Dissertations / Theses on the topic '1925-1949'

本論文研究一九二五至一九四九年間的香港新詩，即從目前所見最早的香港 新詩資料開始，直至一九四九年為止。研究從翻查和整理大量早期報刊、文學雜 誌等第一手資料開始，配合同時期中國新詩的發展，探討二○年代即香港新詩的 創始階段，至一九四九年的發展特色，思考香港新詩在中國現代文學史上的意義，並展開相關討論。 論文第一章先概述香港與內地新詩的連繫，再釐定本論文的研究範圍和香港新詩的定義，其中有關香港新詩的定義是參考上海現代文學史研究學者區分上海 作家和上海文學為兩個不同概念的做法，把「香港詩人」和「香港新詩」分屬不同範疇，並特別以「香港新詩」為討論重點。除了地域層面上的意義，本論文亦嘗試析論香港新詩相對於中國新詩的精神面貌和詩學取向。 第二至第九章基本上以時間發展為序，探討香港新詩不同時期的發展特色， 包括二○年代引介五四新詩及不同的詩形式，三○年代的都市詩、對上海《現代》 雜誌和現代派詩歌的學習和批評、寫實主義詩論的探討及創作，抗戰時期的論爭及不同取向、戰後的左翼詩歌等等，關注點除了特定時期的重要或主流風尚，也 仔細閱讀難以歸類的詩作，思考時代風尚與主流以外不同風格之間的關係。 早期香港新詩的發展除了本身特色，亦與大範圍內整個中國新詩的發展歷程密切相關，研究和討論早期香港新詩，除了「本土」的意義，也可以補充「中國現代文學史」論述的不足。相比一九五○年代以後的時期，早期香港新詩歷史的特色、亦即它複雜的地方，正在於它與中國新詩的關係。一九五○年後，新詩在 中國內地、台灣和香港各自發展，各有不同的面貌和取向，相對於三四○年代中 國新詩和當代中國和台灣新詩的研究，有關早期香港新詩的研究不算多，本論文 嘗試全面地回顧一個階段的香港新詩，提出討論的方向，期望有助進一步的研究。

My doctoral research explores the relationship between architecture and politics in modern Buenos Aires. Drawing on elements from political theory, architectural history and urban geography, the thesis investigates a historical period in which architectural discourse problematised the production of the city’s material landscape and transformed it into a constitutive and defining element of urban politics. Between 1925 and 1949, members of the local architectural circle – through the assembling of contrasting projects – questioned the established spatial order of the metropolis and proposed for its transformation an integral revision of the city-nature relation. This thesis examines the articulation of a set of architectural interventions that found in the mobilisation of the city’s material sphere, a means through which to contest the existing spatialisation of the social. It investigates how the language and forms crafted through material and architectural productions scrutinised and opposed the established rules governing how bodies and things were to become visible, and therefore political, in the metropolis. The empirical analysis, based on the architects’ personal archives, manuscripts, congress proceedings and technical journals of the time, is structured around four different material imaginations. Firstly, I examine the nationalist architectural experiments proposed in the Organic Plan for Buenos Aires from 1925 and their aim to solve the problem of “urban congestion” by reinstating in the city’s centre the material presence of a telluric geohistorical tradition. Secondly, I analyse Wladimiro Acosta’s Marxist architecture and his desire to terminate the urban-rural divide through an architectural revolution that sought to transform Buenos Aires into a “lineal city”. Thirdly, the thesis investigates Le Corbusier’s plan to assemble a “concrete biology” for Buenos Aires and his proposal to reduce the notion of politics to the relation between architecture and life. Finally, the empirical analysis explores the failure of the Office for the Study of Buenos Aires (1948-1949) and its cinematic attempts to extol the virtues of a future metropolis by engineering “a tamed and organised” reconfiguration of the pampas by the River Plate. The research concludes by detailing how the ascendency of state-led forms of territorial planning ultimately effaced architectural discourse from the crafting and imagining of socio-political futures for the city. I argue that the cancellation of the material and architectural imaginations as revealing mechanisms of alternative urban political forms, marked the consolidation in Buenos Aires of a post-political urban condition. These examined material imaginations contested the accepted margins and contents of institutionalised local politics. Whilst most local parties were focused on administering the extension of the existing city’s colonial grid, architectural discourse managed to position the material sphere and the practice of building as tools with which to imagine and engineer alternative forms of social and material relations in the metropolis. For a group of architects and city specialists, urban politics was transformed into a domain where social conflict, alliances and order were negotiated, named and exposed through architectural and material interventions. By revisiting modern architectural discourse in Buenos Aires, my research advances a theoretical understanding of urban politics that reinstitutes the material as a source from which to explore and transform the present socio-spatial order of the city. In a contemporary Latin American metropolitan scenario where the capacity to intervene and decide over the definition of the cities’ collective material and infrastructural present is severely undermined, this conceptualisation is fundamental to exploring future modes of democratising the production of urban space.

