Tesis sobre el tema "Govt., 1909"

Denna rapport handlar om fosterbarnsvård under perioden 1926–1935, då många barn bodde i fosterhem i Sverige. Vid studiens startpunkt hade en ny lag om samhällets barnavård införts där det ingick bestämmelser om kontroll över fosterbarnens vård. Vem som helst fick inte ta hand om fosterbarn, därför skulle fosterhems och fosterföräldrars lämplighet utredas och barnens vård i hemmen kontrolleras. I rapporten ges en inblick i hur lämplighetsfrågan och fosterhemstillsynen hanterades i en lokal praktik vid barnavårdsnämnden i Växjö.

Ann-Sofie Bergman är socionom och fil. mag. i historia. Detta är hennes licentiatavhandling i socialt arbete.

This study is about foster family care in Sweden during a period at the beginning of the twentieth century, when many children were placed in foster homes. Because of the law regulating society’s children care (lag om samhällets barnavård) which came into force in 1926, children’s welfare boards (barnavårdsnämnder) were raised in the municipalities of Sweden. These boards got the responsibility for the supervising of foster care and for placing children with suitable foster parents. Then what was meant by foster parents being suitable? In this study the children’s welfare boards documented suitability tests of foster parents and foster homes are being analysed in a local context. It’s primarily language and argumentation which are being focused upon in this analysis. The local study has been located to Växjö during the period of 1926 to 1935.

The result of the study shows that the foster children often were placed in foster homes in the local surroundings. The children’s welfare board preferred to place children with married couples who were living in the countryside without children of their own. Furthermore it was considered necessary that there was a woman in the foster home who took care of the children and the home. The foster parents’ care of the children was inspected by the board. How the foster parents took care of the children was essential, and the material conditions were important in this context, but also feelings and the relationship between the children and the adults. Problems in the foster homes which drew the attention of the board could be lack of good enough material conditions, illness or unsuitable lodgers. But the opinions about what was proper or improper could differ – children, parents and foster parents sometimes thought differently about this than the board did. When deciding upon this issue there could be negotiations or disputes taking place between the involved. Conclusively, this study has pointed out the significance of economy at the suitability tests carried out on the foster homes. If the foster parents did not receive any economic compensation for the foster child, the demands on the suitability of a foster home could be lower.

Au XIXe siècle, les arts décoratifs et l'ébénisterie en particulier étaient marqués par une polyphonie parfois déconcertante de néo-styles. Autour de 1830, on note le retour en faveur des styles du XVIIIe siècle, néo-styles qui furent probablement les plus durables, diffusés, symboliques et influents. Ces pastiches et copies de meubles étaient porteurs de valeurs esthétiques, historiques, culturelles, sociales et politiques marquées. Non sans paradoxe, ces styles nés sous la monarchie devinrent favoris de la nouvelle classe bourgeoise et sous la Troisième République incarnaient le style national français. L'apparition et l'évolution au cours du siècle de cet intérêt pour le siècle précédent est sensible dans l'étude de la connaissance et de l'image que l'on avait de l'histoire et de l'art du siècle des Lumières, de l'examen des premières collections de mobilier XVIIIe et de l'analyse des oeuvres présentées aux expositions nationales et universelles. Cette esthétique nouvelle domina les intérieurs éclectiques de la seconde moitié du siècle. Les ébénistes firent preuve d'une ingéniosité et érudition inouïes pour répondre à cette demande toujours croissante en France, en Europe et aux États-Unis. La qualité de leur créations témoigne de leur capacité à s'adapter à des circonstances techniques, stylistiques et économiques nouvelles tout en respectant la tradition de leur métier. Ce goût et cette production firent sourdre des critiques et débats sur la notion de style, sur la créativité et l'importance de la tradition et de la modernité, mettant en avant le rôle paradoxal de ces néo-styles dans les prémices de la modernité
During the 19th century, decorative arts and particularly furniture were marked by a disconcerting polyphony of neo-styles. Around 1830, one can note a revival for 18th century styles, neo-styles which were probably the most durable, broadcast, symbolic and influent. These pastiches and copies of furniture bore marked aesthetic, historical, cultural, social and political values. Paradoxically, these styles born under the monarchy, became favoured by the new bourgeoisie and, under the Third Republic, symbolised the French national style. Throughout the century, the appearance and the evolution of this interest for the previous century is apparent in the study of both the knowledge and the image one had of the History and the Arts of the Age of Enlightenment, in the examination of the first collections of 18th century furniture, and in the analysis of the pieces presented at the national and universal exhibitions. This new aesthetic dominated in the eclectic interiors during the second half of the century. The ébénistes showed an unheard ingenuity and erudition in responding to this increasing demand in France, in Europe and in the United States. The quality of their work attests of their ability to adapt to new technical, stylistic and economical circumstances, while respecting the tradition of their craft. This taste and this production engendered critics and debates on the notion of style, on creativity and the importance of the tradition and modernity, forwarding the paradoxical role of these neo-styles in the beginnings of modernity

