Dissertationen zum Thema „1879-1941“

The aim of this dissertation about Social History of Culture is to approach the presence of photography, a sign of modernity, in a city of the state of Minas Gerais in Brazil. The specifications of the insertion of São João Del Rei, a city with a strong colonial tradition, are analysed in some speeches about progress and modernity, having André Bellos photographs (1879 1941) as the photograph representations of the city and its inhabitants. For this purpose, the dialogs that he had in his speeches with the modernity and progress, with the universe of photography, and with the speeches about São João Del Rei, produced by academic dissertation authors and chroniclers of local periods, are considered in this piece of work. In this context, the photography appears as a symbol of a kind of modernity that embodies either the signs of material progress and the signs that connect the city and its inhabitants to their ancient colonial times.
O objetivo dessa dissertação de História Social de Cultura é abordar a presença da fotografia, signo da modernidade, em uma cidade do interior de Minas Gerais. Analisa-se as especificidades da inserção de São João del Rei, de arraigada tradição colonial, nos discursos sobre progresso e modernidade, a partir do trabalho de André Bello (1879-1941), ou seja, das representações fotográficas construídas por ele sobre a cidade e seus habitantes. Para tanto, estaremos considerando os diálogos que esse fotógrafo manteve com os discursos sobre modernidade e progresso, com o universo da fotografia e com os discursos sobre a cidade de São João del Rei, produzidos por memorialistas e cronistas de periódicos locais. Nesse contexto, a fotografia aparece como símbolo de uma modernidade que engloba tanto os signos do progresso material, quanto aqueles que vinculam a cidade e seus habitantes a seu passado colonial.

Dans ce travail nous explorons quelques productions littéraires d'Emile Nelligan et de Claude Beausoleil, tous deux poètes, le premier, annonçant une nouvelle poétique québécoise, et le deuxième traversant tous les parcours et détours de la poésie contemporaine à partir de 1972. Le fil conducteur de cette recherche est la manifestation de la modernité poétique au Québec à travers l'oeuvre d'Emile Nelligan et de Claude Beausoleil, en particulier pour ce dernier, d'"Intrusion ralentie, Au milieu du corps l'attraction s'insinue" et "Baroque du nord", ouvrages de référence pour lire les itinéraires en poésie québécoise. Nous avons pris en compte l'évolution et les transformations de la littérature québécoise à partir du début du XXe siècle jusqu'à 2003, année de publication de "Baroque du nord", en nous attachant aux désirs de ces deux auteurs pour s'installer dans les chemins de l'écriture et de l'acte poétique. Partant des études sur la modernité, nous avons souligné l'originalité de la vision esthétique de Nelligan et de Beausoleil. L'un voulant, même au prix de son bonheur intime, devenir poète ; l'autre, parcourant les espaces urbains montréalais pour décrypter une identité, un langage et rendre les possibles de la page. Nous avons montré aussi les liens intertextuels entre ces deux auteurs. L'exemple le plus probant est la référence permanente de l'écriture beausolienne aux voix de Nelligan, source d'inspiration de son oeuvre prolifique, au même titre que Gaston Miron et Hubert Aquin. Sur ces bases nous proposons la lecture de ce travail et montrons que c'est justement la composante de filiations et parentés qui confère au texte beausolien son caractère polyphonique et postmoderne
In this paper we explore some of literary productions of Emile Nelligan and Claude Beausoleil. The first one introduced a new poetic expression of Quebec, and the second followed the roads and trails of contemporary poetry starting in 1972. The common thread running through this research is the introduction of the modern poetry of Quebec, especially in Beausoleil's reference books d'"Intrusion ralentie, Au milieu du corps l'attraction s'insinue" and "Baroque du nord". We took into account the evolution and transformation of Quebec literature from the beginning of the twentieth century until 2003, the year of publication of "Baroque du nord". Our focus was the desires of the two authors to settle in paths of writing and the art of poetry. Based on studies of modern literature, we emphasized the originality of the esthetic vision of Nelligan and Beausoleil. The former wants, even at the cost of his personal happiness, to become a poet. The latter is scanning the Montreal urban spaces to uncover and place the city's language, its identity, on the page. We have also demonstrated the intertextuel relationship between these two authors. The most conclusive observation is the continual reference of Nelligan in Beausoleil's writings, a source of inspiration not only for his prolific work, but for Gaston miron and Hubert Aquin as well. On this basis we suggest reading this work where we show that it is precisely this combination of affiliations and relationships which gives the text of Beausoleil its polyphonic and postmodern character