The Athletic Association of Sergipe was an institution created as one of the elements that has been serving the interests of the political-ideological deployed by the Republican government in the early twentieth century. However, this assertion was based on some evidence that over study were being revealed. The overall goal of the work, which was a critical analysis of educational practices, cultural representations that have been reproduced and incorporated by this institution during the study period, gave us the opportunity to confirm the initial hypothesis. However, to reach this definition was necessary to walk in other dimensions that were submerged in the time and origin of the problem statement. The first dimension tried to give an overview of the changes in political, economic and social development of Brazil brought about by the advent of the establishment of the Republic and its possible consequences in the context Sergipe where this institution was created. The second dimension opted to try to understand the historical aspects that conceptualized and formed a functional and organizational framework of voluntary associations in Brazil and worldwide, as well as factors related to the field of their various assignments. Given the facts, we find that the offer to elite Aracaju, as a place of entertainment, leisure and above all strengthening consolidation of social relations, the Athletic Association of Sergipe just fulfilling its role of disseminating agent of the Republic.
A Associação Atlética de Sergipe foi uma instituição criada como um dos elementos que esteve a serviço dos interesses do projeto político-ideológico implantado pelo governo republicano no início do século XX. No entanto, esta afirmação foi feita com base em algumas evidências que ao longo do trabalho foram sendo reveladas. O objetivo geral do trabalho, que foi a análise criteriosa das práticas educativas, como representações culturais que foram reproduzidas e incorporadas por esta instituição no decorrer do período estudado, deu-nos a possibilidade de confirmar a hipótese inicial. Porém, para chegar a esta definição, foi preciso caminhar por outras dimensões que estiveram o tempo todo submersas na origem e na afirmação do problema. A primeira dimensão tratou de traçar um panorama das mudanças ocorridas no cenário político, econômico e social do Brasil trazidas à luz pelo advento da implantação da República e, as suas possíveis consequências no contexto sergipano onde esta instituição foi criada. A segunda dimensão optou por tentar compreender os aspectos históricos que conceituaram e formaram um quadro organizativo e funcional das associações voluntárias no Brasil e no mundo, bem como aos fatores relacionados ao campo das suas diversas atribuições. Diante dos fatos, percebemos que ao oferecer-se a elite aracajuana, como um espaço de entretenimento, de lazer e, sobretudo, de fortalecimento e consolidação das relações sociais, a Associação Atlética de Sergipe acabou cumprindo o seu papel de agente disseminador da República.

"Le cinéma et l'imaginaire en Afrique noire" est un essai sur la signification du cinéma négro-africain, un ensemble de films que l'on peut caractériser comme celui de la première génération de l'indépendance (1960 1985). Cette génération, malgré la diversité des États, des langues et des idéologies, constitue un tout organique, faisant du cinéma négro-africain une sorte de concept que l'on a voulu situer sur trois plans. L’on a d'abord cerne la personnalité du cinéaste d’Afrique noire, en tenant compte de ses origines sociales, de sa formation et de ses rapports à la classe dirigeante. La caractéristique fondamentale de cette personnalité est l'engagement politique, largement fonde sur l'idéologie panafricaniste, si importante pour comprendre les mouvements indépendantistes. L’on a ensuite décrit les réalités du cinéma négro-africain, et d'abord du cinéma en Afrique noire, c'est-à-dire de la situation de l'exploitation, de la distribution et de la production. Le troisième plan, justifiant le titre, est celui de l'imaginaire, car il apparait que l'ensemble de ce phénomène cinématographique n'est compréhensible que par la référence à l'imaginaire, conçu en l'occurrence comme une faculté de faire exister une production proprement négro-africaine, en fonction des idéaux qui caractérisent les cinéastes, contre les difficultés les plus objectives. Cet imaginaire, sur le plan esthétique, ne conduit pas à un cinéma fantastique ou laisse à l'investigation analytique ou anthropologique, mais ancre dans le quotidien et articule sur des projets critiques soucieux d'accélérer les changements sociaux. "Le cinéma et l'imaginaire en Afrique noire" cerne un phénomène - la production cinématographique d’Afrique noire- en l'inscrivant dans une globalité, que l'on a décrite par la chronique puis par l'entretien. La réflexion est ainsi déterminée par une approche de divers lieux ou le cinéma peut s'observer la salle- le publique, le festival, le lieu de tournage- et par des entretiens avec les personnalités marquantes de ce cinéma : Paulin Vieyra, Sembene Ousmane, Souleymane Cisse, Inoussa Ousseini et Tahar Cheriaa
