's movement utilizing Julia Kristeva's psychoanalytic concept of abjection to augment Apple's theory of knowledge incorporation. This combination reveals not only how select knowledge is incorporated as official knowledge, but also how knowledge is treated as abject, as unfit for the curricular body of official knowledge and the selective tradition of American history. To bridge the theoretical frameworks of incorporation and abjection Raymond Williams' theory of structures of feeling and Slavoj iek's theory of ideological quilting are employed to show how feelings and emotional investments maintain ideologies. The theoretical framework developed and the interpretive analyses undertaken demonstrate how textbook depictions of these historical events structure students' present educational experiences with race, class, and gender. / Dissertation/Thesis / M.A. Educational Leadership and Policy Studies 2011

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.

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.

Esta tese tem como objeto a formação e a produção do artista brasileiro Cildo Meireles entre os anos de 1963 e 1970 nas cidades de Brasília e Rio de Janeiro, e a discussão desses fatos em relação à idéia de uma ênfase em seus aspectos ambientais. O objetivo é de verifi car como a perspectiva de Brasília, idéia cunhada por Mário Pedrosa e Frederico Morais em 1967, e o desenvolvimento de um desdobramento do Programa Ambiental de Hélio Oiticica, podem ser encontrados e discutidos na obra do artista, criando uma alternativa a uma visão restrita de sua obra no panorama do conceitualismo internacional. É possível concluir, a partir de uma análise das fontes do conceito de arte ambiental, e do confronto com outros artistas (Piero Manzoni, Yves Klein, Pier Paolo Calzolari e Hélio Oiticica), que existe uma aproximação de Cildo Meireles a aspectos que se dirigem à produção de ambientes, obras e experiên cias ambientais, e que podemos considerar seu trabalho inserido dentro de uma poética ambiental, que se realizará plenamente na série Blindhotland. / This thesis has as its object the Brazilian artist Cildo Meireles formation and production between the years 1963 and 1970 in the cities of Brasília and Rio de Janeiro, and the discussion of these facts in relation to the idea of an emphasis in its environmental aspects. The aim is to verify how the Brasílias perspective, an idea brought up by Mário Pedrosa and Frederico Morais in 1967, and the development of an unfolding of Hélio Oiticicas Environmental Program, can be found and discussed in the artists work, creating an alternative to a restricted vision of his work in the international conceptualism overview. It is possible to conclude, from an analysis of the sources and the concept of environmental art, and from the confrontation with other artists (Piero Manzoni, Yves Klein, Pier Paolo Calzolari and Hélio Oiticica), that exists an approach of Cildo Meireles to the aspects which aim at the production of environments, environmental works and experiences, and that we can consider his work inserted in an environmental poetics, which will be fully accomplished in the Blindhotland series.

Au cours de la période des longues années soixante, le Royaume-Uni fut traversé par un cycle de contestation lors duquel différents groupes de militants firent valoir un large éventail de revendications. Un certain nombre de similarités peut être observé dans leurs idéologies, leurs tactiques et leurs symboles, comme par exemple leur volonté de lutter pour leur « libération » de « l’oppression » impérialiste, paternaliste, raciste, sexiste, homophobe ou même de délivrer les animaux de la domination humaine. Ces similitudes suscitent logiquement de nombreuses questions, notamment les suivantes : comment expliquer ces parallèles ? Quels sont les liens qui ont rendu possible la diffusion de ces éléments ? Dans quelle mesure la diffusion a-t-elle contribué à l’évolution de la contestation dans les longues années soixante au Royaume-Uni ? Afin d’y répondre, cette thèse s’efforcera d’analyser séparément les différents mouvements sociaux de la période, en accordant une importance particulière à leurs interactions et à leurs rôles au sein du cycle. En fournissant un modèle aux groupes de militants qui l’adaptent ensuite à leur propre cause, les processus de diffusion viennent nourrir et amplifier la dynamique protestataire. Il ne s’agit donc pas d’un simple phénomène de mimétisme, mais d’un procédé créatif témoignant d’activités complexes de construction du sens. Le choix de la source d’inspiration est également très significatif, d’autant plus que celle-ci peut se situer dans un autre pays ou une autre époque. Ainsi, il conviendra de démontrer que la diffusion peut opérer de manière diachronique au sein d’un même territoire, comme de manière synchronique lorsque les militants jettent leur dévolu sur un mouvement aux revendications différentes ou ayant lieu à l’étranger. / During the Long Sixties, the United Kingdom witnessed the rise of a protest cycle allowing various groups of activists to press for a wide array of claims. A number of similarities can be observed in their ideologies, tactics and symbols, such as their willingness to fight for their “liberation” from “oppression”, be it imperialist, paternalistic, racist, sexist, homophobic or even to free animals from human domination. These analogies raise a number of questions, notably: how can these parallels be explained? What are the links that enabled the diffusion of these elements? To what extent did diffusion processes contribute to the evolution of protest during the Long Sixties in the United Kingdom? To answer these questions, this thesis will analyse the social movements of the period separately, whilst paying particular attention to their interactions with one another and their role within the protest cycle. By providing other groups of activists with a model that they can adapt to their own cause, diffusion processes can swell and escalate the dynamics of contention. Hence, they differ from pure mimicry; they show how meaning is carefully constructed through creative adaptations. The choice of a particular source of inspiration is also very significant, especially when it can be traced back to another era or country. Therefore, it will be demonstrated that diffusion can occur both diachronically within national boundaries or synchronically between movements making different claims or taking place in a different country.