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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
The present study was developed with the objective to evaluate the relation between the Toxoplasma gondii infection and the handling adopted in the properties of goat and sheep creation from different geographic regions of Pernambuco State, Brazil. The frequency of antibodies against the T. gondii in the related properties was evaluated by means of the indirect fluorescent antibody test (IFAT), analyzing 164 blood samples of goat and 124 of sheep, being the animals considered seropositives with titles ≥1:16. The existence of association was verified between the frequency of antibodies against T. gondii and inherent factors to the handling adopted in the creations, applying an investigative questionnaire for the attainment of information about the zootecnic and sanitary aspects of the flocks. Results were analyzed statistically using the Qui-square test and the Fisher's Exact test, considering the level of significance of 5.0%. It was observed 47.6% (78/164) and 48.4% (60/124) of seropositivity for goat and sheep respectively, having significant association between the infection taxes and the regions of creation, frequently bigger for the goat created in the Metropolitan Region of Recife and, in relation to the sheep, the biggest taxes of positivity had occurred in the Northern Wasteland. In the goat creations, factors of the productive handling had been more important in differences between the taxes of infection for T. gondii that the factors of the reproductive handling, such as the type of exploration, with higher seroprevalence for dairy goats (71.2%), intensive system of creation (78.9%) and the race, having the Saanen race (68.7%) of positivity, beyond factors of the hygienic-sanitary handling (type of land, existing facilities and frequency of the cleaning of the facilities). Amongst the sheep, the association of T. gondii infection was more important with factors of the hygienic-sanitary handling, showing significant associations with type of land, type of pen and frequency of the cleaning of the facilities. It is standed out that, in none of the host species the occurrence of reproductive disorders demonstrated to have absolute influence in the taxes of infection for T. gondii.
Desenvolveu-se o presente estudo com o objetivo de avaliar a relação entre a infecção toxoplásmica e o manejo adotado em propriedades de criação caprina e ovina de diferentes mesorregiões do Estado de Pernambuco. A freqüência de anticorpos contra T. gondii nas referidas propriedades foi avaliada por meio da técnica de Imunofluorescência Indireta analisando-se 164 amostras sangüíneas de caprinos e 124 ovinos, sendo os animais considerados sororreagentes a partir de títulos ³ 1:16. Paralelamente foi verificada a existência de associação entre a freqüência de anticorpos contra T. gondii e fatores inerentes ao manejo adotado nas referidas criações, aplicando-se, em cada um dos estabelecimentos de criação, um questionário investigativo para a obtenção de informações de caráter zootécnico e sanitário dos rebanhos em estudo. Os dados foram analisados estatisticamente obtendo-se distribuições absolutas e percentuais e utilizando-se o teste Qui-quadrado de Pearson e o teste Exato de Fisher quando as condições para utilização do teste Qui-quadrado de Pearson não foram verificadas, considerando-se o nível de significância de 5,0% para a decisão dos testes estatísticos. Foram obtidas taxas de 47,6% (78/164) e 48,4% (60/124) de positividade para caprinos e ovinos respectivamente, havendo associação significativa entre as taxas de infecção e as mesorregiões de criação, com freqüência maior para os caprinos criados na Região Metropolitana do Recife e, em relação aos ovinos, as maiores taxas de positividade ocorreram no Agreste Setentrional. Nas criações caprinas, fatores do manejo produtivo tais como o tipo de exploração, com taxa significativamente mais elevada para caprinos leiteiros (71,2%), o sistema intensivo de criação (78,9%) e a raça, tendo a raça Saanen (68,7%) de positividade, além de fatores do manejo higiênico-sanitário (tipo de terreno, instalações existentes e freqüência de limpeza das instalações) foram mais importantes nas diferenças entre as taxas de infecção por T. gondii que os fatores do manejo reprodutivo. Dentre os ovinos, sobressaíram-se os fatores do manejo higiênico-sanitário, obtendo-se associações significativas para as variáveis: tipo terreno, tipo de aprisco e a freqüência de limpeza das instalações. Ressalta-se que, em nenhuma das espécies de hospedeiros, a ocorrência de distúrbios reprodutivos demonstrou ter influência absoluta nas taxas de infecção por T. gondii.