"The imaginary world of cinema in black Africa" is an essay on the meaning of black African cinema that bears on the films that can be characterized as those of the first generation after independence (1960-1985). This generation, in spite of a variety of states, languages and ideologies, makes up an organic whole, hence black African cinema as a sort of concept that can be analyzed on three levels. First we tried to delineate the personality of the black African film-director, taking into account his social origins, his training and his relationship with the ruling class. The fundamental characteristic of this personality lies in his political commitment, mostly based on pan Africanist ideology, which is so important to understand independence movements. Next we describe the realities of black African cinema, especially cinema in black African namely the conditions of exploitation, distribution and production of films. The third level, which justifies our title, is that of the imaginary world because it appears that this cinematographic phenomenon as a whole can only be comprehended when one refers to an imaginary world, understood as the faculty to make a specific black African production exist, in relation with those ideals that are particular to those film-makers, and up against the most objective difficulties. The imaginary world, on an aesthetic plane, will lead neither to a fantastic cinema, nor to analytical or anthropological investigation, but to a cinema steeped in daily life and based on critical projects intended to accelerate social changes. "The imaginary world of cinema in black Africa" tries to give an account of a phenomenon- namely cinema production in black Africa- by inserting it in an overall picture, which has been described in diary form and by means of interviews. Judgment can be exercised through an approach of the various places where cinema can be observed: the picture-house, the film festival, the filming location, and also through interviews with eminent cinema personalities

The main objectives of the thesis are: to verify and confirm the fundamental role of drawing in the training of the architect, portraying Jujol as a reference as a master of this discipline. Analyze his evolution, subsequent to his nonarchitechtonical drawing, inseparable from his underlying ideology in his conception of architecture and finally, comparing him with other archirectural masters, such as Ruskin, Le Corbusier and Asplund among the modern architects and art classic artists and others such as Enric Miralles among the contemporary masters. The research would show that the Jujol method and his seemingly remarkable intimate way of acting in which architecture is mixed with disciplines such as drawing, painting, sculpture, crafts and all forms of design. Concluding that it actually presents important coincidences comparable to that of some architects of his time such as Asplund and Le Corbusier, later to Miralles and currently to Llinás. Former students and famous architects such us,Coderch de Sentmenat,Federico Correa y Oriol Bohigas, recognize Jujol as a great architect and professor assessing his great creativity and greatly influential in their training. Recognized researchers such as Carlos Flores, and renown international contemporary artists as Antonio Tapies, consider Jujol as such a great artist that he should be given the recognition he deserves. Flores sets his standard of creativity and imagination up to Picasso’s level. His architecture is a mix of artistic disciplines, with drawing as reference but combining it and making drawing as the starting point element, but together with sculpture, crafts and all the modalities of design. He could be considered a renaissance architect or an “artist and craftsman”. The thesis, which is based on drawing as a discipline, includes plenty of original and unpublished material from to "Archivo Jujol" directed by his son José Mª, and the E.T.S.A.B. library's documentary collection, work´s of the students he had during the period he taught in the university. Jujol as well as those who met them know the extraordinary importance of drawing and handcrafts in general as the best and most indispensable training tool. It gathers important testimonies, highlighting among them those of : • Recognized architects who were his students as Oriol Bohigas and Federico Correa who later became professors at Architecture School of Barcelona. • Others who have collaborated during his time as a student in his office as Joan de Ribot. • Pere Virgili, Master Builder who have known him in his professional work, when he was his apprentice at 14 years old. • Specialist of Jujol’s works in every aspect, both as an architect and / or artist; as is the case of researcher Carlos Flores., and architect Josep Llinás, who often intervened in projects to restore his works. • Jordi Bonet and Jordi Faulí, outstanding "gaudinistas" (“Gaudi´s fans”) continuators of the Sagrada Familia, project in work in which Jujol worked hand in hand with Gaudi. Drawing as a discipline is always present as the guiding thread of the thesis, which serves as a comparison discipline based on the concept and idea of Ruskin, by architects apparently as different as Le Corbusier, Asplund, and Jujol; from this one of Miralles, who died at the early age of 45. It exposes the unknown similarity of Le Corbusier and Jujol in the first decade of the twentieth century and the parallelism that can be established with Miralles in reference to the "artistic manual" of both. To verify that fact, -the contemporaneity of Jujol, his method- and his possibilities applied to the learning and progress of architecture today, -apparently so disregarded- not only in the career but also throughout the exercise of the profession, the central role and actualism of the “traditional drawing” in that process; was one of the objectives of the present investigation.
