A la fin du XIXe siècle et au début du XXe siècle, les artistes japonais s’installant à Paris sont peu nombreux. Cependant, après la Première Guerre mondiale, à partir de 1920, un grand nombre d’artistes japonais arrivent en France. Au total deux cent huit artistes japonais ont figuré dans les Salons parisiens durant la décennie entre 1920 et 1929. La plupart de ces artistes choisissent comme lieu de résidence le quartier de Montparnasse. A cette époque à Paris, dans le milieu des artistes travaillant la peinture à l’huile, dite « yô-ga », nous pouvons distinguer trois courants : Le premier circule autour de Foujita Tsugouharu, artiste de renom associant la peinture occidentale et l’art traditionnel du Japon. Le second regroupe un certain nombre de jeunes artistes, dont Saeki Uzo, attirés par la peinture occidentale et la peinture moderne de Montparnasse. Le troisième courant est de nature académique : dans la lignée de Kuroda Seiki, les artistes suivent l’enseignement des Académies parisiennes. D’autres artistes choisissent la voie d’un art plus indépendant, à l’instar de Tanaka Yasushi, Hasegawa Kiyoshi ou bien Oka Shikanosuke, mais leur nombre reste limité, comme par ailleurs ceux exerçant la technique de la peinture japonaise, dite « nihon-ga », et également ceux pratiquant la sculpture, la gravure, la laque et la tenture. Le résultat suite au dépouillement mené dans les centres de documentation et les fonds photographiques au Japon et en France prouve l’importance de la présence des artistes japonais sur la scène artistique à Paris durant les années 1920 et permet de comprendre les motivations et créations de ces artistes. / During the end of the 19th century and the beginning of the 20th century, not many Japanese artists settled in Paris. However, after the First World War, starting from 1920, a large number of Japanese artists arrived in France. In total two hundred and eight Japanese artists appeared in Parisian Salons during the decade between 1920 and 1929. Most of these artists choose Montparnasse district as their residence. In Paris those days, amongst artists who worked on oil painting called « yô-ga » we can distinguish three movements. The first circulated around Fujita Tsuguharu, a renowned artist who associated the Western painting and the traditional Japanese art. The second gathered a certain number of young artists, such as Saeki Yuzo, who were attracted by the Western painting and the modern painting of Montparnasse. The third movement was of an academic nature: as Kuroda Seiki did, artists were following the teaching of Paris Academies. Other artists choose the route of a more independent art, following the examples of Tanaka Yasushi, Hasegawa Kiyoshi or Oka Shikanosuke, but the number of these artists remains limited, same as those who practiced the technique of Japanese painting, i.e. « Nihon-ga », and also those who practiced sculpture, engraving, lacquer painting, and hangings. The result of going through the data of the documentation centres and photography funds in Japan and in France proves the importance of the presence of Japanese artists on the artistic scenes in Paris during the 1920’s and allows us to comprehend the motives and creations of these artists.

This essay investigates the status of alcohol consumption in F. Scott Fitzgerald’s novel The Great Gatsby (1925). The analysis focuses on character study reading of Jay Gatsby, and Tom and Daisy Buchanan in conjunction with Pierre Bourdieu’s theory of habitus, by placing habitus in the specific historical context of the novel. The analysis focuses on the social structures of the alcohol-consuming upper-class Americans, and the reproduction of internalized practices during Prohibition. Drinking alcohol is seen as a valued, cultural capital among the elite society and used as a tool in a competition of power. The Buchanans, as true members of their class, are constantly intoxicated. For Gatsby, a sober man and an imposter of the elite society, drinking has no cultural value. I argue that, from the cultural aspect, Gatsby’s fall is a consequence of his soberness among the drunkenness of the hierarchy.

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This thesis explores women’s writing and its place in the formation of female film culture in the British silent cinema era. The project focuses upon women’s literary engagement with silent cinema as generative of a female film culture, looking at materials such as fan letters, fan magazines, popular novels, short story papers, novelizations, critical journals and newspaper criticism. Exploring this diverse range of women’s cinema writing, the thesis seeks to make an original contribution to feminist film historiography. Focusing upon the mediations between different kinds of women’s cinema writing, the thesis poses key questions about how the feminist film historian weights original sources in the reclamation of silent female film culture, relative to the varying degrees of cultural authority with which different women commentated upon, reflected upon, and creatively responded to film culture. The thesis moves away from conceptualization of cinema audiences and reception practices based upon textual readings. Instead, the thesis focuses upon evidence of women’s original accounts of their cinemagoing practices (fan letters) and their critical (newspaper and journal criticism) and creative (fiction writers) responses to cinema’s place in women’s everyday lives. Balancing original archival research with multiple overarching methodological frameworks—drawing upon fan theory, feminist reception theory, audience studies, social history and cultural studies—the thesis is attentive to the diversity of women’s experiences of cinema culture, and the literary conduits through which they channeled these experiences. Shifting the recent focus in feminist silent film historiography away from the reclamation of lost filmmaking female pioneers and towards lost female audiences, the thesis thus constructs a nationally specific account of British women’s silent era cinema culture.

