The main aim of the work is to describe to present reader as much as possible the situation in the South Bohemian Theatre in the time, when World War II stormed in the Europe. We were interested in all the important events that took place in the theatre in that time, the problems with faced the members of the theatre, what impact had the Germans on the functioning of the theatre, how the theatre affected the audience and whether they also had some objections about his work or what was the level of played performances. Finally, we looked for the answer if the other theatrical associations could play in the theatre. We compiled a detailed program of played performances, watched response of operation in theatre criticism, made an overview of societies and its members and there are also mentioned other interesting observations related to the South Bohemian Theatre in this work.

This thesis deal with the life of Jewish Community in Vienna after Second World War to the present days. This work describes most important aspects of daily and cultural Jewish life in Vienna these days. As an introduction to the topic is described the relevant political history of Austria for example Borodajkewycz affair or Causa Waldheim. Included is also the theme of overcoming the past in Austria and the theme of anti - Semitism in this country. In the first part of this work is given a historical overview of the development of the Jewish community in Vienna after the Second World War to present days. The second part of the work deal with the main Jewish institutions, organizations and associations in present Vienna. The theme of Jewish cultural life and leisure time activities are also included. A part of this thesis is also a brief summary about the possibilities of using this theme in education at Czechs schools.

\"A Modernidade em Hans Broos\" é um estudo que parte da obra alemã e brasileira do arquiteto Hans Broos (1921), compreendida entre fins da década de 1940 e os anos 1970. O cenário alemão pós-guerra torna-se contexto chave, onde o arquiteto reúne densa formação teórica e prática, e experiências que conformarão o cerne de seu fazer arquitetônico. À formação ampla e diversificada junta-se o desejo de contextualizar suas propostas no ambiente brasileiro, quando aqui chega no início da década de 1950. Este encontro inicial com a arquitetura da Escola Carioca resultará especialmente fértil, maduro e complexo quando o arquiteto assimila os pressupostos gerais do Brutalismo Paulista, que se mesclam às referências que o mantém atrelado à experiência alemã. O objetivo da tese é demonstrar o quanto sua arquitetura brutalista mantém-se afinada aos pressupostos de sua formação, seja pela via teórica e indireta, seja pelo exemplo direto do trabalho do mestre Egon Eiermann. A partir de referências múltiplas, também sua obra ajudará a compor o cenário multifário do Brutalismo Paulista nos anos 1960 e 1970. / \"Modernity in Hans Broos\" is a study developed from the analysis of the german and brazilian works by architect Hans Broos, between the late 1940s and the 1970s. The postwar german situation is the key context, in which the architect gathers a dense theorical and practical background, and experiences that will form the core of his architectural practice. To this broad and diverse background, he adds the desire of contextualizing his work to the brazilian environment, when arriving here in the early 1950s. This primary encounter with the brazilian architecture of the Carioca School will prove specially fertile, mature and complex when the architect assimilates the main concepts of the Paulista Brutalism, which are bound to the references he attains to his german experience. The focus of the thesis is to show in what dimension his brutalist architecture is aligned to his background\'s concepts, wether by the theoric and indirect way, or by the direct example of the works of master Egon Eiermann. From multiple references, Hans Broos\'s work will also cope with the multifaceted scenario of 1960s and 1970s Paulista Brutalism. Keywords: Hans Broos, Post-World-War-II german architecture, Paulista Brutalism