Los objetivos principales de la tesis, son constatar el papel fundamental del dibujo en la formación del arquitecto, referenciado a Jujol como maestro de esta disciplina. Analizar su evolución posterior a través del dibujo no arquitectónico, indisociable de la ideología subyacente en su concepción de la arquitectura. Y finalmente, compararlo y relacionarlo con otros maestros de la arquitectura, como Ruskin, Le Corbusier y Asplund entre los clásicos de la modernidad y otros como Enric Miralles entre los maestros contemporáneos. La investigación mostraría que el método de Jujol, su aparentemente personalísima forma de actuar en la que la arquitectura se mezcla con disciplinas como el dibujo, la pintura, la escultura, la artesanía y todas las modalidades del diseño, presenta en realidad importantes coincidencias homologables a la de algunos arquitectos de su época como Asplud y Le Corbusier, posteriormente a Miralles y en la actualidad a Llinás Importantes investigadores como el arquitecto Carlos Flores o famosos artistas contemporáneos como Antonio Tapies, lo consideran un artista completo que la historia tiene que poner en su lugar. Carlos Flores llega a equiparar la creatividad e imaginación de Jujol al nivel de Picasso. Se le puede considerar un "Artista del Renacimiento", o un "artist and craftsman" del siglo XX Tanto Jujol como quienes le conocieron saben de la extraordinaria importancia concedida por él al dibujo, como el mejor y más imprescindible instrumento formativo, así como a las artes manuales en general. La tesis, teniendo como referencia base el dibujo, incluye numeroso material original e inédito, del Archivo Jujol, dirigido por su hijo José Mª y del fondo documental de la biblioteca Oriol Bohigas, de la Escuela Técnica Superior de Arquitectura de Barcelona, recogiendo los trabajos de los alumnos que tuvo durante el periodo que impartió docencia universitaria. Recoge a través de entrevistas a diferentes personas relacionadas con la arquitectura, importantes testimonios sobre la personalidad de Jujol, tanto humana como profesional, destacando entre ellos: Reconocidos arquitectos que han sido alumnos suyos como: Oriol Bohigas y Federico Correa, que posteriormente han sido catedráticos en la Escuela de Arquitectura de Barcelona. Otros que han colaborado en su periodo de estudiante en su despacho profesional, como Joan Mª de Ribot; Pere Virgili, maestro de obras (constructor) que lo conoció en su trabajo profesional, cuando era aprendiz de albañil a la edad de14 años. Estudiosos de la obra de Jujol en todas sus vertientes, tanto como arquitecto y/o artista; como es caso del investigador Carlos Flores y el del arquitecto Josep Llinás, que ha intervenido en proyectos de rehabilitación de sus obras. Jordi Bonet, también antiguo alumno y Jordi Fauli, destacados "gaudinistas" continuadores de la Sagrada Familia, obra en la que Jujol trabajó codo con codo con Gaudi. El dibujo siempre presente en la tesis como hilo conductor de la misma, sirve como disciplina de comparación a partir del concepto e idea que atesoraba Ruskin sobre el dibujo, para arquitectos que inicialmente tenían el mismo estilo de representación gráfica en sus dibujos no arquitectónicos, pero con una arquitectura tan distinta como Le Corbusier, Asplund, y Jujol; a partir de éste de Enric Miralles, muerto prematuramente a la edad de 45 años. Se expone la similitud desconocida del dibujo de Le Corbusier y Jujol en la primera década del siglo XX y el paralelismo que se puede establecer con Miralles, en referencia a la "manualidad artística" de ambos. Para finalizar constatando ese hecho -la contemporaneidad de Jujol y su método- y sus posibilidades aplicado al aprendizaje y al progreso de la arquitectura hoy - aparentemente tan desnortada- no solo en la carrera, sino a lo largo del ejercicio de la profesión, y el papel central y actualísimo del "dibujo tradicional" en ese proceso; fue uno de los objetivos de la presente investigación.

