Dissertations / Theses on the topic '1890-1979'

Le texte de jean rhys est le lieu d'une quete du referent. La chose, rendue incaccessible par les ecrans semiotiques du langage et du deja-dit, se refuse toujours au signe. Elle ne peut etre saisie qsue dans les zones d'ombre que les reseaux consensuels de la signification n'atteignent pas. Jean rhys met la reference en crise pour la reactiver. Elle travaille la forme romanesque de maniere a y faire entre l'ombre, sans jamais rompre avec la lisibilite du texte
Jean rhys's text is the locus of a referential quest. The thing, concealed by the semiotic screens of language and of previous texts, always eludes the sign. The referent can only be captured in the shadowy areas immune to the common signifying procedures. Jean rhys creates a referential crisis in order to reactivate reference. She refashions the novelistic form to give it access to the shadow without breaking away from "readability"

Bien que souvent qualifee de "simple" par la critique, l'ecriture de fiction de jean rhys doit avant tout sa remarquable force evocatrice a tout un ensemble de procedes stylistiques recurrents qui en font l'exutoire privilegie d'un esprit tourmente. Errant a travers leurs souvenirs et leur mal-etre existentiel, les heroines de jean rhys, dont il nous est do nne d'entendre la voix a travers une suite de monologues interieurs inepuisables, se presentent a tour de role comme des doubles de l'auteur, des mediatrices d'une vision tragique du monde. L'approche linguistique et stylistique, fondee pour l'essentiel sur les outils d'analyse fournis par les theories contemporaines de l'enonciation, nous permet d'apprehender la "complexite ordonnee" qui est au coeur du texte et qui reflete le processus mental ou, en d'autres termes, la strategie enonciative qui sous-tend l'emergence de chaque forme dans l'organisation finale du discours. Cette approche constitue en outre le moyen de mettre en evidence l'utilite du regard linguistique dans l'analyse litteraire, le texte se trouvant ainsi soumis aun nouvel eclairage qui revele sa logique interne et le montre comme produit coherent de la subjectivite particuliere qui lui donne naissance
Though often labelled as "simple" by a number of literary critics, jean rhys's writing owes a great part of its tremendous evocative power to a variety of recurrent stylistic devices which make it the vivid outlet of a tormented mind. Wandering through their memories and their existential suffering, jean rhys's heroines, whose discourse is to be heard throughout endless interior monologues, appear in turn as doppelganger of the author's inner self and as mediators of ther tragic vision of the world. The linguistic and stylistic approach, mostly founded on the latest developments of the contemporary theories of enunciation, brings us to the core of the "ordered complexity" harboured by the text. This complexity reflects the mental process or, in other words, the enunciative strategy which sets the stage for the occurences of specific forms in the final arrangement of discourse. This study is also meant to show how useful the linguistic approach can be in literary analysis since, throwing a new light on the text, it brings out its own logical organization and emphasizes the subjective workings that give it its lifeblood and its coherence

En esta tesis, intentaré presentar, a través del análisis de los Testimonios, el papel que Victoria Ocampo desempeñó como intelectual en la construcción de una cultura moderna en América Latina. Como lo comprueban las diez series de Testimonios, el aporte de Victoria Ocampo se centró en su labor de difusión cultural. Me interesa estudiar los Testimonios de Victoria Ocampo, debido a que presentan una nueva vertiente autobiográfica caracterizada por presentar experiencias a la manera de ensayos desde la perspectiva de los propios gustos e intereses de la autora. Los Testimonios me parecen originales porque no son ensayos convencionales, sino que más bien reflejan una escritura de corte personal, vinculada al género autobiográfico, que los convierte en ensayos literarios para ser estudiados en sí mismos y no como textos de consulta académica.
Tesis

Orientador: Italo Arnaldo Tronca
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
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Mestrado

Notre étude a pour titre Langues et territorialité dans l'écriture de Victoria Ocampo, auteur argentin du XXè siècle, première femme à intégrer l'Académie Argentine de Lettres. Le nom de cette femme célèbre reste aussi attaché à la création de la revue littéraire, Sur. Notre travail s’est centré sur son œuvre littéraire composé de 10 volumes intitulés Testimonios, de 6 volumes autobiographiques et d'essais divers. Son écriture recourt, en plus de l'espagnol, au français et à l’anglais. Ce plurilinguisme, le plus souvent mal perçu, est à reconsidérer. L'éducation, l'entourage, les goûts personnels sont à l’origine de liens particuliers avec le français. Si les rapports entre l'écrivain et ses langues ont évolué, le français et l'anglais ont continué à métisser son écriture. Derrière ce plurilinguisme, se trouvent une philosophie de l'expression et l'esprit même de cette œuvre
The title of our study is Languages and territory in the writings of Victoria Ocampo, argentinian contemporary authoress, the first woman to join the Argentina Academy of Litterature. The name of this famous woman is well known because of the creation of the review, Sur. We focused on her writings, ten books the title of which is Testimonios, her autobiography and some essays. Not only she wrote in Spanish but in French and English too. This multilingualism that was often badly received must be studied. Her education, background, tastes made her have special ties with French language. Even if the writer evolved in her reflexion on languages, French and English languages continued to be present in her writing. Thanks to this multilingualism, we can discover her philosophy of expression, the spirit of her works