Si l’opéra sur un livret en prose ne se manifeste publiquement en Europe qu’au tournant des XIXe et XXe siècles, dans les domaines russe, puis français, enfin allemand et tchèque, des essais de chant de prose et des réflexions sur ses conditions de possibilités sont cependant intervenus, en France, dès le XVIIIe siècle. Envisagée comme forme verbale apériodique, la prose peut ainsi être considérée comme étant au fondement du genre de l’opéra. D’une part, en effet, dans la tragédie lyrique et auparavant dans l’opéra italien, des vers mêlés apériodiques sont d’emblée associés à un chant lui aussi largement apériodique, notamment dans le récitatif. Cette caractéristique formelle du récitatif est soulignée par la notion analogique péjorative de « prose musicale », élaborée dans la seconde moitié du XVIIIe siècle, en France et en Allemagne, par les partisans de la mélodie périodique italienne. D’autre part, l’ opposition entre le régime du récitatif et le régime de l’air peut être interprétée comme un conflit entre un principe dramatique linéaire de prosa oratio et un principe lyrique circulaire de versus. Sur un plan stylistique, la notion formelle de prose s’articule en outre à celle de prosaïsme, non seulement dans le drame lyrique naturaliste en prose, mais plus généralement dans le chant de type récitatif, considéré par certains théoriciens comme la prose du chant, parce qu’il est apériodique et dévolu aux matières de moindre valeur lyrique. Cette articulation entre les plans formel et stylistique s’opère notamment dans la prosodie musicale, et plus spécifiquement à travers le traitement de l’e caduc, qui fait l’objet de débats idéologiques touchant aux limites entre le naturel et le prosaïsme. Les tentatives de divers compositeurs, poètes et théoriciens pour dépasser l’antagonisme entre le vers et la prose conduisent dès lors à repenser le genre, non en termes de dichotomie formelle et stylistique, mais comme une unité organique. Celle-ci prend ainsi la forme d’un poème lyrico-dramatique, qui s’incarne dans un discours poético-musical associant chant, orchestre, et silence. Le problème du chant de la prose dans l’opéra apparaît donc comme un révélateur des enjeux génériques, esthétiques, voire idéologiques du théâtre lyrique
Although prose opera only appeared in Europe at the turn of the nineteenth and twentieth centuries, in Russian, French, German and Czech opera, some ventures into prose singing and reflections about it did occur in France as early as the eighteenth century. Seen as an aperiodic verbal form, prose can be considered to have been an essential part of the operatic genre from the beginning. Indeed, aperiodic free mixed verse is used in French tragédie en musique, and before that in Italian opera, in association with largely non-periodic singing, especially in recitative. This formal characteristic of recitative is summed up in the metaphoric and pejorative phrase of “musical prose”, which was created in France and Germany in the second half of the eighteenth century by admirers of the Italian periodic melody. This opposition between two modes of singing, recitative-like and aria-like singing, can be seen as a conflict between two contradictory principles in opera: on the one hand, a prosa oratio principle, whose linearity represents the dramatic progressive succession ; on the other hand, a versus principle, whose periodic circle constitutes the traditional form of lyrics. On a stylistic level, prose also has to do with prosaic matters and language, not only in the naturalistic drame lyrique, but more generally in recitative singing. The latter is sometimes considered the prose of music, not only because of its form, but also because it deals with less lyrical matters than aria. This relationship between formal and stylistic levels is particularly tight in prosodic matters, especially in the treatment of the famous mute e, which provokes multiple ideological debates concerning natural, realistic, or prosaic styles of diction. Attempts to solve this problematic opposition between verse and prose logics led various musicians, librettists and theorists to go beyond formal and stylistic dichotomy and to rethink opera as an organic whole: in the form of a lyric-dramatic poem and a poetic-musical speech, where singing, orchestra, and silence are combined. The problem of prose singing in opera thus clearly reveals the generic, aesthetic, and ideological issues concerning lyric theatre