Orientador: Laymert Garcia dos Santos
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
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Resumo: O ponto de partida desta tese foi a observação das reações das pessoas diante das mudanças introduzidas pela teoria da Relatividade no conceito de tempo. As pessoas às quais me refiro são as do senso comum; estas, em geral, mostram certo desconforto em relação às múltiplas medidas do tempo previstas na teoria. Ao reagir contra o incômodo que a teoria provoca, o senso comum parece preferir permanecer apegado ao caráter absoluto do tempo newtoniano, apesar da já centenária teoria de Einstein. Daí o título da tese, O Anacronismo do Tempo. A investigação das referidas reações revelou a ressonância entre elas e a inquietação do filósofo Henri Bergson em relação ao mesmo tema. O debate sobre a Relatividade de 1922 entre Bergson e Einstein levantou a questão do significado filosófico do tempo, mas esta foi ofuscada pelo sucesso acadêmico e popular da teoria. Apesar das falsas aparências, Bergson não desejava preservar o tempo absoluto ou contestar a Relatividade, mas tentava retirar dela a pretensão de reduzir a duração a um psicologismo. Para o filósofo francês, é através das sinergias entre inteligência e intuição e entre física e metafísica que a humanidade pode construir uma ciência completa. Esta tese procura mostrar que Bergson vislumbrou na teoria de Einstein a oportunidade de recolocar a questão do tempo a serviço destas sinergias
Abstract: The starting point of this thesis was the observation of people's reactions in face of the changes introduced to the concept of time by Theory of Relativity. The people I refer to are those who have common sense and who, in general, display a certain level of discomfort in what concerns the multiple measurements of time predicted in the theory. In reacting against this discomfort provoked by the theory, common sense seems to prefer to cling to the absolute character of Newtonian time, in spite of Einstein's a-hundred-year old theory. Hence, the title of the thesis, The Anachronism of Time. The investigation of the above mentioned reactions has revealed a resonance between them and French philosopher Henri Bergson's restlessness concerning the same theme. The 1992 debate about Relativity between Bergson and Einstein raised the question of the philosophical meaning of time but this question was neglected due to the academic and popular success of the theory. Despite false appearances, Bergson didn't want to either preserve absolute time or contest Relativity, but tried to remove from it the intention of reducing the duration to a psycho-logic. For Bergson humanity can construct a complete science through synergies between intelligence and intuition and between physics and metaphysics. This thesis proposes to demonstrate that Bergson saw in Einstein's theory the opportunity to put the question of time to the service of these synergies
Doutorado
Doutor em Ciências Sociais

Emile Nelligan est un poète de référence. Il est vrai qu'il a été le premier à s'exprimer à la première personne du singulier et à utiliser des images singulièrement fortes. Son talent a été découvert par Louis Dantin qui l'a préfacé. Sa célébrité a été renforcée par quelques apparitions aux séances de l'école littéraire de Montréal. Cette poésie sans référence au pays natal a généré une querelle entre exotistes et régionalistes. L'hommage rendu au poète incitera des amateurs à écrire. Rejean Ducharme fera réciter ses vers par ses personnages de roman, tous des adolescents épris de liberté. Charles ab der Halden fut le défenseur, en France, de la poésie canadienne-française et de Nelligan. Cette poésie est si énigmatique que la mise en parallèle de différentes interprétations du poème La vierge noire aide à une meilleure interprétation. Emile Nelligan initie la poésie de l'intériorité. Un rapprochement avec Arthur Rimbaud s'impose tant les deux grands mythes sont comparables. Poète de la solitude, Emile Nelligan a-t-il influencé les grands poètes contemporains? Saint-Denys Garneau qui avoue ne pas le connaitre ressent un malaise comparable mais pratique une poésie plus libérée. Alain Grandbois, par sa personnalité et sa forme poétique, s'éloigne de la poésie de Nelligan mais cherche comme lui un ailleurs pour abolir le temps et l'espace. Anne Hébert semble, par une parole libératrice, donner réponse aux sujets d'angoisse de Nelligan. Les thèmes récurrents communs à tous ces poètes permettent d'envisager un particularisme québécois. Des écrivains plus jeunes comme Normand Chaurette et Claude Beausoleil se réfèrent à Nelligan montrant ainsi que celui-ci a facilité la naissance d'une identité québécoise. C'est pourquoi Emile Nelligan appartient incontestablement à la postérité.