Cette these prend pour objet d'etude la poetique de la voix chez jean rhys (18901979). Elle cherche a retracer le cheminement de cette voix, a la fois singuliere et polymorphe, qui se construit au fil des romans et nouvelles. Il s'agit d'une ~uvre en triptyque, orchestree autour de trois lieux de memoire, qui sont autant de paysages culturels : le paris-boheme des annees folles; la scene musicalede l'angleterre edouardienne; l'archipel caribeen de la grande epoque coloniale. Entrant en resonance (mais parfois aussi en dissonance) avec ces trois poles d'attraction, la voix du sujet rhysien emprunte un cours sinueux, et meme tortueux, qui la conduit du roman naturaliste francais jusqu'a la chanson traditionnelle creole en passant par le music-hall anglais de l'avant-guerre. La modernite rhysienne serait alors dans le choix - peu orthodoxe - d'un modernisme teinte d'antillanite. La voix rhysienne est invariablement liee aux arts de la scene, et elle se livre au travers de scenarios d'ecriture relevant simultanement du texte de theatre et de la partition musicale. Elle emprunte en particulier a une multitude de genres ou de registres traditionnellement consideres comme mineurs : chanson populaire, melodrame, pantomime, operette, comedie musicale, spectacle de varietes. La culture populaire constitue par consequent le volet central de l'approche "scenographique" developpee dans cette these. On s'est interesse en priorite aux rapports etroits qui se nouent entre le musichall edouardien et l'ecriture moderniste de fiction. Ce travail repond ainsi a une double preoccupation, esthetique et culturelle, cela afin de rendre compte de la complexe choregraphie des corps et des voix qui gouverne le texte rhysien.

Le grand dessein européen de Monnet, qui se compose d'une Europe unie, du partnership transatlantique et d'un concert mondial à trois, et la politique européenne du Général ne manquent pas des convergences. Néanmoins ces convergences ne pouvaient pas éliminer leurs divergences profondes. Si Monnet ne voyait aucun inconvénient dans la fusion totale des souverainetés française et d'autres pays européens, cela était intolérable pour de Gaulle, qui n'a accepté qu'une coopération bien que celle-ci puisse être très approfondie. En outre, les attitudes différentes à l'égard des États-Unis ont aggrave leurs divergences. Monnet acceptait l’OTAN et la direction des États-Unis sur le continent avant que l’Europe s'unisse. Cela a totalement contredit la position du Général. Par conséquent, l'un préconisait les « États-Unis d’Europe » et l'autre visait à créer l’ « Europe des états ». Mais Monnet a cherché un compromis jusqu'au premier veto du Général à l'entrée de la Grande-Bretagne. Il a désormais employé ses ressources dans la lutte contre la politique gaullienne. Son comité d'action a rassemblé la majorité des partis politiques des six. Amis de confiance des américains, Monnet participa de facto à l'élaboration de la politique européenne d'outre-Atlantique. Il a réussi à jouer le rôle du catalyseur, qui exerce l'influence sur les gens du pouvoir mais prend en même temps la distance du pouvoir. Monnet semble pourtant ne pas avoir eu la victoire dans sa lutte contre la politique gaullienne pendant les années soixante. Or à long terme, le grand dessein de Monnet est mis en réalité peu à peu. En 1991, l’Allemagne a été unifiée dans les cadre des communautés et de l’OTAN, non pas sur l'échiquier pan-européen voulu par de Gaulle. En outre, Monnet est devenu le symbole unique d'un engagement entier pour la construction européenne. Pourtant, cette construction européenne, pourra-t-elle conduire à la création d'une fédération européenne? Personne ne peut y répondre. Mais il est sûr que, pour une période encore très longue, la construction européenne continuera à se caractériser par une coexistence d'une certaine intégration et d'une certaine coopération. Il est donc regrettable que Monnet et de Gaulle n'aient pu arriver à une entente durable en matière d'affaires européennes pendant les années 1958-1969
Monnet's great design for Europe consisted of a unified Europe, a euro-American partnership and a world concert of big three. It was not entirely incompatible with de Gaulle’s European policy. However their divergences are huge. Monnet advocated a sovereignty merging, which was intolerable to de Gaulle. The latter preferred a traditional international cooperation. Besides, toward the USA, two men adopted different attitudes. Monnet accepted the American leadership on the continent before Europe is unified. That was in contradiction with de Gaulle’s policy. As a result, Monnet preconized a European federation while de Gaulle choosed the way to the confederation. But the clash didn't happen until de Gaulle imposed his first veto to the Great Britain’s participation to the common market in 1963. From that moment, Monnet tried his best to fight against de Gaulle’s European policy. His action committee gathers most of the political parties in the six member states of EEC. His personal relations with American leaders permitted him to de facto participate to the decision-making of the European policy of the USA. He played successfully the role of catalyzer. He had an influence upon the men with power but he took, at the same time, a distance from the power. Thought frustrated in the sixties, Monnet’s great design was partially realized in the following decades. In 1991, Germany was unified in the structure of NATO and EC instead of a pan-European system foreseen by de Gaulle. Later and later Monnet became the symbols of European integration movement. But will the integration lead to the creation of a European federation? Nobody knows it. However; in the foreseeable future, the European union will still consist of an integration and a cooperation. It is really regretful that Monnet and de Gaulle could not achieve a certain entente for Europe in the sixties

Dissertação de Mestrado apresentada ao Departamento de História do Instituto de Filosofia e Ciências Humanas da Universidade Estadual de Campinas sob a orientação do Prof. Ítalo Arnardo Tronca. Orientador: Prof. Dr. Ítalo Arnaldo Tronca. 2004
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Este trabalho é uma leitura do discurso apolítico, cosmopolita e cultural de Victoria Ocampo e de colaboradores da revista cultural argentina Sur como uma forma de oposição ao nacionalismo e às pressões pelo engajamento político do intelectual entre 1931 e 1955, período marcado pelo nazi-fascismo na Europa e pelo peronismo na Argentina.

