Rozprawy doktorskie na temat „20th century France”
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Grohmann, Carolyn. "The problems of integrating annexed Lorraine into France, 1918-1925". Thesis, University of Stirling, 1999. http://hdl.handle.net/1893/3540.
Pełny tekst źródłaPapanikolaou, Dimitris. "Singing poets : literature and popular music in France and Greece /". London : Legenda, 2007. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=016510046&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA.
Pełny tekst źródłaNardout, Elisabeth. "Le champ littéraire québécois et la France, 1940-50 /". Thesis, McGill University, 1987. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=72078.
Pełny tekst źródłaThe historical circumstances justify the setting up of exceptional institutional conditions. Some French writers and critics, in exile in North America, partake, to varying degrees, in the French Canadian literary scene. The backing of these intellectuals is not unrelated to the process of modernization and autonomization undertaken at that time by the major sectors of the Quebecer literary apparatus.
A conflict of interest in the publishing sector as well as ideological differences spark a controversy between Robert Carbonneau and some members of the Comite National des Ecrivains. This "quarrel", to quote Charbonneau, is an unprecedented example of direct confrontation between Quebecer and French literary agents. On this occasion, Robert Charbonneau redefines French Canadian literature outside of France's sphere of influence, France being a country whose status he wishes to limit to that of just one foreign reference among many.
This desire for autonomy can also be found in literary texts which, using means available to them, bear witness to an appreciable decline of the French literature. But whereas literary discourse attempts to resist annexation to French literature, the literary apparatus is subject, upon the Liberation, to a material and symbolic domination by the French authorities, a domination it cannot fight. In this respect, the conditions of literary production in the fifties are paradoxical since the text, while voicing its rejection of the French institution and its French Canadian identity, continues to receive its ultimate consecration from France.
Holford, Stephen Charles John. "Cocteau in London: the Lady Chapel, Notre-Dame de France". Thesis, The University of Sydney, 2014. http://hdl.handle.net/2123/12327.
Pełny tekst źródłaHarrison, Jane E. "Fashionable Innovation: Debussysme in Early Twentieth-Century France". The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1322638382.
Pełny tekst źródłaRIZZI, Elena Maria Rita. "Modern art and the making of a French republican imaginary, 1919-1940". Doctoral thesis, European University Institute, 2021. https://hdl.handle.net/1814/70295.
Pełny tekst źródłaExamining Board: Professor Laura Lee Downs (European University Institute); Professor Ann Thomson (European University Institute); Professor Kevin Passmore (Cardiff University); Professor Béatrice Joyeux-Prunel (Université de Genève)
Winner of the 2022 James Kaye Memorial Prize for the Best Doctoral Thesis in History and Visuality.
Recent scholarship on the interwar French art milieu has overcome, on the one hand, ethnonationalism as the main interpretive framework for examining the relationship between art and politics and, on the other, a celebratory narrative that made Paris the liberal and democratic interwar art centre. Building on these recent studies, my thesis aims to reassess the nexus between art and politics in interwar France. I do this by asking what kind of Republican imaginaries were created in the modern art promoted by public institutions. In order to answer this question, the thesis builds on a second, recent body of scholarship that re-examines French politics and Republican political culture through new lenses. This work highlights the polysemic and plastic nature of Republican ideology, the variety of stances contained within Republicanism, and hence the existence of different and competing understandings of the French Republic. By delving into four case studies, namely the Musée des écoles étrangères, the Musée de Grenoble, the tapestries realised at the Manufacture des Gobelins and the mural art projects financed by the state in the late 1930s, the thesis demonstrates that the modern art promoted by public institutions engendered political imaginaries that testify to the simultaneous existence of conservative, liberal, civic or communitarian, that is, local Republics. While making modern art the bearer of competing views on the French Republic in the 1920s and 1930s, the imaginaries that were created by modern art institutions and practices mythologised Republican universalism. Yet, these imaginaries revealed all the ambiguity contained in France’s universalistic project. At a time marked by the never-ending bellicosity that ensued from the First World War and the political and economic crises of the 1930s, the imaginaries created by modern art thus gave birth to a Republican visual politics. As the thesis argues, this Republican visual politics had a sociopolitical meaning. Modern art, especially figurative art, created imaginaries that could confront, above all, the interwar crisis of the Republic and its universalism, and the crisis in social and political representations that stemmed from the political turmoil and instability of the interwar years.
