Ce travail analyse les relations de l'ethnographie avec un corpus divers de la littérature mexicaine publiée au cours des années 1950, 1960 et 1970. Ces relations sont examinées par ce que nous appelons «empreinte ethnographique», une frontière sémiotique (dans la terminologie de Yuri Lotman) où les intérêts et les méthodes de l'ethnographie sont traduits en termes littéraires. Grâce à ce concept, nous analysons: Juan Pérez Jolote: biografía de un tzotzil (1948), de Ricardo Pozas; El diosero (1952), de Francisco Rojas González; Benzulul (1959), de Eraclio Zepeda; Balún Canán (1957) et Los convidados de agosto (1964), de Rosario Castellanos; La tumba (1964), de José Agustín; Gazapo (1965), de Gustavo Sainz; Los hongos alucinantes (1964), de Fernando Benítez; Los albañiles (1963), de Vicente Leñero; Hasta no verte Jesús mío (1969) et La noche de Tlatelolco (1971), d’ Elena Poniatowska; Chin chin el teporocho (1971), d’Armando Ramírez; et Vida de María Sabina. La sabia de los hongos (1977), d’Álvaro Estrada. L'interconnexion est présentée par le travail littéraire axé sur la reconstruction des sujets inscrits et configurés par leur culture: si d'abord dans la littérature mexicaine l'accent était mis sur l'indigène, ultérieurement cette littérature essai d'expliquer la culture de l'habitant urbain. De cette façon, l’empreinte ethnographique dévoile comment un corpus apparemment divers est interconnecté. De même, nous proposons que cette empreinte ethnographique soit construite par ce qu'on appelle le «réalisme culturel»: un style d’écriture qui tente de rendre compte de cultures spécifiques selon le point de vue de ses acteurs. / This study analyzes ethnography’s relationship with a diverse corpus of Mexican literature published during the decades of 1950, 1960 and 1970. These relationships are analyzed through what we call “ethnographic imprint”, a semiotic frontier (in Yuri Lotman’s terminology) where ethnography’s interests and methods are translated into literary terms. Through this concept, we analyze Juan Pérez Jolote: biografía de un tzotzil (1948), by Ricardo Pozas; El diosero (1952), by Francisco Rojas González; Benzulul (1959), by Eraclio Zepeda; Balún Canán (1957) and Los convidados de agosto (1964), by Rosario Castellanos; La tumba (1964), by José Agustín; Gazapo (1965), by Gustavo Sainz; Los hongos alucinantes (1964), by Fernando Benítez; Los albañiles (1963), by Vicente Leñero; Hasta no verte Jesús mío (1969) and La noche de Tlatelolco (1971), by Elena Poniatowska; Chin chin el teporocho (1971), by Armando Ramírez; and Vida de María Sabina. La sabia de los hongos (1977), by Álvaro Estrada. The interconnection appears through literary work focused on rebuilding subjects framed and shaped by their culture: if the original focus was the native, in the later period the subject explained according to its culture was the urban dweller. Thus, the ethnographic imprint reveals how an apparently diverse corpus is interconnected. Similarly, we propose that this ethnographic imprint is constructed through what we call “cultural realism”: a writing style that tries to account specific cultures (with correspondence in the extratextual world) from the actors’ point of view.

This thesis investigates the aesthetic presence of social performance in six French and Czechoslovak New Wave films of the 1960s. The New Wave was particularly interested in portraying everyday life, and the film corpus studied in this thesis focuses specifically on the representation of the characters' social lives. In addition, the films share the commonality of being made with an aesthetic of authenticity inspired more or less by the 1960s observational documentary genre of cinéma vérité. In the film corpus, ordinary social situations occupy a more prominent place on screen than usual, and instigate a social kind of engagement with the films. Where narrative context conventionally provides the framework for a character's actions, in these unconventional films, it is the characters' social environments that more precisely contextualize their way of being. The aim of the thesis is to engage with these social contexts to understand the characters' social behaviours, and to examine how the 'vérité aesthetic' evokes a social kind of reading of the films. To this end, I develop in the first chapter a Goffmanian approach to the films, inspired by sociologist Erving Goffman's writings on social reality as a performative realm. I use his notions of social performance, social framework, and social perception to engage with each film through what I call a 'social gaze' that inspects the social dynamics of the characters' behaviours. Over the course of three case study chapters, I apply this approach to the films to unearth and discuss their social range of meaning. This thesis thus aims to contribute both to film historical scholarship on the 1960s European New Wave, and to a study of the aestheticization of social reality in film in general.