Ce travail porte sur une étude de la communauté formée par les amateurs de métal extrême et l'ontologie de leur identité de fan. Dans un contexte de mondialisation musicale, des amateurs divers parviennent à maintenir une cohérence dans les modalités de leur attachement à ce courant stylistique à travers les deux dimensions suivantes. Première dimension, l'idéologie et l'esthétique élaborées par les métalleux - la croyance partagée de la généalogie du métal. La narration d'une certaine histoire du métal s'est peu à peu institutionnalisée de sorte que des discours légitimes ont émergé, et devient le modèle prescriptif pour la pratique musicale : il permet de distinguer ce qui est « metal » de ce qui ne l'est pas. L'analyse sur les équivoques du classement des sous-genres du metal montre que les groupes référentiels et leur musique sont davantage des idéaux-types que de fidèles représentations de la réalité. Ces idéaux-types deviennent le corpus de la généalogie imaginaire. Deuxième dimension, les aspects matérialistes de leur attachement, les objets techniques, technologies, savoir-faires qui contribuent à l'existence d'un réseau solidaire. Le métal extrême est né grâce à la collaboration de métalleux dévoués dont l'action s'inscrit hors du système commercial de l'industrie du disque et des médias de masse. Ce réseau est ensuite réalisé par les métalleux selon leurs respectifs critères culturels et socio-économiques locaux. Néanmoins, certains membres et organisations du réseau cherchent à obtenir plus de reconnaissance. L'esprit solidaire des pionniers du métal extrême tient davantage aujourd'hui de l'utopie
This work concerns a study of the community formed by extreme metal fans and the ontology of their identity as a fan. In a context of music globalization, various amateurs succeed in maintaining a coherence in their attachement to this stylistic trend coherent across two dimensions. First dimension, ideology and aesthetics developed by metalheads - the shared belief in the genealogy of metal. The narration of a certain metal history was gradually institutionalized by legitimate discourses and became a prescriptive model for musical practice : it can distinguish what is "metal" from what is not. Analysis of ambiguities about metal sub-genres classification shows that the referential bands and their music are not faithful representations of reality but ideal types. These become the corpus of the imagined genealogy. Second dimension, the materialistic aspects of their commitment : the objects, techniques, technologies, know-how that contribute to the existence of a solidarity network. Extreme metal was born thanks to the cooperation of dedicated metalheads whose actions fall outside the commercial system of the recording industry and mass media. This network is then performed by metalheads according to their respective cultural and socio-economic conditions. However, certain members and organizations are seeking more recognition. The solidarity spirit emphasized by extreme metal pioneers today is nothing but a utopia

The Soviet blockade of western Berlin between the 23 June 1948 and 12 May 1949 - and the airlift that was organized to defeat it - was the first major confrontation between the Soviet Bloc on the one side and the United States and its allies on the other. It was at the point where the shared cooperation arising from common interests during the Second World War finally dissolved and became the Cold War with the potential to develop into a hot war. Yet for all its acknowledged importance in the history of the Cold War, no historian has hitherto investigated the British component of the Berlin Airlift to discover how it worked in practice and if British involvement was actually necessary to the success of the Allied operation as a whole, or whether the Airlift could have been undertaken more effectively by different approach. Given its acknowledged importance, the Airlift has been poorly served by its historiography. It forms a very minor part in the post-war histories of Germany; and even in the more specialist scholarly literature on the early stages of the Cold War, it receives scant attention. Insofar as it has received any detailed scrutiny, the Airlift of 1948-9 is presented regularly as a sub-plot in the wider drama of the Berlin Blockade, and it is the US dimension of the Airlift which has produced the best historiography. The American aspect, Operation VITTLES, predominates in the current literature and there is no equivalent on the RAF side to the USAF professional historians' output. Beyond this US dimension, there is a general dearth of academic papers in journals and of scholarly monographs. Popular books exist in quantity providing narrative overviews for the general public but this literature can be based on assumptions about the British dimension to the Airlift that do not stand up when tested against the surviving evidence. This study seeks to address its principal questions - examining the scale and extent of the British participation, and gauging its utility and significance in iii relation to the broader multi-national endeavour to defeat the Blockade - by a close study of the rich and plentiful primary archival sources held in Britain, the United States and elsewhere using the combined methodologies of the historian and the logistician. The thesis evaluates British participation in the Berlin Airlift and reveals that her aircraft were demonstrably indispensable logistically. However, performance - and that of the Royal Air Force especially - was substantially lower than that of the American task force. At the time, the official explanation given to the public was that the USA operated more and larger aircraft. The thesis reveals that there were additional causes. It examines how the Americans might have replaced the British, as was feared within the Foreign Office and the RAF and as they had the French. Redistribution of the whole American task force to bases nearer to Berlin in the British Zone of Germany would have increased the tonnage delivered but the thesis finds it would not have been sufficient. Deploying more US resources is the other possibility investigated and the limitations of American capability to do so are revealed and the potential impact on the plans to continue the Airlift into 1951 identified.