Seminario para optar al título de Ingeniero Comercial, Mención Economía
La presente investigación se cuestiona si el primer gobierno radical en Chile, liderado por Pedro Aguirre Cerda (1938 – 1942) tuvo un impacto estadísticamente significativo en Educación, usando como variable relevante para esto la tasa de alfabetismo. Para esto, se confeccionó una base de datos panel utilizando los Censos en la Población en Chile de 1907, 1920, 1930, 1940, 1952, 1960 y 1970. Con este panel, y mediante regresiones econométricas, se estimó un modelo para testear la veracidad de nuestra hipótesis, “el gobierno de Pedro Aguirre Cerda si tuvo un impacto significativo en educación, sobre ciertos grupos en particular”. La metodología consistió en, separando a la población en grupos de edad, suponer grupos afectados y no afectados por las políticas de Pedro Aguirre Cerda, y estimar la diferencia entre estos grupos. Los resultados de la investigación arrojan que no hay evidencia estadística que pueda afirmar que hubo un impacto de Pedro Aguirre Cerda en las tasas de alfabetismo de dichos grupos. Como conclusión, es relevante considerar las limitaciones del presente trabajo, como también su aporte para investigaciones posteriores.

(I) La technique mathématique incorpore en permanence des questionnements qui ouvrent sur des métaphysiques transversales : métaphysique des notations ; métaphysique de l'expansion symbolique ; métaphysique du caractère irréversiblement et nécessairement synthétique du Calcul. Sur un plan trans-historique, l'exigence ubiquitaire et reproductible de généralisation manifeste un autre aspect de l'irréversibilité du questionnement mathématique, car ce qui est technique exprime et étudie les questionnements dans leur complexité ramifiée-démultipliée. De plus, caractère auto-compulsif du Calcul, nécessité interne des combinatoires, gouvernance transformationnelle des symboles et genèse incontournable du Multiple par l'Un incitent à entrevoir une morphogenèse a posteriori du Concept dans et par le Calcul. Enfin, l'universalité des ouvertures mathématiques montre que les connaissances demeurent potentielles et que les totalisations cachent toujours des connaissances non structuralistes qui sont d'un niveau synthétique supérieur. (II) Est-il possible de caractériser l'espace euclidien tridimensionnel qui s'offre si immédiatement à l'intuition physique au moyen d'axiomes mathématiques simples et naturels ? Plus généralement, est-il possible de caractériser les espaces de Bolyai-Lobatchevskii à courbure constante négative, ainsi que les espaces de Riemann à courbure constante positive, à l'exclusion de toute autre géométrie contraire à une intuition directe ? Les travaux de Sophus Lie, et notamment la Theorie der Transformationsgruppen (2100 pages, 1884--93) écrite en collaboration avec Friedrich Engel, offrent une solution complète et rigoureuse à ce problème soulevé et traité de manière incomplète par Helmholtz. L'introduction historique, philosophique et mathématique ainsi que la traduction française qui sont proposées aspirent à faire connaître un aspect de l'{\oe}uvre monumentale de Sophus Lie qui demeure essentiellement peu évoqué au sein de la philosophie traditionnelle de la géométrie. (III) Le mémoire de doctorat s'achève par une traduction anglaise annotée du premier volume de la Theorie der Transformationsgruppen
The mathematical technique permanently incorporates questionings which open up transversal metaphysics : metaphysics of notation ; metaphysics of symbolic swelling ; metaphysics of the irreversibly and necessary synthetical character of Calculation. At a trans-historical level, the ubiquituous exigence of generalization demonstrates another aspect for the irreversibility of mathematical questioning, because what is technical expresses and studies questionnings in their ramified-demultiplied complexity. In addition, auto-compulsory character of Calculation, internal necessity of combinatorics, transformational governing of symbols, and genesis of the Multiple by the One incite to foresee an a posteriori genesis of the Concept inside and by means of the Calculation; Lastly, the universality of the Open in mathematics shows that knowledges remain potential and that tentative totalisations always hide non-structural knowledges that lie in deeper synthetical levels. (II) is it possible to characterize the Euclidian space which shows up so immediately to the physical institution by means of mathematical axioms that are simple and natural ? More generally, is it possible to characterize the constant curvature spaces of Bolyai-Lobatchevskii, and as well the constant curvure Riemann spaces, excluding any other geometry which contradicts direct intuition ? The works of Sophus Lie, and notably the Theorie der Transformationsgruppen (2100 pages, 1884--93), written in collaboration with Friedrich Engel, offer a complete and rigorous solution to this problem, raised and treated incompletely by Helmholtz. The historical, philosophical and mathematical introduction, ans as well the French translation that are here proposed aim at exhibiting an aspect of the monumental work of Sophus Lie that remains essentially rarely mentioned within traditional philosophy of geometry. (III) The doctoral memoir ends up with an annotated English translation of the first volume of the Theorie der Transformationsgruppen

