Made available in DSpace on 2016-04-28T14:16:21Z (GMT). No. of bitstreams: 1 Victor Grindler.pdf: 642098 bytes, checksum: 0f51757b20703cb88e66dc30445fb92f (MD5) Previous issue date: 2015-03-02 / The present study analyzes topics of public health interest at a time when new ideas in this field were developed in São Paulo, using the children s playgrounds, in the period from 1935 to 1938, as study case. The hypothesis underpinning this study is that within the Brazilian public health setting in the 1930s, public spaces, like the children s playgrounds, provided the scenario for actions aiming at the prevention of disease and promotion of health. Three different agendas could be identified as underlying the establishment of children s playgrounds in São Paulo: the one by the group around Paulo Duarte and Mário de Andrade pursued cultural and national identity interests. The second was prominently concerned with hygienic matters and corresponded to the ideals of the so-called Paula Souza Reform . Finally, the third agenda was the one of Nicanor Miranda, the director of the Division of Education and Recreation, which was based on a new and broad-scoped concept of physical education / O presente estudo analisa questões de interesse sanitário, num período em que novas concepções no campo da saúde pública eram desenvolvidas em São Paulo, tomando os parques infantis, entre 1935 e 1938, como estudo de caso. A hipótese norteadora desse estudo é que, dentro do contexto da saúde pública no Brasil, emergente na década de 1930, espaços públicos, tais como os parques infantis, tornaram-se um cenário para ações de prevenção de doenças e de promoção da saúde. Nesse sentido, três projetos diferentes puderam ser identificados à base do estabelecimento dos parques infantis de São Paulo: um como foco cultural e identitário, formulado pelo grupo ligado a Paulo Duarte e Mário de Andrade, um segundo com interesse eminente sanitário, correspondente aos ideias da chamada Reforma Paula Souza , e um terceiro, formulado pelo diretor da Divisão de Educação e Recreios, Nicanor Miranda, baseado num novo conceito, ampliado, da educação física.