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Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq)
Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
Latina é enfatizar a produção das mulheres inseridas nesse contexto, atentando para a importância de olhar as particularidades existentes na produção de autoria feminina latino-americana. Ana Pizarro (2004, p.168) chama a atenção para o discurso e o perfil de alguns grupos de escritoras que, nas primeiras décadas do século XX, estabelecem uma rede de contatos tanto intelectuais (leituras, diálogos) quanto pessoais. Isto acaba favorecendo uma postura de reflexão acerca da própria condição a que elas estavam circunscritas, é o que a autora denomina de «invisible college». Com base nesse conceito, a presente pesquisa visa a analisar a atuação de Cecília Meireles (1901-1964), Gabriela Mistral (1889-1957) e Victoria Ocampo (1890-1979) dentro do cenário cultural e literário latino-americano, mostrando, assim, a articulação desse (in)visible college existente entre Brasil, Chile e Argentina. A partir das cartas entre Gabriela Mistral e Ocampo, bem como entre Mistral e Cecília, pretende-se discutir o diálogo estabelecido entre elas em torno da concepção de “americanidade”, tendo como subsidio as próprias produções ensaística e literária das autoras, como também as correspondências que elas trocaram com o escritor mexicano Alfonso Reyes (1889-1959). Assim, pensa-se em discutir até que ponto a postura intelectual dessas mulheres compactua com as suas respectivas atividades literárias
Se nota que una de las tendencias de los estudios actuales de la crítica feminista en América Latina es señalar la producción de mujeres integradas en ese contexto, en que se destaca la importancia de observar las particularidades existentes en la producción de autoría femenina latinoamericana. Ana Pizarro (2004, p.168) llama la atención para el discurso y el perfil de grupos de escritoras que, en las primeras décadas del siglo XX, establecieron una red de contactos tanto intelectuales (lecturas, diálogos) como personales. Lo que les permitió una postura de reflexión sobre la condición misma que ellas estaban circunscritas, es lo que la autora denomina de «invisible college». Bajo este concepto, esta investigación pretende analizar la actuación de Cecília Meireles (1901-1964), Gabriela Mistral (1889-1957), Victoria Ocampo (1890-1979) dentro del escenario cultural y literario latinoamericano, mostrando, así, la articulación de ese (in)visible college entre Brasil, Chile y Argentina. A partir de las cartas entre Gabriela Mistral e Ocampo, así como entre Mistral y Cecília, se busca discutir el diálogo establecido entre ellas a lo que respecta a la concepción de “americanidad”, teniendo como aporte las producciones ensayística y literarias de las autoras, como también el cambio de correspondencias entre ellas y el escritor mexicano Alfonso Reyes. Así, se propone discutir hasta que punto la postura intelectual de esas mujeres acuerdan con sus respectivas actividades literarias

Ce travail explore le domaine d'intersection entre le texte et la sexualite, en proposant d'etudier l'inscription d'une subjectivite feminine au sein des recits de dorothy richardson (pilgrimage), katherine mansfiels (the collected short stories), et jean rhys (the left bank, quartet, after leaving mr mackenzie, et good morning, midnight). Il s'appuie sur les theories lacaniennes de l'ordre langagier pour faire apparaitre dans ces ecritures feminines des modeles enonciatifs particuliers, fondes sur une pratique de la litterature comme espace de lecture. La figure de la lectrice dans le texte surgit dans ces textes comme le trope revelateur de la nature discursive de la feminite qui s'articule a la sexuation des proces de la signification. Dorothy richardson, katherine mansfield et jean rhys, en textualisant la femme, orientent d'ecriture vers un deficit semantique, et, de diverses manieres, presentent la lecture comme un discours (du) feminin
This study explores the field of intersection between text and sexuality, as it proposes to examine the inscription of a feminine subjectivity within the fictional writings of dorothy richardson (pilgrimage), katherine mansfield (the collected short stories), and jean rhys (the left bank, quartet, after leaving mr mackenzie, and good morning, midnight). This analysis of gender takes root in the lacanian theories of the symbolic order of language in order to identify particular enunciative patterns, based on the practice of literature as a reading activity. The figure of the female reader in the text appears in these texts as the narrative locus for the exposition of the discursive nature of feminity and of gender identity, bound up with the sexual implications of signifying processes. By writing feminity into their texts, dorothy richardson, katherine mansfield and jean rhys direct the writing activity toward a semantic loss, and, through diferrent narrative strategies, offer a vision of reading as a feminine form of discourse, as the discourse of the female gender

Grace Crowley was one of the leading innovators of geometric abstraction in Australia. When she returned to Australia in 1930 she had thoroughly mastered the complex mathematics and geometry of the golden section and dynamic symmetry that had become one of the frameworks for modernism. Crowley, Anne Dangar and Dorrit Black all studied under the foremost teacher of modernism in Paris, André Lhote. Crowley not only taught the golden section and dynamic symmetry to Rah Fizelle, Ralph Balson and students of the Crowley-Fizelle Art School, but used it to develop her own abstract art during the 1940s and 1950s, well in advance of the arrival of colour-field painting to Australia in the 1960s. Through her teaching at the most progressive modern art school in Sydney in the 1930s Crowley taught the basic compositional techniques as she had learnt them from Lhote. When the art school closed in 1937 she worked in partnership with fellow artist, Ralph Balson as they developed their art into constructive, abstract paintings. Balson has been credited with being the most influential painter in the development of geometric abstraction in Australia for a younger generation of artists. This is largely due to Crowley’s insistence that Balson was the major innovator who led her into abstraction. She consistently refused to take credit for her own role in their artistic partnership. My research indicates that there were a number of factors that strongly influenced Crowley to support Balson and deny her own role. Her archives contain sensitive records of the breakup of her partnership with Rah Fizelle and the closure of the Crowley-Fizelle Art School. These, and other archival material, indicate that Fizelle’s inability to master and teach the golden section and dynamic symmetry, and Crowley’s greater popularity as a teacher, was the real cause of the closure of the School. Crowley left notes in her Archives that she still felt deeply distressed, even forty years after the events, and did not wish the circumstances of the closure known in her lifetime. With the closure of the Art School and her close friend Dangar living in France, her friendship with Balson offered a way forward. This thesis argues that Crowley chose to conceal her considerable mathematical and geometric ability, rather than risk losing another friend and artistic partner in a similar way to the breakup of the partnership with Fizelle. With the death of her father in this period, she needed to spend much time caring for her mother and that left her little time for painting. She later also said she felt that a man had a better chance of gaining acceptance as an artist, but it is equally true that, without Dangar, she had no-one to give her support or encourage her as an artist. By supporting Balson she was able to provide him with a place to work in her studio and had a friend with whom she could share her own passion for art, as she had done with Dangar. During her long friendship with Balson, she painted with him and gave him opportunities to develop his talents, which he could not have accessed without her. She taught him, by discreet practical demonstration the principles she had learnt from Lhote about composition. He had only attended the sketch club associated with the Crowley- Fizelle Art School. Together they discussed and planned their paintings from the late 1930s and worked together on abstract paintings until the mid-1950s when, in his retirement from house-painting, she provided him with a quiet, secluded place in which to paint and experiment with new techniques. With her own artistic contacts in France, she gained him international recognition as an abstract painter and his own solo exhibition in a leading Paris art gallery. After his death in 1964, she continued to promote his art to curators and researchers, recording his life and art for posterity. The artist with whom she studied modernism in Paris, Anne Dangar, also received her lifelong support and promotion. In the last decade of her life Crowley provided detailed information to curators and art historians on the lives of both her friends, Dangar and Balson, meticulously keeping accurate records of theirs and her own life devoted to art. In her latter years she arranged to deposit these records in public institutions, thus becoming a contributor to Australian art history. As a result of this foresight, the stories of both her friends, Balson and Dangar, have since become a record of Australian art history. (PLEASE NOTE: Some illustrations in this thesis have been removed due to copyright restrictions, but may be consulted in the print version held in the Fisher Library, University of Sydney. APPENDIX 1 gratefully supplied from the Grace Crowley Archives, Art Gallery of New South Wales Research Library)