Tout en définissant des modalités d’écriture nouvelles, E. M. Forster et Virginia Woolf continuent d’entretenir des liens étroits avec leurs prédécesseurs victoriens et maintiennent avec eux un dialogue ininterrompu. Chacun des deux auteurs passe cet intertexte au crible de sa propre écriture, en développant des stratégies d’adaptation et de détournement qui lui sont propres. Pour prendre possession de cet héritage commun, Forster et Woolf réinvestissent les bastions de l’appartenance victorienne et le fief symbolique de grandes figures littéraires, telles que Thomas Carlyle, John Ruskin et Matthew Arnold. Résolus à exorciser les spectres de la Muscular School, ils font des incursions sur le territoire de Thomas Hughes et Charles Kingsley. Pour redéfinir la conception arnoldienne de la culture, ils s’approprient la figure vagabonde du « scholar-gipsy », et mettent en œuvre une pratique de la lecture buissonnière, hors des sentiers battus du canon. Leur réflexion sur l’appartenance littéraire les amène également à revisiter les grands foyers intellectuels du XIXe siècle : les débats philosophiques des « illumers » de Cambridge, la rhétorique flamboyante de Thomas Carlyle, la pensée éclairée de Leslie Stephen, l’imaginaire lumineux de John Tyndall. Au fil de ces pèlerinages littéraires, Forster et Woolf font dévier les itinéraires commémoratifs associés aux romans des sœurs Brontë, à l’imaginaire muséal ruskinien, et aux pageants historiques de Rudyard Kipling
As well as crucial experiments in form and style, the works of E. M. Forster and Virginia Woolf bear the mark of a vital connection and a continuing dialogue with their Victorian forebears. Engaged in constant critical debate with one another, both writers submit the works of their predecessors to their own specific strategies of adaptation and subversion. In an attempt to come to terms with this common legacy, Forster and Woolf make frequent and disruptive pilgrimages on Victorian territory and revisit the literary haunts of renowned men of letters such as Thomas Carlyle, John Ruskin and Matthew Arnold. Determined to confront the ghosts of the Muscular School, they trespass on the literary ground of Thomas Hughes and Charles Kingsley. To revise Matthew Arnold’s vision of culture, they appropriate the poetic figure of the « scholar-gipsy » and advocate the practice of truant reading, off the beaten track of the literary canon. Their meditation on textual legacy also leads them to revisit the works of nineteenth-century luminaries : the philosophical discussions of the Cambridge « illumers », the flamboyant rhetoric of Thomas Carlyle, the enlightened writings of Leslie Stephen, the imagery of light in John Tyndall’s works. During those literary pilgrimages, Forster and Woolf depart from the commemorative itineraries connected with the Brontë sisters’ novels, John Ruskin’s art criticism, and Rudyard Kipling’s historical pageants