From its inception, Canada's 'Indian policy' has sought to undermine the bond between indigenous children and their communities. Each era has seen a new reason and corresponding tactic to remove indigenous children. They have been institutionalized in residential schools, placed in foster homes, provincial 'care' facilities, and adopted by Euro-Canadian families. While it is widely accepted that the forceful removal of indigenous children during the residential school era and the "Sixties Scoop" was a colonial strategy, contemporary child welfare practices seem to escape the same scrutiny. This seems to be the case even though indigenous children continue to be removed en masse and are vastly overrepresented in the Canadian child welfare system. Indeed, there are more indigenous children in 'care' today than ever before in Canadian history, including the residential school era and following the "Sixties Scoop". Given these trends the colonial effect of contemporary child welfare practices seems evident. This project thus seeks to problematize child welfare practices in relation to indigenous peoples. In particular, it is the aim of this thesis to shed light on some of the narratives that underlie these practices. Through a critical discourse analysis this thesis illuminates how news media in Alberta and Manitoba disseminate controlling images of indigenous peoples and their children. I argue that the discourses in both provinces normalize the removal of indigenous children while naturalizing colonial control. / Thesis (Master, Sociology) -- Queen's University, 2011-06-30 11:58:07.536

Thesis (Ph. D.)--Lehigh University, 2006. / Includes vita. Includes bibliographical references (p. 381-395). Also issued online.

Made available in DSpace on 2016-08-03T12:20:42Z (GMT). No. of bitstreams: 1 Daniel Augusto.pdf: 1705178 bytes, checksum: aa533e8fb866e673a81061ab8a9af2cb (MD5) Previous issue date: 2008-06-27 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This work studies the crisis experienced by the Methodist Church of Brazil in the second half of the 1960's. Influenced by the political environment of the military dictatorship, Brazilian Methodism was a space of collision between liberal and conservative groups of the denomination. The principle space of this collision was the School of Theology and the II Extraordinary General Council, in 1968, as well as a series of events that followed during the years 1969 and 1970. The research raises questions regarding the theological and ideological foundations that provided the bases for the attitudes of the conservative groups of Methodism in this conflict, which is an aspect rarely considered by historical studies regarding the theme. The principle suspicion is that the conservative positions originated from a centuries old tradition, brought by North American missionaries during the implantation of Protestantism in Brazil. This tradition was transformed into an Ethos of Brazilian Protestantism between the end of the XIX and the middle of the XX century. The conservative position was configured, as such, in reaction to the Ethos threatened by new actors in the religious field and by the demands of a society in conflict.(AU) / Este trabalho estuda uma crise vivida pela Igreja Metodista na segunda metade da década de sessenta. Influenciado pelo ambiente político da ditadura militar, o metodismo brasileiro foi campo de um embate entre as alas liberais e conservadoras da denominação. Palco deste embate foi a Faculdade de Teologia e o II Concílio Geral Extraordinário, em 1968, além de uma série de eventos que a ele se seguiram durante os anos de 1969 e 1970. A pesquisa problematiza os fundamentos teológicos e ideológicos que fundamentaram as atitudes das alas conservadoras do metodismo neste conflito, um aspecto pouco considerado pela historiografia sobre o tema. A principal suspeita é a de que as posturas conservadoras decorreram de uma tradição centenária, trazida pelos missionários norte-americanos, quando da implantação do Protestantismo no Brasil. Esta tradição transformou-se numa espécie de Ethos do protestantismo brasileiro, entre o final do século XIX e meados do XX. A postura dos conservadores configura-se, assim, numa reação ao Ethos ameaçado por novos atores do campo religioso e pelas demandas da sociedade em conflito.(AU)

My master thesis is capturing the reflection Czech translations from Scandinavian literatures in fifties and sixties 20th century in Czechoslovakia. Part of the thesis is going to be research, which creates the base for bibliographycal list of books translated to Czech language from various Scandinavian languages. Thesis also focuses on period reception of these books in the form of reviews or prefaces and afterwords. Last part is going to present three chosen titles.