Master of Philosophy
Grace Crowley was one of the leading innovators of geometric abstraction in Australia. When she returned to Australia in 1930 she had thoroughly mastered the complex mathematics and geometry of the golden section and dynamic symmetry that had become one of the frameworks for modernism. Crowley, Anne Dangar and Dorrit Black all studied under the foremost teacher of modernism in Paris, André Lhote. Crowley not only taught the golden section and dynamic symmetry to Rah Fizelle, Ralph Balson and students of the Crowley-Fizelle Art School, but used it to develop her own abstract art during the 1940s and 1950s, well in advance of the arrival of colour-field painting to Australia in the 1960s. Through her teaching at the most progressive modern art school in Sydney in the 1930s Crowley taught the basic compositional techniques as she had learnt them from Lhote. When the art school closed in 1937 she worked in partnership with fellow artist, Ralph Balson as they developed their art into constructive, abstract paintings. Balson has been credited with being the most influential painter in the development of geometric abstraction in Australia for a younger generation of artists. This is largely due to Crowley’s insistence that Balson was the major innovator who led her into abstraction. She consistently refused to take credit for her own role in their artistic partnership. My research indicates that there were a number of factors that strongly influenced Crowley to support Balson and deny her own role. Her archives contain sensitive records of the breakup of her partnership with Rah Fizelle and the closure of the Crowley-Fizelle Art School. These, and other archival material, indicate that Fizelle’s inability to master and teach the golden section and dynamic symmetry, and Crowley’s greater popularity as a teacher, was the real cause of the closure of the School. Crowley left notes in her Archives that she still felt deeply distressed, even forty years after the events, and did not wish the circumstances of the closure known in her lifetime. With the closure of the Art School and her close friend Dangar living in France, her friendship with Balson offered a way forward. This thesis argues that Crowley chose to conceal her considerable mathematical and geometric ability, rather than risk losing another friend and artistic partner in a similar way to the breakup of the partnership with Fizelle. With the death of her father in this period, she needed to spend much time caring for her mother and that left her little time for painting. She later also said she felt that a man had a better chance of gaining acceptance as an artist, but it is equally true that, without Dangar, she had no-one to give her support or encourage her as an artist. By supporting Balson she was able to provide him with a place to work in her studio and had a friend with whom she could share her own passion for art, as she had done with Dangar. During her long friendship with Balson, she painted with him and gave him opportunities to develop his talents, which he could not have accessed without her. She taught him, by discreet practical demonstration the principles she had learnt from Lhote about composition. He had only attended the sketch club associated with the Crowley- Fizelle Art School. Together they discussed and planned their paintings from the late 1930s and worked together on abstract paintings until the mid-1950s when, in his retirement from house-painting, she provided him with a quiet, secluded place in which to paint and experiment with new techniques. With her own artistic contacts in France, she gained him international recognition as an abstract painter and his own solo exhibition in a leading Paris art gallery. After his death in 1964, she continued to promote his art to curators and researchers, recording his life and art for posterity. The artist with whom she studied modernism in Paris, Anne Dangar, also received her lifelong support and promotion. In the last decade of her life Crowley provided detailed information to curators and art historians on the lives of both her friends, Dangar and Balson, meticulously keeping accurate records of theirs and her own life devoted to art. In her latter years she arranged to deposit these records in public institutions, thus becoming a contributor to Australian art history. As a result of this foresight, the stories of both her friends, Balson and Dangar, have since become a record of Australian art history. (PLEASE NOTE: Some illustrations in this thesis have been removed due to copyright restrictions, but may be consulted in the print version held in the Fisher Library, University of Sydney. APPENDIX 1 gratefully supplied from the Grace Crowley Archives, Art Gallery of New South Wales Research Library)