Partant de l'influence de la photographie victorienne de Julia Margaret Cameron, de la photographie et du cinéma d'avant-garde des années 1920 et de la production photographique de Virginia Woolf elle-même (albums de Monk's House), cette étude pose l'hypothèse que l'écriture de Virginia Woolf s'en inspire pour devenir à la fois photographique et cinématographique, photo-cinématographique. Explorant le texte comme dispositif complexe, nous analysons la plasticité de sa prose à travers motifs et stratégies de représentation afin de voir dans quelle mesure photographie et cinéma réforment et reforment le texte woolfien, dans ses modalités formelles et esthétiques, ainsi que dans sa portée éthique et politique. Après avoir replacé l'œuvre dans son contexte moderniste et souligné l'importance du rôle joué par la Hogarth Press, qui permet à l'écrivaine d'intégrer des images en texte, nous mettons en évidence le cinématisme de ses œuvres à travers l'exploration photo-filmique de la ville moderne et la structuration en montage du flux de conscience. Nous considérons ensuite le battement anachronique des fluctuations temporelles qui structurent l'œuvre dans ses phénomènes mémoriels de hantise et de survivance, l'image faisant retour en texte dans une durée contractée (instantané) ou dilatée (défilé d'images), à la fois personnelle et intime, collective et historique. Nous envisageons enfin le texte comme un espace de négociation subversif où l'image permet à l'auteure de prendre position "poéthiquement", alors que sont mis en scène des personnages atypiques à l'identité inassignable
This study contends that Virginia Woolf's writing draws its inspiration from Julia Margaret Cameron's Victorian photographs, the 1920s avant-garde photography and cinema, and Woolf's own Monk's House Albums, making her work at once photographic and cinematographic, or photo-cinematographic. Exploring the Woolfian text as a complex representation device, I examine the plasticity of its prose and narrative strategies to show how photography and cinema help to shape its aesthetic, but also ethical and political contents. This thesis first places Woolf's works in their modernist context and underlines the part played by the Hogarth Press, enabling Woolf to include images in her texts. I then shed light on the kinematic aspect of her work by analysing the photo-filmic exploration of the London scene and the montage of stream of consciousness. The third part probes into the anachronic rhythm of fluctuating time, emphasising the haunting aspects of memory through surviving images that condense their temporality in the instant (snapshot) or unroll it (streaming images) ; thus time achieves a personal and intimate, but also collective and historical dimension. Finally, I look at the Woolfian text as a subversive place of negotiation inhabited by eccentric characters with elusive identities and in which images help the author to make a "poethical" stand

This study's thesis is that instances of pastoralism in the works of Frank Bridge from 1914 to 1930 demonstrate a gradual darkening of his pastoral vision, and evince his increasingly complex relationship with the genre of pastoral music that flourished in English music in the early twentieth century (referred to in this study as 'the English pastoral tradition'). The study traces the change from the sensual and romantic idyll of Summer (1914-15), through progressively more ambiguous and darker manifestations of pastoral, and eventually to a bleak anti-pastoral vision in Oration (1930). This trend reflects Bridge's increasingly ambivalent relationship with the English musical establishment, his own radical change of musical language during these years, and significant changes in his personal circumstances. It also reflects the decline of romanticism and the rise of modernism in English music, a paradigm-shift that happened around the time of World War I, considerably later than in the music, literature and visual art of continental Europe. Chapters 1 to 3 examine the English pastoral tradition from three different contexts. Chapter 1 suggests that the English pastoral tradition may be understood as a genre, and describes a number of 'family resemblances' that run through and characterise it. Second, the English pastoral tradition is placed in the context of pastoral art from Classical times to the twentieth century, with a focus on pastoral in English literature. Finally, chapter 3 examines the social and cultural context of the English pastoral tradition and explores resonances between English society in the early twentieth century and the meaningstructures that underpin pastoral. The remaining chapters comprise a series of analytical discussions of six of Frank Bridge's works: Summer (1914-5), the first of the Two Poems (1915), Enter Spring (1926-7), There is a willow grows aslant a brook (1927), Rhapsody-Trio (1928) and Oration (1930). While a variety of analytical techniques are employed, the approach is broadly semiotic and focussed on musical meaning. Each analysis traces the relationships between signifying structures in the works and various musical and non-musical strands of the contextualising cultural discourse. As a result the works become the starting points for relatively wide-ranging discussions in which pastoralism in the music of Frank Bridge is understood as a site at which ideas of English nationalism and international modernism engaged with one another. Frank Bridge's place in this discourse, as revealed in the analyses of his works, becomes increasingly ambivalent and modernist.