La topographie est intrinsèque au roman régional qu'est le roman anglo-irlandais de la big house. En effet, situe en Irlande, ayant des personnages principaux anglo-irlandais, et écrit pour un public anglais, le roman de la big house se doit d'évoquer la situation exceptionnelle, sur le plan géographique, aussi bien que sur le plan social, de ses personnages. Ainsi, l'aspect extérieur de la demeure souligne le manque de lien entre la big-house et le paysage qui l'entoure ; l'intérieur est exploite par le narrateur afin de décrire les rapports entretenus par les personnages avec la maison qui leur sert de raison d'etre. La topographie est également mise en exergue par l'auteur, pour lui permettre de dessiner son attitude envers la classe anglo-irlandaise, possédante et privilégiée, dont George Moore, Edith Somerville, Martin Ross et Elizabeth Bowen furent, tous, issus. Si, avant l'indépendance, les auteurs laissèrent paraitre chez leurs personnages, une perte de maitrise du lieu, les romans après cette date-charnière inscrivent l'érosion du pouvoir dans la topographie, allant jusqu'a incorporer dans le récit les incendies qui marquèrent dans l'histoire la fin de la big house. Cette thèse examine en détail, pièce par pièce, le rôle de la topographie au sein de chaque roman étudie, pour ensuite le relier sans schématiser, a un contexte de changement historique. Sont évoquées la distanciation des auteurs par rapport a ce sujet indissociable de leur histoire familiale, et celle du lecteur, étranger peut-être a cette histoire, et appartenant certainement a une autre époque. Enfin, d'autres romans de la big house sont cites afin d'illustrer le rôle joue par l'espace dans l'évolution du genre depuis le début du dix-neuvième siècle jusqu'a nos jours.

Thèse réalisée en cotutelle avec l'Institut d'Études théâtrales de l'Université Sorbonne nouvelle - Paris 3
Désireuse de s’affranchir d’une approche essentialiste et figée de la poésie au théâtre ainsi que d’une lecture générique, cette recherche envisage selon une méthodologie intermédiale les relations entre théâtre et poésie. En analysant un corpus témoin composé de créations textuelles et scéniques, elle montre comment la présence active de la poésie travaille le théâtre, et partant, elle les précise tous deux par leurs interactions. La première partie établit une généalogie de l’intermédialité du théâtre et de la poésie, et des liens dynamiques entre théâtre et poésie. Tout au long du XXe siècle, poésie et théâtre se sont en effet affirmés comme des « hypermédias » (Kattenbelt), mettant respectivement en jeu divers médias, tandis que plusieurs dramaturges ont développé des poésies théâtrales explorant des processus intermédiaux. Sont dégagées et analysées quatre configurations spécifiques à travers les œuvres et réflexions de Mallarmé et Maeterlinck, de Stein et Artaud, de Gauvreau et Novarina et à travers la poésie transmédiale que Cocteau développe entre théâtre et cinématographe. Consacrée au tournant des XXe et XXIe siècles, la deuxième partie élabore une approche théorique du poème théâtral, qui actualise les relations entre théâtre et poésie. Le poème théâtral constitue un dispositif intermédial qui, selon un modèle élaboré par Ortel et Rykner, articule inextricablement trois niveaux : technique, pragmatique et symbolique. Plusieurs traits précisent ce dispositif : sa radicalité dynamique, sa performativité, sa valorisation de l’écriture comme processus, et sa façon de considérer l’impossible comme moteur théâtral. Des analyses d’œuvres textuelles et scéniques de Kane, Malone, Danis, Régy et Lemoine montrent ensuite comment ce dispositif intermédial est activé et ce que le poème théâtral propose au lecteur et au spectateur comme expérience esthétique. Saisir le devenir intermédial de la poésie au théâtre permet de penser un modèle interartial placé sous le signe de l’hospitalité, où les arts, égaux, dialoguent entre eux et échangent, en faisant travailler ensemble leurs hétérogénéités et leurs altérités.