Submitted by Luciana Ferreira (lucgeral@gmail.com) on 2014-10-06T10:45:36Z No. of bitstreams: 7 Dissertação-Daniella Medeiros Moreira Rocha - 2013 (1).pdf: 15801916 bytes, checksum: 0b05660a9e263c1da4204536b0e56871 (MD5) Dissertação-Daniella Medeiros Moreira Rocha - 2013 (2).pdf: 15676966 bytes, checksum: 14c5483474603d8a9d0511d3bceb46ac (MD5) Dissertação-Daniella Medeiros Moreira Rocha - 2013 (3).pdf: 13776768 bytes, checksum: fd1891ee713ec6ee3bd869c8b555b31c (MD5) Dissertação-Daniella Medeiros Moreira Rocha - 2013 (4).pdf: 15705470 bytes, checksum: f733031fb9deed4871424e7b1edd8bdc (MD5) Dissertação-Daniella Medeiros Moreira Rocha - 2013 (5).pdf: 16753983 bytes, checksum: 5c3116b2bb7bde75782d6a9bea854266 (MD5) Dissertação-Daniella Medeiros Moreira Rocha - 2013 (6).pdf: 12309120 bytes, checksum: f2daa3bc673f5f55b04314d2d1d2cd4a (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2014-10-06T10:48:21Z (GMT) No. of bitstreams: 7 Dissertação-Daniella Medeiros Moreira Rocha - 2013 (1).pdf: 15801916 bytes, checksum: 0b05660a9e263c1da4204536b0e56871 (MD5) Dissertação-Daniella Medeiros Moreira Rocha - 2013 (2).pdf: 15676966 bytes, checksum: 14c5483474603d8a9d0511d3bceb46ac (MD5) Dissertação-Daniella Medeiros Moreira Rocha - 2013 (3).pdf: 13776768 bytes, checksum: fd1891ee713ec6ee3bd869c8b555b31c (MD5) Dissertação-Daniella Medeiros Moreira Rocha - 2013 (4).pdf: 15705470 bytes, checksum: f733031fb9deed4871424e7b1edd8bdc (MD5) Dissertação-Daniella Medeiros Moreira Rocha - 2013 (5).pdf: 16753983 bytes, checksum: 5c3116b2bb7bde75782d6a9bea854266 (MD5) Dissertação-Daniella Medeiros Moreira Rocha - 2013 (6).pdf: 12309120 bytes, checksum: f2daa3bc673f5f55b04314d2d1d2cd4a (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Made available in DSpace on 2014-10-06T10:48:21Z (GMT). No. of bitstreams: 7 Dissertação-Daniella Medeiros Moreira Rocha - 2013 (1).pdf: 15801916 bytes, checksum: 0b05660a9e263c1da4204536b0e56871 (MD5) Dissertação-Daniella Medeiros Moreira Rocha - 2013 (2).pdf: 15676966 bytes, checksum: 14c5483474603d8a9d0511d3bceb46ac (MD5) Dissertação-Daniella Medeiros Moreira Rocha - 2013 (3).pdf: 13776768 bytes, checksum: fd1891ee713ec6ee3bd869c8b555b31c (MD5) Dissertação-Daniella Medeiros Moreira Rocha - 2013 (4).pdf: 15705470 bytes, checksum: f733031fb9deed4871424e7b1edd8bdc (MD5) Dissertação-Daniella Medeiros Moreira Rocha - 2013 (5).pdf: 16753983 bytes, checksum: 5c3116b2bb7bde75782d6a9bea854266 (MD5) Dissertação-Daniella Medeiros Moreira Rocha - 2013 (6).pdf: 12309120 bytes, checksum: f2daa3bc673f5f55b04314d2d1d2cd4a (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Previous issue date: 2013-07-21 / This research seeks to highlight the history of architecture in Goiania, and its protected architectural heritage (historical and artistic), under art deco style look, which was manifested in hotel edifications of Goiania, in 1930 and 1940, and lately, in 1950, representing, at the time, a symbol of modernity. More specifically, it is a study of the three pioneering hotels with this style: Palace Hotel, Grand Hotel and Hotel Don Bosco. The study delimitation consisted on investigating the objects in three periods: at construction; at some of their most significant moments; at present days. Methodological proposal was based upon bibliographical and documental surveys, oral interviews, photographic survey, original plants and descriptive memorials surveys, updated architectural and photographic surveys, for composition of records, as well as descriptions and analysis of art deco modernity, under the following criteria: party and architectural program, volumetry and facades, materials, techniques and indoors. In bibliographical research were used references pertinent to the history of art, history of art deco, history of Goiania and considerations on the question of heritage. As to documentary research, the public agencies related with were: Institute of Historical and Artistic Heritage (IPHAN), the Board of Historical and Artistic Heritage, the Board of the Image and Sound Museum (MIS), both of the Agency of Culture Pedro Ludovico Teixeira in Goiania (AGEPEL), the Heritage Division of the Municipal Secretary of Culture, the Municipal Secretary of Sustainable Urban Development (SEMDUS) and its historical archives. The testimonies were collected by oral interviews of personae who were part of the story of the people of Goiania. / Esta pesquisa procura evidenciar a história da arquitetura de Goiânia e do seu acervo arquitetônico tombado (histórico e artístico) pelo viés do estilo art déco, que se manifestou nas edificações hoteleiras goianienses nas décadas de 1930 e 1940 e, mais tardiamente, em 1950, representando, à época, um símbolo de modernidade. Mais especificamente, constitui um estudo dos três hotéis pioneiros nesse estilo: o Palace Hotel, o Grande Hotel e o Hotel Dom Bosco. A delimitação do estudo consistiu em investigar o objeto em três tempos: no momento inicial da sua construção; alguns de seus momentos mais significativos; e os seus dias atuais. A proposta metodológica foi a do levantamento bibliográfico e documental, entrevistas orais, levantamento fotográfico, levantamento de plantas originais e memoriais descritivos, levantamentos arquitetônicos e fotográficos atualizados, para composição de registros, descrições e análise da modernidade do art déco a partir dos seguintes critérios: partido e programa arquitetônico, volumetria e fachada, materiaise técnicas e interiores. Na pesquisa bibliográfica foram utilizadas referências pertinentes à história da arte, à história do art déco, história de Goiânia e considerações sobre a questão do patrimônio. Quanto à pesquisa documental, os órgãos públicos relacionados foram: Instituto do Patrimônio Histórico e Artístico (IPHAN), a Diretoria do Patrimônio Histórico e Artístico, a Diretoria do Museu da Imagem e Som (MIS), ambas da Agência Goiana de Cultura Pedro Ludovico Teixeira (AGEPEL), a Divisão de Patrimônio Histórico da Secretaria Municipal de Cultura, Secretaria Municipal de Desenvolvimento Urbano Sustentável (SEMDUS) e arquivos históricos. Os depoimentos foram coletados por entrevista oral de personagens que fizeram parte da história goianiense.