António de Oliveira Salazar foi a figura central do Estado Novo português (1933-1974), responsável pelo estabelecimento de um governo antidemocrático, autoritário, que fez uso da censura, promoveu a tortura, e criou órgãos que disseminavam os valores do regime, tais como o SPN (Secretariado da Propaganda Nacional). Podemos dizer que a atuação da propaganda foi tão eficiente durante os longos anos de ditadura que não é incomum, nos dias atuais, encontrar parcelas da população portuguesa que reproduzem vários mitos criados ou disseminados durante o governo de Salazar, chegando mesmo a enaltecer a figura do ditador. Para uma melhor compreensão desse contexto, nosso objetivo é analisar o documentário Fantasia Lusitana (2010), de João Canijo (Porto, 1957), pois nele o realizador desconstrói a propaganda salazarista, produzida, sobretudo, durante o período da Segunda Guerra Mundial (1939-1945). Composto exclusivamente por material de arquivo, o documentário conjuga excertos de filmes, noticiários, canções, fotografias, documentos, jornais e revistas, produzidos ou chancelados pela SPAC (Sociedade Portuguesa de Actualidades Cinematográficas), bem como material de fontes independentes ou externas, portanto, não submetido ao crivo da censura. Neste segundo bloco, destacamos o registro fotográfico de refugiados estrangeiros que utilizaram Lisboa como rota de fuga da perseguição nazista, uma vez que Portugal havia adotado o status de neutralidade durante a guerra. Entretanto, o contraponto ao discurso oficial promovido pelo governo ditatorial se dá principalmente através das anotações de Alfred Döblin, Erika Mann e Antoine de Saint-Exupéry, três intelectuais famosos que, por meio de um olhar crítico e isento da influência da propaganda, registraram suas impressões sobre o Portugal salazarista enquanto fugiam da guerra. O contraste entre essas duas realidades se dá, sobretudo, por meio da criteriosa montagem em Fantasia Lusitana, capaz de transportar o espectador, muitas vezes de forma inesperada, tanto para o fantasioso mundo português criado pela propaganda estatal, quanto para a dura realidade imposta às vítimas e aos refugiados da guerra. / António de Oliveira Salazar was the central figure of the Portuguese Estado Novo (1933-1974), being responsible for the establishment of an antidemocratic, authoritarian government which used censorship, promoted torture, and created organs that disseminated the values of the regime, such as the SPN (Secretariado da Propaganda Nacional). We can say that the role of the propaganda was so efficient during the long years of dictatorship that nowadays it is not uncommon to find segments of the Portuguese population that reproduce various myths created or disseminated during Salazar\'s government, even exalting the figure of the dictator. For a better understanding of this context, our aim is to analyze the documentary Fantasia Lusitana (2010), by João Canijo (Oporto, 1957), whereupon the movie director deconstructs the Salazarist propaganda, which was produced especially during the period of World War II (1939-1945). Composed exclusively of material from archives, the documentary combines excerpts from films, news, songs, photographs, documents, newspapers and magazines, produced or endorsed by the SPAC (Sociedade Portuguesa de Actualidades Cinematográficas), as well as material from independent or external sources, therefore, not subjected to censorship. In this second group, we highlight the photographic record of foreign refugees who used Lisbon as an escape route from the Nazi persecution, since Portugal had adopted the status of neutrality during the war. However, the counterpoint to the official discourse promoted by the dictatorial government comes mainly from the memoirs written by Alfred Döblin, Erika Mann and Antoine de Saint-Exupéry, three famous intellectuals who, through a critical view and, free from the influence of the propaganda, recorded their impressions on Salazarist Portugal while they fled from the war. The contrast between these two realities comes mainly through the careful editing in Fantasia Lusitana, capable of transporting the spectator, often unexpectedly, both to the fanciful Portuguese world created by the State propaganda and to the harsh reality imposed on the war victims and refugees.