O'Brien, Carolyn 1957. "Immigrant integration, European integration : the Front national and the manipulation of French nationhood". Monash University, Centre for European Studies, 2002. http://arrow.monash.edu.au/hdl/1959.1/8548.
Pełny tekst źródłaMurdock, Mark Cammeron. "In the Company of Cheaters (16th-Century Aristocrats and 20th-Century Gangsters)". BYU ScholarsArchive, 2009. https://scholarsarchive.byu.edu/etd/1775.
Pełny tekst źródłaGilkey, Emily 1984. "Marriage in Crisis: The Individual and the State in Belle Epoque France". Thesis, University of Oregon, 2009. http://hdl.handle.net/1794/10059.
Pełny tekst źródłaThis thesis offers an analysis of the competing interests of the state and the individual in Belle Epoque France as manifested in a crisis of marriage. I argue that traditional institutions that favored social stability were incompatible with a modern understanding of individual rights. My argument is centered on three issues: the abolition of the dowry, the legalization of divorce and the legitimization of free union. Conservatives considered familial stability to be a vital element of national security, thereby justifying extensive state interference in marriage practices. Liberals contended that the primary function of government was to guarantee individuals maximal freedom. These competing interests produced a climate of crisis that pitted two irreconcilable visions of marriage against one another.
Committee in Charge: George Sheridan, Chair; David Luebke; Alexander Dracobly
De, Rouvray Cristel Anne. "Economists writing history : American and French experience in the mid 20th century". Thesis, London School of Economics and Political Science (University of London), 2005. http://etheses.lse.ac.uk/36/.
Pełny tekst źródłaYeoman, Jane A. "Critical account of English-language poetry translation in 20th century France : the case of Emily Dickinson". Thesis, University of Edinburgh, 2003. http://hdl.handle.net/1842/23274.
Pełny tekst źródłaHendrickson, Kendra Beth. ""Vitalité": Race Science and Jews in France 1850-1914". PDXScholar, 2014. https://pdxscholar.library.pdx.edu/open_access_etds/1948.
Pełny tekst źródłaSmith, Olga. "Between reality and fiction : the art of French photography since the 1970s". Thesis, University of Cambridge, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.610275.
Pełny tekst źródłaLongwell, Ann E. "France, man and language in French Resistance poetry". Thesis, University of St Andrews, 1989. http://hdl.handle.net/10023/13376.
Pełny tekst źródłaFloto, Mark Edward 1959, i Mark Edward 1959 Floto. "France 1940: the anatomy of a rout". Thesis, The University of Arizona, 1986. http://hdl.handle.net/10150/558055.
Pełny tekst źródłaFahmy, Miriam. "Le discours sur la fin de la littérature en France de 1987 à 1994 /". Thesis, McGill University, 2003. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=79937.
Pełny tekst źródłaOur project consists of an analysis of the argumentative rhetoric contained in the four essays of our corpus, which together form the Discourse on the death of French literature. We studied how the authors set up an argumentative construct likely to convince the reader that French literature has fallen into decay. By analysing the rhetorical processes as well as locating the tacit discourse, we sought to single out the ideology which they promote and to make out the contours of the literary ideal which they delineate. In light of these observations, we ended with the broad outline of a typology of the genre, liable to exemplify all "essais crepusculaires".
Claveau, Cylvie. "L'autre dans les Cahiers des droits de l'homme, 1920-1940 : une sélection universaliste de l'altérité à la Ligue des droits de l'homme et du Citoyen en France". Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=37604.