Submitted by Rosina Valeria Lanzellotti Mattiussi Teixeira (rosina.teixeira@unisantos.br) on 2017-01-24T11:53:13Z No. of bitstreams: 1 Magda Fernandes Garcia Ventura.pdf: 2718818 bytes, checksum: e0b295eb6aae371868d866c7bb76d27b (MD5) / Made available in DSpace on 2017-01-24T11:53:13Z (GMT). No. of bitstreams: 1 Magda Fernandes Garcia Ventura.pdf: 2718818 bytes, checksum: e0b295eb6aae371868d866c7bb76d27b (MD5) Previous issue date: 2016-02-29 / Conselho Nacional de Pesquisa e Desenvolvimento Científico e Tecnológico - CNPq / This present study investigates the Women¿s Association of Santos (Associação Feminina Santista, or AFS) in the 1930s, identifying the leaders responsible for the development of the education of the female element and reflecting on their actions on the inner workings of school. The main sources for this reconstruction of the historical past were found, primarily, in the well preserved archives of the now extinct AFS: minutes, reports from the Board of Directors, registry books, official letters, graduation photo albums and other iconographic material. The Documentation Center of the Baixada Santista region was consulted, as well as LIAME¿s, at Unisantos. The research also resorted to printed sources, like A Tribuna¿foremost newspaper in the city of Santos ¿where iconographic material, speeches, notices on enrollment, announcements, and other information were found, in addition to digitized newspapers available at the Hemeroteca Digital Brasileira (A Noite; Correio Paulistano; Gazeta de Notícias; O Estado de São Paulo; O Paiz; among others). The profile of the heads of the board serving in the period (1930 ¿ 1940) was identified, women of the intellectual elite: their social and political actions and educational initiatives (the various courses and aspects of school practice) of the institution. / A presente dissertação investiga a Associação Feminina Santista (AFS) na década de 1930, através da atuação de suas dirigentes responsáveis pelo desenvolvimento da educação do elemento feminino, refletindo sobre sua atuação no funcionamento interno da escola. As fontes para reconstruir esse passado histórico são provenientes, sobretudo, do arquivo da então AFS, bem conservado: atas, relatórios das Diretorias, livros de matrículas e ofícios expedidos, álbuns de formatura e outros materiais iconográficos. Foram consultados, também, o Centro de Documentação da Baixada Santista e o Laboratório de Informação, Arquivo e Memória da Educação - LIAME -, da Unisantos. Outras fontes pesquisadas foram os impressos, como os periódicos de A Tribuna - principal jornal da cidade - onde se encontram material iconográfico, discursos, comunicados referentes às matrículas, anúncios e outras informações, além dos jornais disponíveis na Hemeroteca Digital Brasileira (A Noite; Correio Paulistano; O Estado de São Paulo; O Paiz; e outros). Identificou-se o perfil das presidentes que atuaram no período (1930 ¿ 1940), mulheres vindas da elite intelectual: as suas ações sociais e políticas e a atuação educacional (os vários cursos e aspectos das práticas escolares) da instituição.