Le but de cette thèse est d'étudier l'évolution des rapports de l'art et du musée, à partir de l'exemple des collections de peintures et de sculptures des XVIIIe et XIXe siècles, conservées dans les musées d'Angers, de Nantes et de Rennes. Elle se propose de comprendre comment la création même du musée, conçu comme un outil conservatoire et pédagogique, interpelle et transforme la finalité de l'art, en fondant un espace artificiel qui inaugure la modernité. La première partie est consacrée à la période de création du musée qui s'opère dans le passage de la collection privée à la collection publique. Elle comprend l'étude des saisies révolutionnaires et des envois de l'Etat et de leur influence sur le musée jusqu'au milieu du XIXe siècle. La deuxième partie est consacrée a l'étude du musée, de son rôle et de ses usages, de 1850 a 1918. Elle présente les rapports des principaux acteurs du musée (Etat ville – collectionneur - artiste) avec l'art et leur influence sur cet espace public qui devient un des symboles du monde urbain en assurant la pérennité de ses propres traditions culturelles. La troisième partie est consacrée au musée et à ses rapports avec l'histoire de l'art qui apparaît comme un nouvel acteur du monde muséal. Elle montre comment l'histoire de l'art se substitue à l'artiste et inaugure un nouveau rapport à l'art et à la modernité
The purpose of this thesis is to study the evolution of the relationships between art and art gallery, starting from the example of paintings and sculptures of XVIIIe and XIXe centuries, preserved in the art galleries of Angers, Nantes and Rennes. Its purpose is to show how the creation of the art gallery, regarded as a place of preservation and study, concerns and transforms the finality of art, by opening for it, an artificial space which inaugurates modernity. The first part is devoted to the period of emergence of the art gallery, which is characterised by the transition from private collections to public collections. It includes the study of the confiscations of revolutionary period and the attributions of works of art by the state and their influence on the art gallery, during the first part of the XIXe century. The second part is devoted to the study of the function and the using of art gallery, between 1850 and 1918. It describes relationships of the principal actors of art gallery (state, town, collector, artist) with art and their influence on this public space which becomes one of the symbols of urban world by securing the durability of its own cultural traditions. The third part presents the art gallery and its relationships with art history which appears as a new operator of the museal world. It shows, how art history substituted to the artist himself, inaugurates a new relation with art and modernity