Durée et Simultanéité, l’ouvrage que Henri Bergson consacre en 1922 à la théorie de la relativité, constitue le point de départ de cette étude. Celle-ci entend dégager la configuration conceptuelle dans laquelle intervient le philosophe, au croisement de la physique et de la métaphysique, dans une confrontation souvent implicite avec les différentes versions possibles de la relativité : celle d’Einstein, mais aussi celle de Lorentz et de Poincaré. Il s’agit donc d’éclairer un contexte historique en en extrayant une sorte d’épure qui permette de faire se rencontrer Einstein, Poincaré et Bergson sur des problèmes communs. La thèse suit deux fils conducteurs. D’une part, le concept d’éther, pris dans sa signification physique, mais également philosophique (celle d’une connexion universelle des phénomènes). D’autre part, un couple de principes que chaque protagoniste articule et interprète à sa manière : le principe de localité (1ère partie) et le principe de relativité (2e partie). Sur cette base, il apparaît que les arguments de Bergson concernant l’universalité du « temps réel » croisent des motifs qui doivent autant à Poincaré qu’à Einstein. Une partie des malentendus liés à la réception de Durée et Simultanéité s’en trouve éclairée (3e partie)
Henri Bergson’s 1922 essay on relativity theory, Durée et Simultanéité (Duration and Simultaneity), is the origin of this study. The conceptual framework in which Bergson operates belongs to physical theory as well as metaphysics ; it involves an often implicit confrontation with conflicting versions of relativity : that of Einstein, but also that of Lorentz and Poincaré. The aim of this study is to shed light on this historical context, while extracting a working model in which Bergson, Einstein and Poincaré can be shown to address common issues. The thesis follows two main threads. The first thread is the aether concept considered in its physical implications as well as in its broader metaphysical scope (as the connecting principle of all phenomena). The second thread is the conjunction of the principle of locality (part I) with the principle of relativity (part II), which each of the protagonists interprets in its own way according to a specific montage. Bergson’s arguments concerning the universality of « real time » (or duration) are often better understood with reference to Poincaré. This explains part of the misgivings surrounding the reception of Durée et Simultanéité (part III)

English composer Frank Bridge (1879-1941) is well known as Benjamin Britten's teacher and to a lesser degree for his chamber music. Because his mature creative period occurred between the First and Second World War, his works were not well studied or performed until the 1970s, well after his death. This dissertation discusses Bridge's life and his music, how World War I affected in this work, and specifically the work Oration Concerto Elagiaco. Oration is considered historically in terms of its meaning and delayed premiere. Additionally, the work's fantasy arch form, Bridge's signature compositional style, and the character of each section is discussed. Finally, this dissertation provides a practical guide to the work, providing practice and performance suggestions for the numerous complex and technically challenging portions of the concerto.

Thesis (Ph. D.)--University of Oregon, 2008.
Typescript. Includes vita and abstract. Includes bibliographical references (leaves 234-242). Also available online in Scholars' Bank; and in ProQuest, free to University of Oregon users.