The presented dissertation analyses the role of Communist Czechoslovakia in a period of so called "Congo Crisis" in the years 1960-1963, which began after the independence of the Belgian Congo had been declared. Czechoslovakia was the only Eastern Bloc country which had a representative office in the capital city of Leopoldville over a long period of time and had maintained business and diplomatic relations with the former Belgian Congo since the First Republic; therefore it was an irreplaceable mediator between the newly declared Republic of the Congo and Eastern Bloc countries. The individual chapters rely especially on archival documents and analyse the roles of Patrice Lumumba, UN, separatist government of Antoine Gizenga in the Eastern province, namely in the context of Czechoslovakian foreign policy toward African continent in the observed period. The dissertation is grounded especially on documents of the Ministry of Foreign Affairs and archives of the Communist Party of Czechoslovakia. In order to set the dissertation to the international context, it was mainly French, Belgian and Soviet literature, which was used as it offers a very different perspective on the topic in question.

Presented work focuses on objects showed at exhibition called "Nová Citlivost" (New Sensitivity). First part is dedicated to cultural-political situation at the end of fifties and at the beginning of sixties and following changes in cultural area. Second part is dedicated to generation of emerging artists. Study conditions at the end of forties and at the beginning of the fifties as well as inspirational sources at the time are taken into account. Following part follows historical development and changes in understanding object in the art practice since surrealism era to sixties. Final chapter is focused on individual artists from "Křižovatka" group (Crossroad). The thesis tries to clarify role of an object in Czech art and takes "Nová Citlivost" exhibition as its pivot point. This exhibition summarized the most important achievements in object creation in the sixties in Czechoslovakia.

The representation of homosexuality in the Brazilian cinema of the 1960s and 1970s is generally dismissed as homophobic on the grounds that it confirms stereotypical and oppressive views of homosexual men. While it is true that many films produced during the era repeat conventional notions of sexual identity, this dismissal arguably overlooks a variety of subtle and subversive representations of homosexuality. To contest the prevailing view, eleven films have been selected from important movements of Brazilian cinema of the period; these include examples of avant-garde and popular filmmaking. An analytical approach informed by queer theory – a critical account of homosexuality and sexual identity – is used to make a series of close readings of narrative form and content. It is suggested that the apparent heterosexism of many of the films is shown to be tacitly or accidentally subverted via the implication that sexual identity is unstable and contested. A number of films are shown to illustrate ways in which oppressive hierarchies might be disabled through a reconfiguring of homosexual identity. It is argued that film form – the films’ self-referential or reflexive aspects, as well as the way in which the films construct spectating positions – is the central factor in subverting conventional views of homosexuality. Such form facilitates multiple readings of the content, therefore enabling a queer interpretation to be posited. Ultimately, it is argued that the value of these films lies in the sometimes contradictory fashion in which they present oppressive notions of homosexuality on-screen while at the same time gesturing towards ways in which such oppression could be challenged.

This thesis The Failure of the New Left in the US: The Case of SDS analyzes the causes and reasons of the failure of the New Left in the United States. The left-leaning students who were discontent with the social order and reality of the country gathered under the idea of participatory democracy in a group called Students for a Democratic Society. Their aim was to change and improve the system through universities being agents of social change, thus making a clear difference with the Old Left. The worker no longer stood in the center of social progress, but the student did. SDS promptly plunged into several burning issues of the era, such as civil rights movement and inferior position of the blacks and poor in the society. The Vietnam War and antiwar protest movement have also been great issues in which SDSers directed their energy. As the Vietnam War escalated in terms of American soldiers being sent overseas, the intensity of student protests grew as well. Inevitably SDS resorted to usage of violent means of expressing dissent and clashed with the forces of the establishment. The thesis seeks to answer what reasons, events and realities led them to finally adopting revolutionary Marxism as their flag ideology. Soon after that SDS broke up and its once great influence waned away.

Bc. Markéta Šebestová: Conception of Czechoslovak Jews' Identity in Židovská ročenka (1954-1968) Abstract This thesis is concerned with Židovská ročenka (Jewish Yearbook, JY), mostly literary periodical published by Rada židovských náboženských obcí v zemích České a Morav- skoslezské (Council of Jewish Religious Communities in Bohemia, Moravia and Silesia), during the 1950s and 1960s. Main subject of the thesis are the contents of JY, which I set in historical social, political and ideological context. In the thesis I concern myself with question, how image of Czechoslovak Jews provided by JY corresponds to the structure of contemporary Jewish community. Further I inquire, whether and how JY reflects the official limitation of Jewish identity solely to religious denomination. I also address question, how are represented relations of the Czechoslovak Jews to majority culture, especially Czech, and to the German culture, which historically constituted minority in the Czech lands. I concern myself with the presentation of Shoah, which was most linked to official ideological concerns. I also inquire about the diversity of artistic representations of the Shoah, included in JY. I conclude, that in correspondence with general gradual loosening of ideological pressure JY presents the variety of Czechoslovak Jewish...