As produções artísticas do pintor Kazuo Wakabayshi podem ser divididas em duas etapas. A primeira é um conjunto de obras de tonalidade escura, de tom universal e sem qualquer indicação de sua origem étnica. A segunda fase, que se inicia por volta dos anos de 1980, consiste em obras de cores vibrantes, cujo detalhe apresenta elementos da cultura japonesa, tais como personagens do teatro kabuki, estampas da indumentária tradicional e outros elementos pertinentes àquela cultura. Apesar das notáveis diferenças entre as duas etapas, a elipse é a forma geométrica que sempre existiu na vida artística de Wakabayashi. O propósito da presente tese é trazer à tona o que está imerso nessas criações, primeiramente de natureza universal e, posteriormente, identitária. Acredito que a compreensão da arte desse artista imigrante poderá trazer respostas acerca da história de sua vida / The artistic productions of the painter Kazuo Wakabayashi, who spent his teenage years during the World War II can be divided in two stages. The first one is represented by the group of paintings in dark tones, which lacks any sign of ethnic origin, and which seeks to preserve a universal tone. The second stage, which begins in 1980s, consists of vibrant colours paintings, whose details are rich on Japanese culture elements, such as the Kabuki play characters, the patterns of traditional clothing, among other elements. Although there are striking differences between these two stages, the ellipsis is the geometric form which has never left his artistic life. The present thesis seeks to bring to the surface what is immersed in the depth of these productions in his first stage, which has an universal character and in the later one, after the acception of his ethnic identity. The understanding of his work will enable us to find answers on the personal life of this Japanese immigrant artist

Mediante o cotejo interdisciplinar entre a crítica historiográfica, a análise fílmica e a interpretação psicanalítica nas linhas freudiana e lacaniana, essa pesquisa investigou quatro obras cinematográficas comissionadas pelo governo nazista durante a Segunda Guerra Mundial com a finalidade de promoção de suas políticas raciais e de gênero: Jud Süß (1940), Die große Liebe (1942), Münchhausen (1943) e Titanic (1943). A partir dessas produções, o estudo perscrutou os sistemas de justaposição de fantasias socialmente partilhadas aos denominadores ideológicos do nacional-socialismo. Identificou, igualmente, os processos de negociação entre as instâncias da indústria cultural e as agências governamentais para alinhar o desejo e a doutrina na forma flutuante da fantasia cinematográfica. / Making use of instruments pertaining to the domain of historical criticism, filmic analysis and psychoanalytic theory under Freudian and Lacanian guidelines, this research investigated four cinematographic works commissioned by the Nazi government during World War II aimed to promoting its racial and gender policies: Jud Süß (1940), Die große Liebe (1942), Münchhausen (1943) and Titanic (1943). Through these films, the analysis examined the systems of juxtaposition between socially shared fantasies and the ideological denominators of National Socialism. The research identified also the schemes of negotiation between instances of cultural industry and government agencies in order to align desire and doctrine in the floating form of film fantasy.

Submitted by Renata Lopes (renatasil82@gmail.com) on 2017-05-15T12:01:18Z No. of bitstreams: 1 luizantoniobellettirodrigues.pdf: 3478475 bytes, checksum: df3bca29cc703f6acc7619f6635680c4 (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2017-05-17T15:52:29Z (GMT) No. of bitstreams: 1 luizantoniobellettirodrigues.pdf: 3478475 bytes, checksum: df3bca29cc703f6acc7619f6635680c4 (MD5) / Made available in DSpace on 2017-05-17T15:52:29Z (GMT). No. of bitstreams: 1 luizantoniobellettirodrigues.pdf: 3478475 bytes, checksum: df3bca29cc703f6acc7619f6635680c4 (MD5) Previous issue date: 2017-02-14 / Durante a Segunda Guerra Mundial e sob o regime do Estado Novo, o governo brasileiro passou a perseguir estrangeiros residentes no país, oriundos dos países com o qual o país estava em guerra: Itália, Japão e Alemanha. As perseguições aconteceram de diversas formas e em diversos locais. Este trabalho analisa como os mecanismos de repressão e perseguição a estes estrangeiros aconteciam, tanto explicitamente como de forma tácita. O estudo foi feito através de análise quantitativa e qualitativa de processos no Arquivo do Crime do Arquivo Histórico de Juiz de Fora, pesquisa em jornais da época e documentos do Arquivo da Polícia Política, existentes no Arquivo Público Mineiro. O período estudado abarca o período entre 1939 e 1945, os anos de guerra. A análise das fontes abrange quatro questões historiográficas: o Estado Novo e como o entendemos hoje; a política de nacionalização de estrangeiros; a participação do Brasil na Segunda Guerra Mundial e, por fim, a perseguição aos estrangeiros e seus descendentes, vindos de países com que o Brasil estava em guerra, um dos muitos aspectos da repressão do Estado Novo. / During World War II and under the Estado Novo regime, Brazil began to persecute the foreigners, resident in the country, from the countries with which it was at war, Italy, Japan and Germany. The persecutions took place in different forms and in different places. This research analyzes how the mechanisms of repression and persecution of these foreigners occurred, both explicitly and tacitly. The study was carried out through a quantitative and qualitative process analysis in the Crime Archive at Juiz de Fora Historical Archive, research in periodicals and documents of the Political Police Archive, in the Arquivo Público Mineiro. The period studied covers the war years, from 1939 to 1945. The analysis of the sources covers four historiographical questions: the Estado Novo and how we understand it today; the nationalization policy of foreigners; the participation of Brazil in World War II and, finally, the persecution of foreigners and their descendants, of countries with which Brazil was at war, one of many aspects of the Estado Novo repression.