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Despite its immunological properties for the newborn, milk is also considered a potential source of transmission of pathogens, and some of them cause zoonoses. The non-pasteurized goat milk has been implicated as an important source of infection of T. Gondii in children of rural areas which are feeding habit of eating raw milk. .Serological studies carried out in the Zona da Mata of the state of Pernambuco - Brazil shown that Toxoplasma gondii is widely disseminated in the goat herd in the region. The objective of this work was to find the presence of IgG immunoglobulin against T. Gondii in milk and to conduct an epidemiological investigation of the infection in lactating goats from creations of subsistence of the municipality of Jaboatão dos Guararapes – State of Pernambuco - Brazil. Samples of blood and milk were collected of 68 lactanting goats of various ages and races, in five rural properties of the said council. An investigative questionnaire was applied to each property. Samples were processed and tested by indirect immunofluorescence test for search of IgG, adopting the cut-off of 1:16 for both, followed by dilutions in factor 2 up to the dilution of1:516 for the serum and 1:64 for milk, for samples seropositive in the previous dilution. It was obtained seropositivity of 88.23%, 77.94%, 76.47%, 70.58%, 58.82% and 50% for dilutions of 1:16, 1:32, 1:64, 1:128, 1:256 and 1:512 respectively. Positivity in the samples of milk was 39.70%, 29.41% and 7.35% for dilutions of 1:16, 1:32, 1:64, respectively. Concluding that there is a statistical correlation between the result of association found in milk and in serum and in milk goats that are capable of eliminating the class IgG antibodies through milk at different times of lactation.
Apesar de suas propriedades imunológicas para o recém-nascido, o leite também é considerado como uma via potencial de transmissão de patógenos, sendo alguns deles causadores de zoonoses. O leite caprino não pasteurizado tem sido implicado como importante via de transmissão de T. gondii em crianças das áreas rurais as quais têm hábito alimentar de ingerir leite cru. Estudos sorológicos realizados na Zona da Mata do estado de Pernambuco demonstraram que Toxoplasma gondii encontra-se amplamente disseminado no rebanho caprino dessa região. Objetivou-se, neste trabalho, pesquisar a presença de imunoglobulinas da classe IgG contra T. gondii em leite e realizar inquérito soroepidemiológico da infecção em cabras lactantes de criações de subsistência do município de Jaboatão dos Guararapes - PE - Brasil. Foram coletadas, por amostragem de conveniência, 68 amostras de sangue e leite de cabras de idade e raças variadas, em cinco propriedades rurais do referido município. Um questionário investigativo foi aplicado em cada propriedade. As amostras foram processadas e submetidas ao teste de imunofluorescência indireta para pesquisa de IgG, adotando-se o ponto de corte de 1:16 para ambas, seguindo-se com diluições em fator 2 até a diluição de 1:516 para o soro e 1:64 para o leite, nas amostras sororreagentes na diluição anterior. Obteve-se soropositividade de 88,2%, no título de 1:16. A positividade nas amostras de leite foi de 39,7%, para o ponto de corte de 1:16. Conclui-se que existe a presença de anticorpos da classe IgG no leite associada a presença de anticorpos no soro e que cabras em diferentes tempos de lactação são capazes de eliminar esses anticorpos da classe IgG pelo leite, sendo ainda a soropositividade dos animais associado a relato de aborto e filho nascido com deficiência visual.

Dans les années 1990 et 2000, la scène musicale underground taiwanaise a vu naître successivement le Taik – ou Rock Taike 台客搖滾 taike yaogun – puis le Taiwan Traditional Rap, ou 台灣味唸歌 Taiwan wei niange. Ces courants « trans-musicaux » se rejoignent sur de nombreux points tels que la revendication de « traditions » populaires locales, accompagnée cependant d'une forte complaisance au métissage culturel, et par-dessus tout d'un besoin de se définir – de s'identifier – en dehors des clichés aliénants du bon-goût, dictés de manière hégémonique par la culture « dominante » centrée depuis la fin des années 1940 sur le modèle de la République de Chine. Appuyée par un travail de terrain réalisé entre 2005 et 2010 selon les principes de l'observation participante, et pensée à la lumière des cultural studies et d'ouvrages d'auteurs tels que Dick Hebdige et Stuart Hall, cette thèse propose une approche « sensible » d'une sous-culture particulière, tempérée d'autre part par une critique des théories développées par Pierre Bourdieu dans La Distinction, Critique sociale du jugement. Elle tente ainsi – au travers du prisme trans-musical – de définir la place occupée par la sous-culture locale « Taike » dans l'histoire globale d'autres sous-cultures comparables, et s'impose alors en contexte tel un trait d'union entre Taiwan et le reste du monde
In the 1990's and 2000's, the underground music scene in Taiwan successively gave birth to the Taik – also called Taike Rock 台客搖滾 taike yaogun – then to Taiwan Traditional Rap 台灣味唸歌 Taiwan wei niange. These "trans-musical" currents are similar in many issues such as the claim to local folk traditions, accompanied however by accomodating a strong cultural mix and by a need to define – to identify – themselves outside the alienating good taste, so dictated since the late 1940's by the hegemonic "dominant" culture focused along the lines of the Republic of China. This thesis proposes a ''sensitive'' approach to a particular subculture, furthermore tempered by a critique of theories developed by Pierre Bourdieu in Distinction: A Social Critique of the Judgment of Taste. It has been backed up by field studies conducted between 2005 and 2010 according to the principles of the participant-observer and trends of thought enlightened by cultural studies and works of authors such as Dick Hebdige and Stuart Hall. It attempts also – through the prism of trans-musicality – to define the place of the local "Taike" subculture in the global history of other comparable subcultures, as an essentiel link between Taiwan and the rest of the world