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In Sweden during the 1960’s there was a housing shortage. To reduce the housing shortage, and to increase the living standard, a lot of new houses were built in Sweden in the 1960’s. To be able to build these houses some quick, new and unproven materials were used and some- times also unsuitable construction solutions and ground conditions. That lead to a lot of these houses suffered from mold in a relatively big extent. The most damaged components are the ground constructions, the attic or the outer wall. This is often due to inaccurate building mate- rials or insulation, and flaws in the ventilation. Many of the small houses built in the 1960’s suffers from problems and damages due to mois- ture and it isn’t always easy to find the cause of these problems. The purpose of this work is to illustrate the most common problems connected to the building technology in the 1960’s and what remedies there are to fix these problems. There are many different products and solutions available on the market today and for some- one who isn’t educated in the subject it can be confusing to know what is best for their house. This thesis presents the most common solutions available today and illuminate their pros and cons. Advice is also given about how to maintain and examine the house to increase the life- span of the house. The majority of this thesis focuses on the theoretical background of some of the most com- mon problems and different types of solution to those problems. The parts that are included in this work are the building envelope, harmful materials, ventilation, heating and the surround- ing ground conditions. Interior problems, in for example kitchen and bathrooms, are not in- cluded in this work. This thesis ends with an explanatory case study of a typical small house built in the 1960’s to see how the theoretical part matches the problems found in reality. The house is examined for the most common problems treated in the theoretical part, and explanations and advices is given to the found problems. This thesis is primarily aimed to provide solutions for small house from the 1960’s. The writ- er wants to give the reader an understanding about the problems that can be expected in those house and what can be done to identify and avoid these problems. / På 1960-talet rådde det stor bostadsbrist i Sverige. För att minska bostadsbristen och öka lev- nadsstandarden byggdes det väldigt mycket hus och lägenheter i Sverige då. Det skulle alltså byggas många nya småhus och för att kunna bygga dessa hus snabbt användes många nya och oprövade material. Även olämpliga konstruktionslösningar användes och markförhållanden var många gånger dåliga. Det, tillsammans med bristande fuktkunskaper, har lett till att många av de husen som byggdes på 1960-talet lider av mögelpåväxt eller mögellukt i minst en byggnadsdel. De mest utsatta byggnadsdelarna är grundläggningen, ytterväggen och vin- den. Många villor byggda på 1960-talet lider alltså idag av fuktproblem och fuktskador och det är inte alltid lätt att hitta orsaken till de problemen. Syftet med det här examensarbetet är att be- lysa de vanligaste problemen som är kopplade till villor byggda på 1960-talet och vilka åtgär- der som finns för att lösa de problemen. Det finns idag ofta många olika produkter och lösningar på marknaden och för någon som inte är insatt kan det vara en djungel att veta vad som är bäst för sitt hus. Det har arbetet redovisar de vanligaste lösningarna som finns på marknaden idag och belyser deras för- och nackdelar. Det ges även råd hur villan bör underhållas och undersökas för att öka livslängden på huset. Större delen av det här examensarbetet inriktar sig på den teoretiska bakgrunden till varför vissa problem uppstår och vilka konsekvenser olika typer av lösningar ger. Det som behandlas är klimatskalet, skadliga material som användes, ventilation, uppvärmning och den omgi- vande marken. Arbetet avslutas med en fallstudie av en typisk 1960-talsvilla för att se hur väl de teoretiska delarna stämmer överens i verkligheten. Villan undersöks efter de vanligaste problemen som finns i den teoretisk delen och sedan ges en förklaring till varför de har uppstått och råd över lösningar till de funna problemen. Det här examensarbetet riktar sig främst till att tillhandahålla lösningar för småhus byggda på 1960-talet. Författaren vill ge läsaren en förståelse om de problem som kan förväntas i huset och vad som kan göras för att identifiera och undvika de problemen.

Our aim with this project was to become more aware about the consequencesthat different kinds of changes or additions have on existing buildings andtheir characteristic architectural qualities. We have focused our study on thepart when a change or addition is designed, how the planned intervention isto be materialized, trying to understand how a change or addition relate to theexisting. Whether it is made to closely resemble that which is already there orcontrast in for example form, colour or material. In our thesis we call theseways of relating to the existing methods, and it is these methods that we havetried to identify, analyse and implement throughout this project.Some of the questions we have asked ourselves are:What different methods are there and how can they be materialized? How do theywork in combination? What effect do they have on a room and what do the differentmethods communicate?