Cette thèse a pour but d’étudier trois adaptations cinématographiques du roman de Zola, la bête humaine : le scenario inédit (1933) de l’écrivain Martin du Gard, les films de Renoir (La bête humaine, 1938) et de Lang (Human desire, 1954). La thèse comprend deux parties. La première fait une analyse génétique des différents scénarios conservés. Le premier chapitre examine les conceptions cinématographiques de Martin du Gard. Le deuxième inventorie les différences entre les scénarios préparatoires et le film de Renoir pour déterminer ce qui a été réécrit. Le troisième montre comment les scénaristes (Hayes, Boehm) ont progressivement mis à distance le modèle de Renoir et comment par la mise en scène Lang a tenté d’imposer sa propre lecture du roman de Zola. La seconde partie propose une étude comparative des seules adaptations françaises. L’établissement des différences au niveau de l’histoire et du récit (premier chapitre) et des personnages (deuxième chapitre) permet de cerner les méthodes d’adaptation spécifiques à Martin du Gard et Renoir. Le dernier chapitre montre comment ces deux auteurs s’éloignent conjointement du modèle romanesque à la fin de leur adaptation pour mieux retrouver leurs propres conceptions esthétiques. Par le biais donc d’une étude de cas, cette thèse propose non une théorie de l’adaptation mais une analyse de pratiques d’adaptation et recourt à une double approche: gnentique et comparative
This thesis aims at studying three cinematographic adaptations of Zola' s novel, the human beast: Martin du Gard unpublished screenplay (1933), Renoir's film (The human beast, 1938) and Lang's (Human desire, 1954). The thesis consists of two parts. The first one is a genetic analysis of the different reamaining drafts. The first chapter deals with martin du gard's cinematigraphic ideas. In the second one, the differences between Renoir's drafts and his film have been listed to determine which scenes have been rewritten. In the third chapter we have shown how the scriptwriters (hayes, boehm) progressively distanciated themselves with renoir's model and how lang, through his film direction, tried to assert his personal vision of Zola's novel. The second part of the thesis is a comparative study of the french adaptations only. We have established the differences between the story and the narration in the first chapter and between the characters in the second chapter in order to find out the methods of adaptation characterising Martin du Gard and Renoir in the last chapter we have shown how both authors tool great liberties with the novel so as to be more faithful to their personal aesthetic ideas. Therefore, through a study of cases, the aim of the thesis is not to propose a theory of adaptation but to analyse different types of praxis, using to this purpose the. .

A une époque où l'individu, noyé dans la société de masse, est victime d'une dépersonnalisation et où il ne peut plus échapper aux forces politiques, économiques et sociales qui le menacent, le roman d'actualité weimarien tente de répondre de manière simple à ses angoisses. Tournant le dos au roman bourgeois du 19ème siècle, ses auteurs substituent au héros traditionnel à la grande richesse psychologique des types d'hommes. Après une étude de l'esthétique narrative du roman d'actualité basée sur les trois grandes tendances politiques de l'époque (écrivains démocratiques, communistes et nationalistes d'extrême-droite), ce travail met en valeur à la lumière des textes étudiés des personnages s'engageant dans l'Histoire ainsi que des individus confrontés aux problèmes économiques et sociaux de la République de Weimar

Cette étude prend comme point de départ l'idée que les changements survenus après la Première guerre mondiale dans le rôle social des femmes ont coïncidé avec, voire même facilité, des changements dans l'écriture des femmes auteures de l'époque. On peut en effet constater que des mutations sociales (d'ordre social) ont entraîné des mutations littéraires (d'ordre litttéraire). Pour autant, ces évolutions n'ont pas simplement fait advenir un sentiment de liberté chez les femmes. Au contraire, ces écrivaines mettent en oeuvre un paradoxe constant entre liberté et contrainte, permissivité et décorum, que l'on retrouve dans leurs textes sur un plan formel, thématique et affectif. Inscrits dans la période dite "late modem", les romans que j'examine témoignent du fait qu'il faut être sensible aux attentes qui pèsent sur soi afin de se montrer à la hauteur [rise to the occasion}, ainsi qu' Elizabeth Bowen décrit le défi central de la vie moderne. L'expérience féminine décrite par ces textes est une série d'attentes, de jugements et de questionnements nécessitant un développement supérieur des sens. La fonction essentielle de la perception, selon Merleau-Ponty, est de "fonder ou inaugurer la connaissance" (3). En étudiant des textes d'Elizabeth Bowen, Jean Rhys, Virginia Woolf et Rosamond Lehmann, je souhaite montrer que les sens deviennent un outil qui permet d'évoluer au sein de ce contexte social en mutation perpétuelle. Chaque chapitre se concentre sur la façon dont ces auteures articulent des tensions entre le soi et la société en mobilisant des sens physiques ainsi que psychologiques. Le retour en arrière— the bend back—constitue l'une de leurs stratégies majeures : plutôt que de procéder de manière téléologique, leurs textes se retournent vers le passé, afin de comprendre son effet sur le présent et d'ainsi saisir le sens de leur propre inscription dans un moment historique
In this study, I take as my point of departure the idea that the shifts in women's social roles which occurred after the Great War and throughout the 1920s coincided with, and indeed made possible, formal shifts in women's writing. A change in social perspective occasions a change in literary perspective. However, these shifts did not result in an unhinged feeling of freedom and liberation for women. On the contrary, these writers attest to a double bind of propriety and permissiveness, of freedom and constraint, that comes through in their texts on a formal, the-matic, and affective level. The late modernist novels I examine testify to the fact that in order to "rise to the occasion," as Elizabeth Bowen describes the central challenge of modem life, one must be attuned to what is expected of one, to how one is viewed, to how one is judged, to how one feels, how one is to love, how one is to live. The essential fonction of perception, according to Merleau-Ponty, is "to lay the foundations of, or inaugurale, knowledge" (19). Through read-ings of the work of Elizabeth Bowen, Jean Rhys, Rosamond Lehmann and Virginia Woolf, I argue that the senses become a tool for understanding how to navigate this constantly shifting social context. Each chapter concentrates on a way in which the authors considered articulate the tensions between the self and society through an attentive activation of the physical as well as knowledge-based senses. A major narrative strategy adopted by these writers, I will argue, is the bend back-- ramer than proceeding teleologically, their texts bend backward in a therapeutic attempt to revalue the present, or to understand how it came to be so, in a larger attempt to make sense of their moment and their role within it

Bethune a connu une vie atypique. Médecin, artiste, communiste, humaniste, il se fait volontaire lors de la guerre civile espagnole. Puis, il se rend en Chine pour offrir ses services à la 8e Armée de route. Son parcours chez les Chinois, ainsi que sa mort, le mène à l'héroïsation en Chine. Cependant, l'histoire de Bethune ne s'arrête pas avec son décès, il y a également une histoire de ses représentations après sa mort. Ce mémoire retrace l'histoire des représentations de Bethune au Canada de 1939 à 1979. Bethune était controversé de son vivant, cela continue aussi après sa mort alors que les représentations du docteur sont parfois diamétralement opposées.