<p>This essay is about the Swedish working woman in the early 1930s. The empirical data consists mainly of Arbetarkvinnornas Tidning (AKT), a Swedish Communist magazine which was launched in December 1929. A qualitative discourse method has been used. Texts, articles, letters to the editor and reports about social conditions in Sweden and Soviet during the years 1929-1932 has been examined. Soviet women models and ideal types are compared with the image of the Swedish working woman. How was the Swedish working woman and her everyday life presented out of a Communist perspective? How was the Soviet woman ideal imaged? Was the Soviet ideal determinative for the Swedish communism?</p> / <p>Denna uppsats handlar om den svenska arbetarkvinnan under det tidiga 1930-talet. Empiriska materialet består huvudsakligen av Arbetarkvinnornas Tidning (AKT), en svensk kommunistisk tidskrift som startades i december 1929. En kvalitativ diskursiv metod har använts. Texter, artiklar, insändare och reportage som handlar om svenska och sovjetiska förhållanden under åren 1929-1932 har undersökts. Kvinnliga sovjetiska förebilder och idealtyper jämförs med bilden av den svenska arbetarkvinnan. Hur framställdes den svenska arbetarkvinnan och hur såg hennes vardagsliv ut ur ett kommunistiskt perspektiv? Hur såg den kvinnliga sovjetiska idealbilden ut? Var de sovjetiska idealen styrande för den svenska kommunismen?</p>

This essay is about the Swedish working woman in the early 1930s. The empirical data consists mainly of Arbetarkvinnornas Tidning (AKT), a Swedish Communist magazine which was launched in December 1929. A qualitative discourse method has been used. Texts, articles, letters to the editor and reports about social conditions in Sweden and Soviet during the years 1929-1932 has been examined. Soviet women models and ideal types are compared with the image of the Swedish working woman. How was the Swedish working woman and her everyday life presented out of a Communist perspective? How was the Soviet woman ideal imaged? Was the Soviet ideal determinative for the Swedish communism? / Denna uppsats handlar om den svenska arbetarkvinnan under det tidiga 1930-talet. Empiriska materialet består huvudsakligen av Arbetarkvinnornas Tidning (AKT), en svensk kommunistisk tidskrift som startades i december 1929. En kvalitativ diskursiv metod har använts. Texter, artiklar, insändare och reportage som handlar om svenska och sovjetiska förhållanden under åren 1929-1932 har undersökts. Kvinnliga sovjetiska förebilder och idealtyper jämförs med bilden av den svenska arbetarkvinnan. Hur framställdes den svenska arbetarkvinnan och hur såg hennes vardagsliv ut ur ett kommunistiskt perspektiv? Hur såg den kvinnliga sovjetiska idealbilden ut? Var de sovjetiska idealen styrande för den svenska kommunismen?

The aim of this thesis is to study representations of identity and (in)visibility in Swedish lesbian novels written in the 1930s, and to provide a summary of Swedish lesbian literature up to the early 21st century. This study has been done through a close reading primarily of Charlie by Margareta Suber (1932), Fröknarna von Pahlen by Agnes von Krusenstjerna (1930–1935) and Kris by Karin Boye (1934). Lesbian literature is discussed as a loose category, a construction which can be used as an analytical tool in a conscious and reflexive way, with its basis in the categories of author, text and reader. In short, I define lesbian literature as novels written by women, about lesbian figures and/or relationships, and for lesbian readers in the sense that the literature depicts lesbians from an insider’s perspective. As regards the period before 1930, the focus is on romantic friendship and the excitement zone when the romantic friendship becomes a sexual one, as seen in the fictitious case of Sin fars dotter (1920) by Lydia Wahlström. Sexological theories, the image of “the new woman” and changes to the law all colour the first half of the 20th century. This is seen in Charlie by Margareta Suber, where the author makes use of many such explanations in her creation of a lesbian figure. A reading of Fröknarna von Pahlen by Agnes von Krusenstjerna shows an intricate pattern of relationships at its heart. My analysis charts several same-sex couples, a lesbian single woman and two collectives; that is to say, the female collective and the male homosexual collective. The relationships between women are many-faceted and include everything from romantic friendship, kinship and sensualism to eroticism and shared parenthood. In my analysis of Kris by Karin Boye, I focus on Malin, the main character, and the development of her sense of identity, in which the struggle between the language of the world around her and her own emotional experience of love for a woman is a central theme. After the 1930s, the historical context changed in terms of everything from decriminalisation in 1944 via the homophobic panic of the 1950s to the impact of queer theory in the 1990s. Swedish lesbian literature addresses everything from crime of passion (murder) to the coming out process of young women. There exists in all novels from the 1930s an interplay that is (in)visible: the characters or lesbian relationships depicted are both visible and invisible at the same time. The characters are more or less aware of the potential risks attached to being visible as a lesbian, and often they do not notice themselves when this occurs. During the course of the 20th century, (in)visibility becomes replaced by openness and secrecy, and the visibility of the lesbian characters is politicised. / The abstract is translated by Janet French.