Sendo o curta com uma das gags impossíveis mais famosas de Buster Keaton, The Playhouse (1921) trabalha com a relação existente entre o mundo onírico e a realidade, iniciando com um sonho da personagem de Keaton em que ele interpreta todos os papéis de um espetáculo, de atores e membros da orquestra aos espectadores da apresentação. Em seguida, acompanhamos Keaton em seu dia de trabalho após ser despertado pelo chefe, e vemos que diversos elementos de seu sonho ainda estão presentes na realidade desse faz-tudo do teatro. Lançado no segundo ano de trabalho de Keaton como diretor de suas próprias obras, o curta coloca como tema central a questão do trabalho no teatro e no cinema, apresentando diferentes possibilidades e experimentações no campo social e cinematográfico. Deste modo, esta dissertação propõe uma análise acerca da construção dessa temática no curta, refletindo sobre os escritos de Walter Benjamin e Michael Löwy sobre a relação entre o cinema, a comédia muda norte-americana em especial o trabalho de Keaton e uma crítica feita à sociedade capitalista industrial; e a teoria de Bertolt Brecht sobre o teatro épico. / As the short movie that holds one of the most famous impossible gags made by Buster Keaton, The Playhouse (1921) works with the relation between the oneiric world and reality, beginning with a sequence dreamed by Keaton\'s character in which he plays all the roles in the spectacle, from actors and musicians in an orchestra to the spectators of the show. After this dream, we follow Keaton during his day at work since the moment he was woken up by his boss and we notice that various elements of his dream are still present in the reality of this handyman from the theater. Released in the second year of Keaton\'s work as a director of his own films, this short movie presents as its main theme the working world in the theater and the cinema, putting forward different possibilities and experimentations in the social and cinematographic fields. Therefore, the following master\'s dissertation brings an analysis of the way this theme is presented in the short movie, considering the writings of Walter Benjamin and Michael Löwy about the relation between cinema, American silent comedy - especially Buster Keaton\'s work - and the criticism of capitalistic industrial society; and Bertolt Brecht\'s theory about epic theater.

O objetivo desta dissertação é analisar como a contradição presente na narração do romance The Great Gatsby de F. Scott Fitzgerald expõe as tensões sociais e históricas dos Estados Unidos dos anos 1920. Tal contradição, revelada na linguagem e no conteúdo da obra, exige uma leitura atenta do descompasso entre o ponto de vista do narrador memorialista e os valores morais que ele apresenta no início do romance. Exploraremos de que forma o movimento reflexivo da narração de Nick Carraway demonstra a tentativa de construção de entendimento dos fatos por meio da reconstrução das memórias, e como essa reflexão leva o narrador a desvelar a alienação e compreender os meandros da sociedade norte-americana no período pós-Primeira Guerra Mundial. / The aim of this dissertation is the analysis of the contradiction present in the novel The Great Gatsby by F. Scott Fitzgerald and how it exposes the social and historical tensions of the United States of America during the 1920s. Such contradiction, which is revealed in the language and content of the novel, demands a thorough reading of the mismatch between the point of view of the memoirist narrator and the moral values he presents in the beginning of the text. We explore how the reflexive movement of Nick Carraways narration shows his attempt to build understanding of the facts by the reconstruction of his memories, and how this reflection leads the narrator to unveil alienation and understand the intricacies of post-World War I American society.

Esta dissertação discute o processo de transformações urbanas por que a cidade de Natal-RN passou na década de 1920, período decisivo para a conformação de sua estrutura e paisagem modernas. Procurando compreender o contexto político, cultural e social que suscitou o plano geral de sistematização, elaborado pelo arquiteto Giacomo Palumbo entre 1929 e 1930, aborda-se: o processo mais longo de modernização urbana empreendido desde o final do século XIX, apontando a ascensão do olhar técnico, em especial o médico, sobre o espaço urbano; as representações de \"crise\" urbana que se instauraram em Natal no início dos anos 1920; as narrativas literárias e historiográficas que revelam o esforço pela compreensão dos significados das mudanças que se processavam e, tarefa na qual o papel do intelectual Câmara Cascudo foi fundamental, pela construção da história da cidade; a relação entre saneamento e educação que secundaram as discussões sobre o plano elaborado pelo engenheiro Henrique de Novaes para Natal, em 1924; a administração municipal do engenheiro Omar O\'Grady (1924- 1930) e seu esforço pela racionalização e eficiência das reformas urbanas; o lugar e as influências do plano de Palumbo no contexto da cultura urbanística moderna gestada no início do século XX; e, por fim, acompanha-se a passagem do \"turista aprendiz\" Mário de Andrade por Natal entre 1928 e 1929 e a representação de cidade que emerge dos seus relatos, a partir das errâncias pelo espaço tradicional - uma cidade distante das representações apologéticas e oficiais. / This dissertation aims to discuss the process of urban transformations by which the city of Natal has passed in the 1920s. This period was fundamental to conform Natal\'s modern urban structure and landscape. By intending to comprehend the social, cultural, and political context that foments the master plan, elaborated by architect Giacomo Palumbo between 1929 and 1930, it discusses: the urban modernization process that had been developed since last decades of XIXth century, pointing specifically the emerging of a technical approach on urban space; the representations of urban \"crise\" which marked the history of Natal in the beginnings of 1920s; the literary and historiographical narratives that reveal the efforts for comprehending the meanings of urban transformations and for constructing a history of the city, task in which the intelectual Câmara Cascudo was fundamental; the relations between sanitation and education into the urban plan elaborated by engineer Henrique de Novaes in 1924; the municipal administration of engineer Omar O\'Grady (1924-1930) and his efforts to racionalizate and to get efficiency in the urban reforms; the influences and characteristics of Palumbo\'s master plan related to the culture of town planning developed since the beginnings of XXth century. Finally, it discusses the accounts on Natal produced by the intelectual Mario de Andrade in the end of 1920s.