L'idée générale de la recherche, intitulé Géographie scientifique, enseignement et propagande. Les représentations du territoire national en Hongrie à l'époque de l'entre-deux-guerres, était d'observer l'évolution des représentations du territoire qualifié de national, en élargissant la notion de géographie afin de pouvoir prendre en compte les disparités des représentations parvenues aux différentes couches de la société. La thèse analyse compare et interprète les représentations du territoire national de la période de I'entre-deux-guerres, ge la géographie scientifique aux ' représentations de la propagande officielle en passant par l'enseignement de la géographie. L'analyse englobe l'examen de sources écrites, iconographiques, cartographiques et cinématographiques. Dans la mesure du possible l'auteur compare ses résultats avec les représentations de l'époque précédant la traité de Trianon (1920), afin de pouvoir formuler une opinion sur l'évolution des types de ' représentation, leurs composantes, les changements de leur poids relatif, ainsi que leur continuité ou leur discontinuité. Plus brièvement, à titre d'indication et de contraste, il évoque aussi les -changements de représentations survenus après la Seconde Guerre mondiale et la prise de pouvoir communiste. La conclusion la plus importante formulée dans la thèse de doctorat postule un revirement géographique, plus précisément territorial, qu'aurait subi dans l'entre-deux-guerres la conception de la nation en Hongrie
The general idea of the research, entitled Geography, education and propaganda. Representations of the national territory in Hungary in the inter-war period was to observe the changing representations of the territory described as national by broadening the concept of geography in order to take into account differences in representations received by the different layers of society. The thesis analyses, compares and interprets representations of the national territory of the period between the wars, from scientific geography to the representations of official propaganda through the teaching of geography; The analysis involves the examination of written sources" pictures, maps and movies. Wherever possible, the author compares his results with the, situation of the time before the Treaty of Trianon (1920), in order to formulate an opinion on the changing patterns of representation, their components, changes in their relative weight, and their continuity or discontinuity. More briefly; as an indication and contrast, he also evokes changes in representations that occurred after the Sec0l!d World War and the communist takeover: The most important conclusion made in the thesis postulates a geographical and more precisely territorial shift in the conception of the nation in Hungary during the inter-war period

Pro-sioniste en 1947, favorable à l'Egypte en 1956, la politique soviétique au Proche-Orient a connu de multiples retournements. En se fondant sur les archives soviétiques, dépouillées ici pour la première fois, la thèse étudie les différentes séquences de cette politique : soutien de Moscou à la création d'Israel, dégradation, rupture puis rétablissement des relations soviéto-israéliennes, construction de l'alliance avec l'Egypte. Elle montre l'étroite articulation entre les facteurs internes et externes dans la définition de la politique étrangère de l'URSS à travers trois aspects : le rôle de l'idéologie, la lutte pour le pouvoir au sommet de l'Etat-parti soviétique et la question des juifs d'URSS. L'analyse de ces facteurs confirme l'hypothèse selon laquelle il existe un lien entre le mode de gouvernement d'une société et le comportement d'un état sur la scène internationale. A partir de l'étude des documents du ministère des affaires étrangères de l'URSS et de ceux du PCUS, ce travail conclut que la politique soviétique à l'égard du conflit israélo-arabe fut en grande partie improvisée et était motivée à la fois par des considérations ideologiques et géopolitiques. Elle fut une politique de puissance participant avec les autres acteurs à un jeu d'équilibre des forces sur la proche-orientale, mais elle reposait sur une représentation du monde définie à partir des catégories de l'ami et de l'ennemi.