In an effort to do away with an essentialist, rigid, and generic approach to poetry in dramatic works, this research looks at the relationship between poetry and drama using an intermedial methodology. By studying a sample corpus made up of textual and theatrical works, this thesis shows how the active presence of poetry is at work in theatre, thereby redefining each of the two concepts through the ways in which they interact. The first chapter traces the genealogy of intermediality within poetry and drama, and that of the dynamic connections between drama and poetry. Throughout the twentieth century, poetry and theatre have come to be seen as « hypermedia » (Kattenbelt), each of them bringing into play various types of media. Meanwhile a number of playwrights started developing dramatic poems exploring intermedial processes. This research identifies and analyses four distinct forms in the thought and works of Mallarmé and Maeterlinck, Stein and Artaud, Gauvreau and Novarina, through the transmedial poetry developed by Cocteau at the confines of drama and cinematography. With a focus on works from the turn of the twentieth to twenty-first century, the second chapter offers a theoretical approach to the dramatic poem, that seeks to bring an updated approach to interactions between drama and poetry. The dramatic poem is an intermedial apparatus that, in Ortel and Rykner's view, inextricably combines the technical, the pragmatic and the symbolic. This apparatus is characterised by its dynamic radicalism, its performativity, its focus on the value of writing as a process and the way in which it conceives of impossibility as a dramatic driving force. Analyses of textual and dramatic works by Kane, Malone, Danis, Régy and Lemoine suggest how intermedial apparatuses are triggered and the kind of aesthetic experience the dramatic poem offers to readers and viewers. Contemplating intermedial processes of poetry in theatre allows for the reframing of an interartial model in an inclusive, hospitable fashion, where all art forms are considered equal, engage in dialogue and exchange, and combine their differences towards a common object.

碩士
國立中央大學
歷史研究所
105
"New Quangxi clique "and Republic of China politics (1925 ~ 1949) Abstract In 1925, the old qwangsi clique of junior officers Li zongren, Huang shaoxiang, Bai chongxi and others defeated Lu Rongting, Shen Hongying, unified quangxi. They are all newcomers and professional identity is a soldier. Xingui Group from 1925 to 1949 ruled quangxi 25 years, the new quangxi in 1925 defeated Lu Rongting, Shen Hongying and other forces, unified quangsi clique, followed by the new quangsi clique and the Kuomintang cooperation, first sent to Hunan to participate in the Northern Expedition, Li Zongren rate The seventh army fought the Hunan, Hubei, Jiangxi and other places, repeated anti-war to help the national government unified national, the seventh army also won " The ever-victorious armyarmy" reputation. After the reunification of the country, the new quangxi group once ruled Anhui, Hubei and other provinces. Established the "royal kingdom", which is its heyday. But after the two lakes incident, quickly collapsed, Li zongren, Huang Shaoxiang, Bai Chongxi fled to Hong Kong waiting time. Under the support of the subordinates, Lee, Huang and Bai re-grasped the regime of quangxi.They experienced the protection of the Party and the National Salvation Movement, the Central Plains war, and the two sides reached a reconciliation with the Central Committee of Nanjing. During the war of resistance against Japan, Bai Chongxi served as deputy chief of staff in the central government, military training minister, to assist Chiang Kai-shek to plan anti-Japanese strategy and other matters. Li zongren is the commander of the Fifth Theater, commanding a large number of miscellaneous army , won the Taierzhuang Victory, China's first victory since the war . The whole country to celebrate it. After the victory of the war, Li zongren election vice president was elected, but the Kuomintang civil war at the same time, the army in the northeast, Shandong, Xu clam war defeat, Chiang face inside and outside the economic disorder, collapse and many other pressure, Jiang has made good arrangements before the personnel arrangements and the layout, although Li Zongren acting agent, Chiang secretly is holding controls the matter of the party, government, military. Li zongren had no real power, but a public can not make the name of the president. After the failure Peace talks, the army crossed the changjiang river, the national government moved from Nanjing to Guangzhou. New quangxi clique of Bai chongxi advocated anti-communist, suppression of the most powerful, originally expected to be able to southwest provinces as a base for recalcitrant, after all, the vast territory of the mainland liberation. " New quangxi clique " also disappeared with the torrent of history. Key words: quangxi clique, new quangxi clique, Li zongren, Bai chongxi

碩士