Cette thèse étudie plusieurs moments marqués par un intérêt et engouement forts pour les artefacts et monuments précolombiens – ou pensés comme tels – pour comprendre leur présence et usages en France durant le long 19ème et avant leur appréhension esthétique de la première moitié du 20ème siècle. Suivant surtout des objets provenant du Mexique et de l’Amérique Centrale, cette étude privilégie deux aspects jusqu’alors moins explorés : le goût, les espaces et les usages privés d’une part; leur place dans le commerce de l’antiquité, de la curiosité et de l’art de l’autre. Le dépouillement de catalogues de collections et de ventes, de publications savantes artistiques et des enquêtes archivistiques en France et aux États-Unis ont permis de relever des moments où créativité érudite, intérêt amateur et marché ont évolués ensemble. Après suivre la formulation d’une valeur d’«antiquité» pour les «objets anciens» des Amériques à la fin du 18ème siècle, l’arrivée de nouvelles collections mexicaines à Paris et le projet de publication des Antiquités mexicaines (1834-1840) permettent d’identifier un nouveau foyer d’intérêt pour l’antiquité américaine et ses œuvres d’art au sein de la Société Libre des Beaux-Arts de Paris. A partir des années 1830 et en parallèle à l’intensification des échanges avec l’Amérique Latine, il est dès lors possible d’identifier des marchands et offrant des artefacts des Amériques et de suivre l’émergence des premiers «experts» de ce marché. La Deuxième Intervention Française au Mexique (1861-1867) permet d’explorer l’idée d’une relation privilégiée entre la France et le Mexique. L’étude des mutations du marché et des sensibilités montre comment cet épisode et l’engouement contemporain pour l’univers du «primitif» se sont traduits par un développement considérable du commerce et du collectionnisme d’artefacts des Amériques. Deux études de cas sur le marchand Eugène Boban et le collectionneur Eugène Goupil permettent de recontextualiser ces développements structuraux à l’échelle de l’individu. Enfin, l’étude d’un réseau de collectionneurs franco-mexicains et nord-américains, sous le double prisme de l’affirmation de discours patrimoniaux patriotiques et d’un marché de l’art transnational, éclairent la nouvelle valeur marchande et la mutation en «ouvre d’art» de ces objets partir des années 1920
This thesis examines different moments characterized by a strong interest for and fascination with Pre-Columbian artefacts – or though as such – to better understand their place in 19th century France, before their aesthetic “rediscovery” in the 20th century. Focusing on artefacts from Mexico and Central America and drawing from sales catalogues, scholarly and artistic publications and archival research, this thesis explores the role played by personal taste and private usages in collecting as well as the place occupied by these objects in the developping art and antiquities market. In the 1830s, the arrival of new collections in Paris and the publication of Antiquités mexicaines serve as the starting point from which to consider the Société Libre des Beaux-Arts as one of the main centres structuring interest for American Antiquity. It is now also possible to identify the first merchants and “experts” to offer Pre-Columbian artefacts for sale. We then examine the aftermath of the Second Franco-Mexican War (1861-67) : how it contributed to articulate the idea of a privileged relationship between France and Mexico and how the emergence of a new taste for all things “primitive” affected the commerce of Pre-Columbian artefacts. Finally, through the study of dealer Eugène Boban and collector Eugène Goupil we analyse these structural changes at the level of the individual and follow a network of Franco- Mexican and North American collectors whose activity, considered in terms of patriotic heritage discourses and the emergence of a transnational art market, contribute to understanding the transformation of Pre-Columbian material culture into “artworks” in the 1920s