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.

From July 1, 1934, to November 1, 1968, the Production Code Administration (PCA) oversaw the creation of American motion pictures, in order to improve Hollywood’s moral standing. To assist in this endeavor, the studios produced film adaptations of classic literature, such as the plays of William Shakespeare. In the first two years of the Code’s inception, two Shakespearean films were produced by major studios: A Midsummer Night’s Dream (1935) and Romeo and Juliet (1936). But were these classic adaptations able to avoid the censorship that other films endured? With the use of archived collections, film viewings, and an in-depth analysis of the plays, multiple versions of the scripts, and other available surviving documents, I was able to see how these productions were affected by the enforcement of film censorship and what it said about the position of Shakespeare’s work in society. A Midsummer Night’s Dream tended to use self-regulation, so as to avoid the censorship of the PCA. However, the film did not escape without some required changes. In spite of the filmmakers’ efforts, there were a few textual changes and the fairy costumes required revisions to meet the PCA’s standards. In the case of Romeo and Juliet, the PCA was far more involved in all stages of the film’s production. There were many documented text changes and even a case in which the censors objected to how the actors and director executed a scene on film. The motion picture was created as if it were of the greatest importance by all involved. And, as it were, the existing archives paint a picture of a production that was a sort of battleground in a sociopolitical war between the censors and the filmmakers. As both films arrived on the international stage, this sociopolitical campaigning did not end. During international distribution, the films were each accepted, rejected, and forced to endure further censorship, in order to become acceptable for public screening. This censorship often relayed a message about the location’s societal views and its contrast to American society.

For historians of twentieth-century British affairs, the decade of the 1930s is very significant. It was marked not only by a devastating economic crisis at the outset, but also by the rise of fascism in Europe and the onset of the Second World War at its close. These issues were problematic in themselves, but Britain’s response to them was complicated still further by the deep divisions between the Left and the Right over socialism and over the Soviet Union. The presence of the USSR in the East and its influence in Britain loomed over the internal debates that took place, affecting British responses to difficult situations in drastic and far-reaching ways. People of both anti-Soviet and pro-Soviet persuasions were forced to account for events that did not tally with their most strongly held beliefs, hopes or fears. This dissertation explores the ways in which British people of a variety of political leanings publicly processed and coped with the role of the Soviet Union in these debates. Using a range of sources including contemporary newspapers, books and pamphlets, I will trace the evolution of attitudes to the Soviet Union from 1929, the first year of the economic crisis, up until 1943, the high point of the Anglo-Soviet wartime alliance. My analysis will show how people with fundamentally different belief systems mirrored each other in their responses to intellectual challenges, and how interactions between different groups sustained or exaggerated each group’s response to the Soviet Union. I will also critique the analyses of some historians who have limited the parameters of their studies to take in only single groups or single events, and in so doing have become unfairly critical of individuals who struggled to process a large number of difficult and confusing events.

This thesis examines the writing of U.S. Ambassador to the Soviet Union Joseph Davies, Norman Deuel of the United Press, and Joseph Barnes of the New York Herald Tribune over the course of their respective postings in Moscow between 1936-1938. The purpose of this thesis is to look past interpretations of perceived right and wrong reporting on the Soviet Union and instead identify precisely how and why Americans outside the diplomatic corps viewed and perhaps identified with aspects of Stalinist society. Residing in Moscow over an extended period of time, Davies, Barnes, and Deuel were not mere observers. Immersed in Soviet society, Davies and the press correspondents became themselves producers of socialist realist writing as their American affinity for ambitious modernization translated into an idealized view of Stalinist modernization projects, one which viewed present hardships through a socialist realist lens while echoing Soviet enthusiasm for medical and scientific advancements, material plenty, heroics, youth, and territorial exploration. Excluded from the close-knit circle of career diplomats, Davies and the newsmen also came to view the Moscow show trials through the same socialist realist lens, one which presented the desired utopian future through elaborate socialist realist theatre.