國立中央大學
歷史研究所
101
Pan Hannian was risen conspicuously by trenchant writing and has concatenated the Activities of Left-wing literature amount 30 years with the directive of the Chinese Communist Party (CCP) Central Committee since 1925 when he joined the Chinese Communist Party. Among to those activities, to establish the League of Left-Wing Writers was the most important thing and led by Lu Xun ; meanwhile, it conspired the Left-wing literature. In 1931, he turned to hidden front as a leader of intelligence because his life was in a danger due to the rebel, Gu Shunzhang, was under arrest. During he worked on behind the scenes and was full of strong mystery, he also refuted rumors about the defection of Wu Hao for Zhou Enlai. In 1933, he was ordered to represent the Red Army to negotiate and reach an agreement with Chen Jitang and took a big step beneficially for the Long March after he has signed an agreement with the 19th Route Army as the identity of Provisional Central Government of Chinese Soviet Republic and on behalf of the Red Army. The harbinger of the second KMT-CCP Cooperation turned on he had a meeting with Deng Wenyi who worked as a Military attache of Nationalist Government. He was designated by Wang Ming, the leader of the Communist International, to negotiated with the Administration of Nanjing, and in the meantime he negotiated with Chen Lifu and Zhang Chong repeatedly in February 1936. After the Xian Incident, he acted as a peacemaker even more. Following the War in 1937, he founded the rigorous network of intelligence through the Shanghai and HongKong and also collected lots of valuable intelligences for the CCP. After the victory anti-war in 1935, he became positive on the United Front and work for the hidden front and fought for public opinions which support the CCP. Otherwise, he also created nice conditions to help the CCP establishes another regime.

Le Québec de l'entre-deux-guerres connaît une importante croissance du capitalisme industriel. C'est l'approfondissement et l'accélération d'un développement déjà bien amorcé depuis le dernier tiers du XIXe siècle. Les rapports sociaux caractéristiques de cette phase du capitalisme se généralisent en conséquence : prolétarisation des classes populaires et urbanisation. Les médecins québécois de l'époque prennent conscience avec beaucoup d'inquiétude que les transformations de la structure sociale se déploient à leurs dépens. La classe ouvrière qui s'entasse dans les villes dépend de salaires rarement suffisants pour payer les honoraires d'un médecin ou les frais d'une hospitalisation. Pour le praticien, cela signifie le rétrécissement d'un marché qui autrefois avait fait de la médecine une profession prospère. La part de charité dans le travail médical s'accroît inversement. La médecine libérale, qui repose sur un équilibre entre la responsabilité financière individuelle des patients et le devoir de charité du médecin envers les indigents, entre dans une profonde crise. La profession médicale craint le déclassement social. Ce mémoire analyse la façon dont un groupe de médecins, à travers un journal de militantisme professionnel, l'Action médicale, rend compte de cette crise et cherche à y faire face. Le premier réflexe des médecins québécois est défensif: il consiste à dénoncer la dérive des institutions d'assistance publique qui, avec le soutien financier de l'État, élargissent la portée des soins gratuits, au-delà des catégories traditionnelles de l'indigence, à une population considérée par les praticiens comme leur légitime clientèle lucrative. On veut endiguer ce qu'on perçoit comme un travail de sape des assises du commerce de la médecine libérale. Les médecins québécois sont par ailleurs aussi réfractaires à la perspective d'un régime d'assurance-maladie, comme divers pays d'Europe l'expérimentent déjà. Ils craignent d'être subordonnés à l'autorité d'une bureaucratie étatique et réduits à vivre de bas salaires. L'approfondissement de la crise de la médecine libérale -aggravée par la grande dépression des années trente -et l'expérience somme toute positive de la loi de compensation des accidents du travail de 1930 les amènent toutefois à prendre conscience de l'irréversibilité des transformations sociales en cours. Le principe de la responsabilité individuelle devant la maladie ne peut plus soutenir une demande solvable capable de faire prospérer la profession. Pour rétablir des conditions économiques favorables aux médecins, leur assurer un revenu garanti et régulier, il faut socialiser le risque maladie par le biais d'une forme d'assurance. Ce revirement idéologique s'opère évidemment seulement dans la mesure où les médecins comprennent qu'ils peuvent y conserver, voire y consolider l'essentiel de leur pouvoir et de leur indépendance professionnels. L'assurance-maladie ne se fera pas nécessairement à leurs dépens, bien au contraire. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Action médicale, Assurance-maladie, Assurances sociales, Médecine libérale, Risque.