Cette recherche repose sur l'interrogation suivante : qu'est-ce qui fait être amateur d'art contemporain ? Les amateurs d'art contemporain constituent un public envers lequel les études, même si elles sont porteuses d'indications utiles, sont peu nombreuses. On constate que la plupart des études présentent un profil qui rend compte du caractère solitaire, assidu, souvent diplômé du visiteur amateur d'art contemporain et de son comportement peu interactif. Nous savons ainsi très peu de choses sur ce rapport qui pourtant est souvent à la source de débat important sur l'art contemporain et notamment sur la question de l'accessibilité. Partant de la définition pragmatique, selon laquelle l'amateur est celui qui entretient un rapport suivi quels qu'en soient les médiums ou les modalités, notre recherche consiste à se démarquer d'une méthode quantitative qui se délimiterait à une pratique, à un type de public et à un seul lieu. Cette recherche repose sur une méthode qualitative dont l'objectif est de reconsidérer l'amateurisme en art à travers l'analyse d'entretiens. La position communicationnelle permet d'analyser ce rapport sous un rapport pluriel à l'objet. L'amateurisme est ainsi étudié, en dépassant d'une part le rapport sujet/objet, décrit et analysé par la philosophie esthétique, mais aussi la relation objet /système sur laquelle reposent de nombreuses études sociologiques, centrées sur le système des mondes de l'art. Dans cette optique nous avons cherché à observer cette pratique en mettant en lumière son caractère construit. En témoigne notamment les activités formelles, mais aussi celles issues des expériences anecdotiques et circonstancielles, liées à des processus d'appréhension qui révèlent la spécificité de cet attachement pour l'objet d'art et d'un goût toujours en exercice

L’analyse de la mode vestimentaire dans l’URSS khrouchtchévienne permet de saisir l’impact de la conjoncture politico-économique sur la société et la vie quotidienne. La compétition avec l’Occident a pour conséquence l’émergence du concept de la mode socialiste qui visé à normaliser l’apparence dés Soviétiques par le biais de l'éducation du goût. La réforme centrée sur la satisfaction des besoins vestimentaires met en épreuve les capacités de l’économie planifiée d’équilibrer l’offre à la demandé, de prendre en compte les variations de la mode. L'ouverture de la société soviétique vers l’extérieur a pour conséquence la mise en place de canaux de transferts officiels et informels de la mode occidentale. La diversité des tendances de mode et la « culture de pénurie » donnent naissance à des stratégies d’acquisition de vêtements. Les cultures de consommation formées à partir des diverses combinaisons de celles-ci reflètent la stratification sociale
Studying fashion in USSR under Khrushchev helps to understand the impact of the political and economic situation on the Soviet society and everyday life. The compétition with the West has as a consequence the emergence of socialist fashion concept that aims to normalise the appearance of Soviet people through education of their taste. The reform aimed at satisfying needs in clothes confronts planned economy with the problem to find a balance between the offer and the demand, to take changes in fashion into account. The opening of the Soviet society to the West results in the emergence of official and informal channels of transfers of Western fashion to USSR. The diversity of tendencies in fashion and culture of shortages give a birth to various strategies of clothes acquisition. Consumer cultures formed of various combinations of the strategies reflect not only individual reactions to the situation, but also social stratification and cohesion

France, although an enemy in the recent war, had always provided a reliable model in times of crisis, and since the seventeenth century, it had remained a static presence in the German consciousness. In the wake of the First World War, France, as an established nation with respected cultural traditions and enduring national myths, functioned as an important 'other' nation against which the Germans could compare their own national development This dissertation examines the Germans' understanding of France as a cultural counter identity in the years 1919 through 1945, calling attention to their repeated recourse to French cultural symbols in their cultural production of these years. The dissertation begins with an analysis of the broader German conceptions of France and its enduring cultural traditions. Chapters 2 and 3 investigate the myth of France in general terms, exploring its persistence as a geographical and cultural presence in the German consciousness. As this dissertation will show, many of the traditional French symbols and ideals (the French Revolution, the French Resistance, French patriotism, the notions of the artiste engage, those of liberte, egalite, and fraternite) converged for the Germans in the symbol of Paris and the cultural heritage of France, both of which united for them the broad concept of the 'nation' with particular political, philosophical, and literary traditions. The two following chapters take a much narrower approach to the question of identity/counter-identity, examining the French symbols and heroes which populated German writing of the interwar years and their roles in helping the Germans negotiate their own road to nationhood. The concluding chapter, 'Ewiges Frankreich (Eternal France),' synthesizes the evidence presented in the five preceding chapters and attempts to elicit from these views a better understanding of the German expression 'Ewiges Frankreich,' a phrase which appears repeatedly in the writings of German exiles and soldiers in the 1930s and 1940s
acase@tulane.edu