Julia Margaret Cameron, Alfred Tennyson, and Virginia Woolf: three major figures of British art and letters who have received much critical attention individually, but have not yet been studied together. In this project I consider the valedictory works of these artists at their convergence, first through their obvious geographic, familial, and aesthetic relationships, then in more subtle, deeper, and overarching dimensions. The chief texts that are the focus of this dissertation are Tennyson's Idylls of the King, plus five of the Laureate's most popular poems; Cameron's photographic illustrations of these poems; and a selection of Virginia Woolf's late work, with a focus on "The Searchlight," Three Guineas, Between the Acts, and Anon. The dissertation also makes use of apposite poems, essays, life writing, and fiction created by these artists. Since "The Theatre of Anon" focuses primarily on Cameron's Illustrations, a chapter containing photographs of all the books' pages concludes the dissertation text. An additional selection of images is included as an appendix, in support of the central thesis of this project. The complex friendship between Tennyson and Cameron inspired the latter's only published book, a collection of poetic excerpts accompanied by images of his poems staged as scenes from amateur theatricals. The photos, with the photographer acting as their playwright-director, evoke the literary pageant in Woolf's last novel. In photographing the Illustrations, Cameron took control of the Laureate's poetry, metaphorically assuming the role of Vivien stealing Merlin's poetic spells. This dissertation traces Woolf's perception of her great aunt as it evolved over the decades, beginning with the eccentric, affected, and comical Cameron of Freshwater (1926) and ultimately portraying her as a dynamic, determined, and creative artist who helped provide inspiration for the character of the playwright-director Miss La Trobe of Between the Acts (1940). I argue that her great aunt's work influenced Woolf to create the figure she called Anon as a counterpart to Tennyson's King Arthur, and to place La Trobe's pageant-play at the center of her last novel, Between the Acts, as a final act of homage to Cameron. An aggregate of all anonymous minstrels, artists, and authors who ever lived, Anon appears in the guise of Miss La Trobe, whose communal, participatory art demonstrates how the traditionally monocular "eye" of history can be enlarged in community theatre from a single "I" to a collaborative project accommodating multiple perspectives. The Arthurian chivalry to which the ideology of Anon is set in counterpoint represents a conservative point of view based on the belief in a divinely-ordained social order headed by a monarch, with prescribed roles for each of its members. Valor in combat and devotion in courtly love, chivalry's two chief expressions, are the basis of Arthur's knightly code, which has influenced British national character and identity from the country's founding. Arthur reached his Anglophone apotheosis in the nineteenth-century's Gothic revival, epitomized in Tennyson's Idylls of the King. At the end of her career, at the start of the Second World War, Woolf came to believe that theatrical performance offered a better paradigm for social organization than the chivalric hierarchy at the root of the patriarchal British Victorian culture in which she had grown up. She saw in the community theatre a gathering place that could foster moments of transcendent unity, intellectual freedom, and imaginative inspiration, and in drama an art form resilient enough to withstand an audience's interruption and disillusionment. Performance provided a collaborative alternative to the conservative constraints that were her Victorian legacy; history, she felt, could be more accurately portrayed through the accretion of expressive theatrical performances than by the monolithic, linear narrative it had become as the official transcript of the nation's past. The theatricals scenes of La Trobe's pageant and Cameron's Illustrations - both composed of scraps and fragments of quotidian life rearranged and recombined - offer a new visual conception of the past. Working at the level of what Walter Benjamin has called photography's optical unconscious the dissertation demonstrates how Cameron's photographs reveal a reconstellation or reconfiguration, of the dominant British narrative from defamiliarized versions of the past that resonate with La Trobe's pageant. I propose that Cameron's photos re-envision canonical texts, inspiring a new mythology for Woolf, one that reflects a fluid and elastic version of the British national story. Challenging the received Carlylean conception of history as the biographies of great men, Woolf's counter-history, like Cameron's book of illustrations, features ordinary men and women playing extraordinary roles. The legendary Arthur, traditionally credited with uniting the country's thirteen tribes, founding Britain, and shaping the nation's identity, is but one actor among many in Woolf's pageant of history; his starring role in Tennyson's Idylls of the King is reduced to a few key scenes in the Illustrations and a cameo appearance in Between the Acts. Woolf implies that though there may still be room in history's narrative for heroic men, they will no longer dominate it. With its evolving, democratic nature, the community theatre created by Anon offers a paradigm of citizenship and social organization that Woolf believed could encompass British history, re-envision it, and offer the world's citizens hope for the future.

Based on a didactic unit about Colour, this work was developed for a public group from an eighth grade school class. From this Visual Arts' work proposal, emphasis was given to the importance of Art Education on the global formation of the individual and the development of creativity and critical thinking skills, while studying some of the well-known national and international modern artists. It was also considered a brief study of the Portuguese History of Art Education, mainly exploring drawing teaching methods. The legal framework was mentioned as an extra component for the understanding of Art Education reality nowadays. The study was concluded with an analysis of the Arts' Curriculum followed by the project method presentation, considering and introducing the theory developed by the author Bruno Munari, as a key-method of creativity development in school environment. The colour theories from Newton, Goethe, Munsell, Itten, Kandinsky, Klee and Albers are mentioned in this study, being the four last authors mentioned related as Bauhaus teachers. The Orphism is also introduced, as well as the artists’ lifes and art work: Robert and Sonia Delaunay, Amadeo de Souza-Cardoso and Eduardo Viana. In terms of historical context, the work focus the period of time Delaunay couple lived in Portugal, for being the time they had developed art projects together with the other two artists mentioned above. The work developed with the eighth grade classroom is presented and mentioned as the result of the study, that is concluded with a project based on the art work of the four modern artists already mentioned, proving this kind of educational art projects allows the students to develop new skills in terms of arts and culture knowledge as well as opens new paths in their education