Esta dissertação discute o processo de transformações urbanas por que a cidade de Natal-RN passou na década de 1920, período decisivo para a conformação de sua estrutura e paisagem modernas. Procurando compreender o contexto político, cultural e social que suscitou o plano geral de sistematização, elaborado pelo arquiteto Giacomo Palumbo entre 1929 e 1930, aborda-se: o processo mais longo de modernização urbana empreendido desde o final do século XIX, apontando a ascensão do olhar técnico, em especial o médico, sobre o espaço urbano; as representações de \"crise\" urbana que se instauraram em Natal no início dos anos 1920; as narrativas literárias e historiográficas que revelam o esforço pela compreensão dos significados das mudanças que se processavam e, tarefa na qual o papel do intelectual Câmara Cascudo foi fundamental, pela construção da história da cidade; a relação entre saneamento e educação que secundaram as discussões sobre o plano elaborado pelo engenheiro Henrique de Novaes para Natal, em 1924; a administração municipal do engenheiro Omar O\'Grady (1924- 1930) e seu esforço pela racionalização e eficiência das reformas urbanas; o lugar e as influências do plano de Palumbo no contexto da cultura urbanística moderna gestada no início do século XX; e, por fim, acompanha-se a passagem do \"turista aprendiz\" Mário de Andrade por Natal entre 1928 e 1929 e a representação de cidade que emerge dos seus relatos, a partir das errâncias pelo espaço tradicional - uma cidade distante das representações apologéticas e oficiais. / This dissertation aims to discuss the process of urban transformations by which the city of Natal has passed in the 1920s. This period was fundamental to conform Natal\'s modern urban structure and landscape. By intending to comprehend the social, cultural, and political context that foments the master plan, elaborated by architect Giacomo Palumbo between 1929 and 1930, it discusses: the urban modernization process that had been developed since last decades of XIXth century, pointing specifically the emerging of a technical approach on urban space; the representations of urban \"crise\" which marked the history of Natal in the beginnings of 1920s; the literary and historiographical narratives that reveal the efforts for comprehending the meanings of urban transformations and for constructing a history of the city, task in which the intelectual Câmara Cascudo was fundamental; the relations between sanitation and education into the urban plan elaborated by engineer Henrique de Novaes in 1924; the municipal administration of engineer Omar O\'Grady (1924-1930) and his efforts to racionalizate and to get efficiency in the urban reforms; the influences and characteristics of Palumbo\'s master plan related to the culture of town planning developed since the beginnings of XXth century. Finally, it discusses the accounts on Natal produced by the intelectual Mario de Andrade in the end of 1920s.

Social work is a profession where documentation about people’s behavior and life circumstances is common. In the beginning of the essay we ask ourselves, if these descriptions about people can be problematic? To explore this, we studied social documentation, from the past. We used a historical source because history can help usunderstand the social work that is being conducted today. The aim of our study was to findout how early welfare work defined and described deviant behavior in child care issues, and how the child care agency handled these issues. Out method was a document analysis off the children’s care protocols in Kalmar, from 1929 to 1937. We present our results along with two illustrative case descriptions. Our theoretical approaches are Howard S Becker and Erwing Goffman´s theories of deviation. Their conclusion is that deviation is created by society, not by individuals or their actions. Since cases of children’s neglect and cases with deviant children were common and well documented we focused our empirical presentation on what was included in these terms. Children’s neglect cases focused on parent’s inability to provide the child with proper food, clothes, housing and similar factors. We also found that they made a distinction between mothers and fathers responsibility in these cases. Regarding the deviant children they also made a distinction between the sexes, identifying different behaviors deviant for girls andboys. Though some factors, such as being a illegitimate child and being unreliable is a definition used on both sexes. Since, according to our theories, deviation is created by our society our conclusion is that both children’s neglect and problem children can be seen as a result of societies expectations, and we present examples of how that can be understood in our analyze. In our final discussion we discuss how the definition of deviant behavior is relevant today. We discuss our findings in relation to BBIC, a Swedish child protection investigation guide. Our conclusion is that we still create deviations through documentation.