After the end of War World II, Latin-American literature has used the theme of Nazism to create and recreate a wide variety of stories. In some cases, these stories are conceived as a critique to specific aspects of real life, which reminds the reader of the often blurred duality between reality and fiction. This critique is based on the relationship of the characters in the stories, as well as by the socio-political and philosophical views they represent, as can be seen in Juan G. Vásquez’s Los informantes or Jorge E. Pardo’s El pianista que llegó de Hamburgo, both novels written by Colombian authors. Furthermore, it can also be seen in Argentinian literature, as examined here in two specific narratives, Jorge Luis Borges’s short-story, “Deutsches Requiem,” and Osvaldo Bayer’s novel Rainer y Minou. Each of these incorporates the theme of Nazism or topics related to it, and therefore, in this project I set out to analyze how these narratives represent Nazism from a fictional point of view, while also examining how the political and social aspects of each particular case shape the narratives as they relate to the incursion of Nazism in their plot. This, for example, is the case of the blacklists in Los informantes or the irony from escaping a European country in the midst of a war to end up living in a Latin-American country that faces an even worse situation, as is narrated in El pianista que llegó de Hamburgo. The mentality of a Nazi German soldier and his reasons to transform the world is also presented in “Deutsches Requiem,” to conclude this analysis with the representation of guilt and shame that is passed to the children of Nazi soldiers condemned for executing Jews in Rainer y Minou.

The theme of this work is an Allied Arctic convoy PQ 16 and its connection to history within the military, but political and military history of everyday life. For this voyage and its associated naval battle took place at the end of May 1942. In the seven chapters deals with both sailing alone group PQ 16, as well as the Allied naval strategy and tactics applied on the Arctic battlefield of World War II. In the context of interpreting the meaning convoys in terms of material assistance to the Soviet Union, the text includes a broader discussion of research on this issue globally, especially in connection with the frequent ideological load previous research on both sides of the warring blocks. Work is mainly based on unpublished archival sources from the UK, while also dealing with the possibilities of their analysis and interpretation in the context of research nautical history of the Second World War. The conclusion concerning the appraisal výzamu convoy PQ 16 as a major naval victory of the Allies. KEYWORDS World War II, naval war, allied arctic convoys, naval strategy

During World War II, the United States Army employed a new weapon on the battlefield in an attempt to defeat German armor tactics: the tank destroyer. Tank Destroyer Force was created to stem the tide of German armored attacks and form an opening for American tanks to make their own counter-attacks. Since the end of the war, tank destroyer battalions have been regarded as a failed experiment, despite the evidence that they effectively did their jobs. The negative feedback in the immediate post-war period lead to the dissolution of the Tank Destroyer Force. Many of the studies of tank destroyers focus on the doctrine they followed and the faults in it. However, most of the studies do not look at the successful application of tank destroyer doctrine in the field by tank destroyer battalions. This paper will examine operations of the 773rd Tank Destroyer Battalion and its application of tank destroyer doctrine during the Battle of Chambois from August 17-21, 1944, for which it won a Presidential Unit Citation.