La critique a cru percevoir une incompatibilité entre Victoria Ocampo et Witold Gombrowicz, entreune « conservatrice » et un « avant-gardiste » aux oeuvres littéraires trop différentes pour être misescôte à côte. Pourtant, ils partagent un point commun important : chez ces deux écrivains, l’origine declasse se détache de la biographie pour planter ses racines dans les travaux littéraires. Pour Ocampo etGombrowicz, l’aristocratie est le point de jonction entre la vie et l’oeuvre. Tous deux écrivent des viesaristocratiques, et ce dans deux sens du terme : d’un côté, ils font le récit de leur héritage privilégié –patricien pour l’Argentine et hobereau pour le Polonais – et essayent d’intégrer leur milieu familial etsocial dans leurs oeuvres ; de l’autre, ils rompent avec toute aristocratie sociale existante etconstruisent une vision fantasmatique de ce que serait une vie élitaire idéale, éminemment liée à lalittérature. Si Ocampo revendique ouvertement sa généalogie, Gombrowicz le fait de manière oblique,à force de contradictions et de transgressions. Alors que la première essaye de construire une figured’elle-même pérenne comme une statue afin d’entrer dans l’histoire, le second ne veut pas que lasienne se fige et souhaite au contraire, tel un aristocrate décadent, multiplier les grimaces.L’observation de ce Janus un peu particulier permet de mieux comprendre chacun des deux auteursmais aussi de renouveler les réflexions sur les écritures du Je, le cosmopolitisme périphérique et latraduction en Argentine
The idea of an incompatibility between Victoria Ocampo and Witold Gombrowicz has been a recurring theme in literary criticism, which has consistently perceived a clash between a “conservative lady” and an “avant-garde man” with two oeuvres too different to be put side by side. However, both authors share an important common ground: the social class which they hail from detaches itself from their biography and roots itself in their literary works. For both Ocampo and Gombrowicz, aristocracy is the junction between life and work. Both write about their aristocratic lives, and do so in a double sense: their texts not only create the narrative of their own privileged heritage but also build up a phantasmatic vision of an ideal elitist life. On the one hand, they attempt to integrate their family and social milieu into their works – whether a patrician in the case of the Argentine or a country-nobleman in the case of the Pole. On the other hand, they both break from the existing social aristocracy by constructing ideals that are eminently linked to literature. While Ocampo openly vindicates her genealogy, Gombrowicz dons an oblique manner for his aristocratic claim, made of contradictions and transgressions. As Ocampo essays the construction of a perennial visage for herself, curated like a statue aimed to penetrate history, Gombrowicz wants nothing but to deform his own face: like a decadent aristocrat, he prefers the multiplication of grimaces and the degradation of forms. The peculiar Janus figure that arises from the juxtaposition of these two authors not only allows us to gain a better understanding of both of their oeuvres, but also generates new insights on many important broader themes: writings of the self, peripheral cosmopolitanism, and translation in Argentina

La ville des années 1910-30 concentre les enjeux politiques et historiques, au lendemain de la première guerre mondiale. Elle est à la fois lieu où s’imprime la crise du temps et terreau de sa potentialité, laboratoire des représentations esthétiques ou littéraires au moment moderniste et scène de l’avènement des femmes. Les récits de Rose Macaulay, Katherine Mansfield, Virginia Woolf et Jean Rhys viennent saisir les déterminations historiques et sociopolitiques comme maillage de places dans les espaces urbains de ces années charnières. La subjectivité des personnages féminins constitue la position d’une lecture critique qui façonne et défait les lieux fixés par les modalités du pouvoir et met en œuvre des résistances qui, depuis les effets de voix, font bouger les quadrillages spatiaux et politiques. La difficulté pour les personnages féminins de trouver un lieu où faire entendre leur dire met en éclat les formes de la communauté et les schèmes temporels. L’espace abandonne sa vectorisation, et, devenu force de désœuvrement poétique, génère une crise continue des formes du temps et du récit. Par le biais de poétiques paradoxales dissonantes qui modulent une re-création subjective de la ville, les lieux se délient en figurations de l’espace au fil des images qui travaillent et créent, à même son matériau, une ville sans modèle où s’écrit l’expérience éphémère. Une poiesis, au sens étymologique, va se modeler sur les seuils de l’espace, du temps et de la langue. La force d’irruption du figural opère un frayage qui ré-ouvre le moment moderniste aux potentialités du temps par le biais de l’imaginaire, dont l’événement est sans cesse reconduit dans la langue
From 1910 to 1930, and in the aftermath of the First World War, history and politics were focused on the city. The city crystallised what was at once a temporal crisis and a period rich in potential. It was, at the same time, a laboratory for a new Modernist aesthetics in literature and the stage on which women at last arrived. The writings of Virginia Woolf, Jean Rhys, Katherine Mansfield and Rose Macaulay take on the historical and socio-political determinations that, for women, structured urban space like a grid. The subjectivities of their female characters constitute positions which allow a critical reading both to create and unravel spatial configurations determined by the modalities of power. They start the work of resistance that promises to unhinge the spatial and political grids of power. The difficulty the female voice has in finding a place to be heard generates a force that shatters the bonds of community and temporal structures. Space relinquishes its role in the construction of plot so that conventional forms of time and narrative dissolve in the face of a new poetics. From the point of view of this poetics of paradox, the city is recreated subjectively. New images carve out a new city, without precedent, made from fleeting, ephemeral experiences. A new poetics taken in the etymological sense of making, poiein, is created on the thresholds of space, time and language. The power of figurative language to break through convention that is at work in these writings of the city clears the path for the Modernist moment to erupt and create new potentialities in time, through the power of the imaginary that is always part of language’s possibilities

Couvrant la quasi-totalité du XXe siècle, les écrits de Jean Rhys, Janet Frame et Anita Desai témoignent de la relation de la Caraïbe, de la Nouvelle-Zélande et de l’Inde à l’Empire britannique. Cette thèse s’intéresse en particulier aux nouvelles de trois auteures plus connues en tant que romancières, car, genre marginal et fragmentaire, la nouvelle fait écho à un certain nombre de problématique postcoloniales, modernistes et postmodernes. Il s’agira en l’occurrence de s’attarder sur la question de la voix et du discours, et notamment sur la façon dont l’omniprésence de discours idéologiques, politiques, sociaux, se trouve doublé de la présence d’un réseau intertextuel mis en œuvre par les auteures. La récupération de la voix d’autrui, et en particulier du canon littéraire occidental, dans un contexte où l’autorité féminine et postcoloniale est des plus précaires, pose la question de l’autorité littéraire. On observera que sous la plume de ces auteures, la nouvelle devient plus que jamais un genre hybride, plurivocal, aux contours fuyants, dont le genre est sans cesse requalifié. Loin du monolithisme du roman, la nouvelle apparaît comme un espace de liberté et de création où l’autorité est sans cesse réaffirmée tout autant que diffractée, et où les présences auctoriales tout à la fois s’effacent et se manifestent. Véritables lieux d’une mise en scène de la figure de l’Auteur, la nouvelle et le recueil déjouent les limites du genre, tissant un réseau discursif et intertextuel complexe, où Jean Rhys, Janet Frame et Anita Desai élaborent une esthétique de la voix
The literary production of Jean Rhys, Janet Frame, and Anita Desai, which covers nearly all the twentieth century, testifies to the relationship between the Caribbean, New-Zealand, India and the British Empire. Even though Rhys, Frame and Desai are mostly known as novelists, this thesis dwells on their short stories. As a marginal and fragmentary genre, the short story echoes a variety of issues related to Postcolonialism, Modernism and Postmodernism. My issue is the study of the themes of the voice and of discourse, and especially of the way in which the omnipresence of ideological, political and social discourses is further complexified by the presence of intertextuality. The use of alien voices, borrowed notably from the western literary canon, poses the question of literary authority – especially in a context where postcolonial and feminine authority is so precarious. We shall observe that, in these authors’ short stories, the genre becomes hybrid, plurivocal, harder to define, which entails its requalification. Far from the monolithic nature of the novel, the short story appears as a space of liberty and creation where authority is both tampered with and constantly reaffirmed, and where authorial presences in turn appear and disappear. As places where the figure of the Author is continuously staged, the short story and the collection of short stories redefine the limits of the genre by weaving an intricate discursive and intertextual fabric where Jean Rhys, Janet Frame and Anita Desai work towards the elaboration of an aesthetic of the voice

Thesis MA (Political Science. International Studies))--Stellenbosch University, 2008.
Liberation movements came into being across the entire African continent as a political response to colonisation. However, Africa has in this field, as in so many others, been largely understudied, in comparison to revolutionary movements in South America and South East Asia. While many case studies on specific liberation movements exist, very few are comparative in nature. This study will do precisely that using the framework of Thomas H. Greene. The resistance movements in South Africa and Zimbabwe, then Rhodesia, consisted of several organisations, but the ones that emerged as the most powerful and significant in the two countries were the ANC and ZANU respectively. Although their situations were similar in many ways, there were other factors that necessarily led to two very different liberation struggles. This study looks closer at these factors, why they were so, and what this meant for the two movements. It focuses on the different characteristics of the movements, dividing these into leadership, support base, ideology, organisation, strategies and external support. All revolutionary movements rely on these factors to varying degrees, depending on the conditions they are operating under. The ANC and ZANU both had to fight under very difficult and different circumstances, with oppressive minority regimes severely restricting their actions. This meant that the non-violent protests that initially were a great influence for the leadership of both movements – especially with the successes of Mahatma Gandhi in South Africa and India, inevitably had to give way to the more effective strategies of sabotage and armed struggle. Like other African resistance movements, nationalism was used as the main mobilising tool within the populations. In South Africa the struggle against apartheid was more complex and multidimensional than in Zimbabwe. Ultimately successful in their efforts, the ANC and ZANU both became the political parties that assumed power after liberation. This study does not extend to post-liberation problems.

The theology of empire is a critical theme that dates back many centuries. This research work is inspired by that of Eusebius of Caesarea who was emphatic in his support for the Roman Empire under Constantine during the first part of the fourth century of our common era. It could be said that appealing to such a theme in a colonial context marred by gross injustices yet premised on gospel imperatives as they guide the progress of a given church is not only challenging but interesting as well. By using the Diocese of Mashonaland as our referral case, the idea is to interrogate how the influence of Eusebius’ approach to history could be prevalent even in our time. By putting Anglican missionaries on the spotlight, who worked in the Diocese of Mashonaland, from the early 1890s up to 1979, an attempt is made to analyse their activities and attitudes, the way historians favourable to their venture narrated the Church’s progress and related matters. One major question leading all the analyses made in this context is to what extent could we justify the claim that the spirit of Eusebius is behind the Mashonaland Anglican Church narratives and attitudes? This question naturally leads us to bring in other perspectives that are linked to the socio-economic developments of the country, the political dispensations defining issues of governance, and the overall impact these had on racial matters given the critical reference to Christianity and civilisation. Historians and others who help us to appreciate this context are therefore taken to task as to whether they could be trusted unconditionally. The theology of empire is therefore allowed to dictate the way we could interrogate those who opt to ignore gross injustices that the Church in this context did not challenge in any conclusive manner. The history of the Diocese of Mashonaland from this perspective is therefore an interesting narrative. Our work that looks at the period between 1890 and 1979 leaves us with a lot of curious questions that call for further scholarly investigation within the same Mashonaland Anglican context.
Christian Spirituality, Church History and Missiology
D. Th. (Church History)

This study analyses the different social variables that conditioned the naming of schools during the colonial period in Zimbabwe (1890-1979). The study collects and analyses the names given to schools in Salisbury (including Chitungwiza), Umtali and Fort Victoria the colonial period in Zimbabwe. The study adopts Geosemiotics, a theory propounded by Scollon and Scollon (2003), together with insights from Semantics, Semiotics and Pragmatics in the analysis of school names. Critical Discourse Analysis is used a method of data analysis. One of the main findings of the study is that place names are discourses of power which are used to express and legitimise power because they are part of the symbolic emblems of power. It was possible to ‘read’ the politics during the colonial period in Zimbabwe through the place names used in the colonial society. Both Europeans and Africans made conscious efforts to imbue public places with meanings. Overally, people who have access to power have ultimate control over place naming in any society. In this case, they manipulate place naming system in order to inscribe their own meanings and versions of history in the toponomastic landscape. The second finding is that place names are critical place-making devices that can be used to create imagined boundaries between people living in the same environment. Place names are useful discourses that index sameness and differences of people in a nation-state. Place names exist in interaction and kinship with other discourses in making places and imposing an identity on the landscape. Semiotics, Semantics and Pragmatics are instrumental in the appreciation of the meaning conveyed by school names. This study makes an important contribution to onomastic research in the sense that its findings can be generalised to other place naming categories during the colonial period in Zimbabwe. This study provides background information on how place naming was done during thecolonial period in Zimbabwe. This makes it significant because it provides insights on place naming in other states that went through the colonial experience, in Africa or elsewhere in the world.
African Languages

This thesis began with my discovery of Argentine literature during a two-and-a-half-year sojourn in that country from 2006–2008. My creative work arose from my wish to reflect upon and account for the experience of learning Spanish in Buenos Aires, and reading about the city’s history and culture in the work of its writers, as well as the work of foreign writers who travelled there during the 20th century. There are two parts to this thesis – an exegesis and a creative work of narrative non-fiction, both of which seek to introduce a selection of Argentine writers to Anglophone readers. In the creative work, my audience is what Virginia Woolf, via Alexander Pope, called ‘the common reader’. The work is a bibliomemoir, where the terrain covered is both literary and geographical, as well as personal. Reading has always provided an extra dimension to travel, allowing the outsider additional points of access to the foreign culture she seeks to know. Books can inform the reader of a city’s history, culture and stories, its place in the world, while also offering the city as an imagined space that she can inhabit and share as she wanders its streets. My creative work focuses on what Argentina’s 20th-century writers had to say about argentinidad, or Argentine national identity. I mostly read those works that were, at the time of my sojourn, available in English translation – as such my selection is somewhat arbitrary and haphazard (this dubious criterion also serves my potential Anglophone reader, who will be unable to access untranslated work). I was also guided by my own interest, particularly in women writers, some of whom are only now being rediscovered for what might be called the Argentine canon. Reading lists that are guided by the writer’s idiosyncratic tastes, as well as the random limitations of circumstance, are characteristic of the bibliomemoir form. Victoria Ocampo is one such writer, and while I dedicate a chapter of my creative work to her biography, the exegesis focuses on her literary output, which, until recent years, has been somewhat neglected by scholars. Ocampo, who is virtually unheard of in Australia, wrote across the genres of autobiography, memoir, travel writing and literary criticism (genres also frequently crossed by bibliomemoirs), and I have studied her work as a way of examining questions that are of deep interest to me: the relationship between reading and identity, writing and identity, and the ways in which both reading and writing work to generate national identities. Ocampo’s writings challenge overwhelmingly masculine notions of argentinidad, and her ideas about nationhood have something to offer to any national community seeking to understand itself beyond traditional tropes of military glory and settler-colonial frontier heroism. The resonance with Australia’s situation is clear, and is made explicit by Ocampo’s elaboration of a South-South connection between her country and mine via her highly idiosyncratic analysis of D.H. Lawrence’s Kangaroo. I hope my discussion of these untranslated essays represents a useful addition to the scholarship in this field.

Tese de mestrado, Design de Equipamento - especialização em Design Urbano e de Interiores, Universidade de Lisboa,Faculdade de Belas Artes, 2014
This present body of work aims to investigate the presence and the contribute of the woman figure to the design evolution of the domestic space, namely of the kitchen, having a particular focus on the national context. In order to fulfill this objective, the present investigation is divided in four main chapters that are complementary to one another. To start off, an historical contextualization of the women's character, and the way that she is perceived and treated by society, is necessary addressing subjects as the feminist movement and the portuguese Estado Novo regime. Then, we move on to a brief analysis and contextualization od the dwelling as a whole, paying special atention to the issues regarding the private life and the developing of the portuguese house. Next, on the third chapter, we investigate the international kitchen of the end of the 19th century and beggining of the 20th, highlighting three different female figures, that have revolutionized the domestic economy and the living space, with their studies and proposals. Finally, on the forth and final chapter, the portuguese kitchen is studied mainly through newspapers, magazines and some manuals regarding the domestic economy. A small chapter is dedicated to the only portuguese woman that can be considered a pioneer in the domestic realm. More than an investigation, the present work is intended to be a set up of various facts and historical documents, between the 19th century and the 1970's, pertaining the importance of said women and of their contribute to the evolution of kitchen design into what we know and use today