Pełny tekst źródłaStokes, Thomas Hubert Jr. "Audience, intention, and rhetoric in Pascal and Simone Weil". Diss., The University of Arizona, 1990. http://hdl.handle.net/10150/185120.
Pełny tekst źródłaPinson, Guillaume 1973. "Fiction du monde : analyse littéraire et médiatique de la mondanité, 1885-1914". Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=102151.
Pełny tekst źródłaA first part explores the organisation of the topics and the main genre of the mundane society in the press, applying the social discourse theory. The analysis is based on the perusal of a set of representative daily newspapers (Le Gaulois, Le Figaro) and of weekly and monthly publications (Le Grand monde, La Vie parisienne, Femina notably, as well as around thirty other titles). It shows that the mundane society in the newspaper is constrained by a poetics stemming from the characteristics of press writing: collective writing, periodicity of the publication, text length limitation and reference to reality. Some texts are tempted by fiction, even though they keep a reality-based referential, whereas other texts that are openly fictitious, fit the mundane fiction into the newspaper.
The second part is based on the general conclusion of the first part: the mundane society in the newspaper is a represented society, made of for a distant and anonymous public. With the advent of the medias in the 19th century, the mundane society has entered into the era of mediations and "industrial writing". Some writers, from Bourget to Proust, take these upheavals into account and present the mundane society as a metaphor of the mass media society. This is done following three main axes: the temptation of withdrawal of the fiction into a closed world (psychological and mundane movement impulsed by Goncourt with Cherie, prolonged by Bourget and Hervieux notably); the games of exchange between the novel and the newspaper (Maupassant, Toulet, Legrand, amongst others); and finally, the isolation of the mundane world and the aesthetic work on mediations (Rolland, Colette, Mirbeau, Lorrain et Gide notably). All these writings address the question of sociability at the era of the triumph of mediations: what room is left for the mundane society, for direct encounter, for exchange, in a world of mediation and mass media coverage? for immediate connections in a society of mediated ties? The epilogue proposes a journalistic reading of A la recherche du temps perdu, synthesis-work which inaugurates a modern and sociological perception: it is in the world of the imagined mundane society, distant and represented in the mass media, that the narrator draws the resources for his observation of the world.
Brown, Julian Richard. "The field of ancient Cham art in France : a 20th century creation : a study of museological and colonial contexts from the late 19th century to the present". Thesis, SOAS, University of London, 2013. http://eprints.soas.ac.uk/16812/.
Pełny tekst źródłaCarrell, Scott Allen. "The French Sonatina of the Twentieth Century for Piano Solo: With Three Recitals of Works by Mussorgsky, Brahms, Bartok, Durilleux, and others". Thesis, University of North Texas, 1999. https://digital.library.unt.edu/ark:/67531/metadc935608/.
Pełny tekst źródłaGreenshields, Mary Clare, i University of Lethbridge Faculty of Arts and Science. "The Amazon in the drawing room : Natalie Clifford Barney's Parisian salon, 1909-1970 / Mary Clare Greenshields". Thesis, Lethbridge, Alta. : University of Lethbridge, Dept. of English, c2010, 2010. http://hdl.handle.net/10133/2606.
Pełny tekst źródłav, 110 leaves ; 29 cm
Hickmott, Sarah. "(En) Corps Sonore : towards a feminist ethics of the 'idea' of music in recent French thought". Thesis, University of Oxford, 2017. https://ora.ox.ac.uk/objects/uuid:eb562d0f-e9be-40f4-b0a3-9fa6da0a3136.
Pełny tekst źródłaMoukambi, Victor. "Relations between South Africa and France with special reference to military matters, 1960-1990". Thesis, Link to the online version, 2008. http://hdl.handle.net/10019.1/1228.
Pełny tekst źródłaLegault, Réjean. "L'appareil de l'architecture moderne : new materials and architectural modernity in France, 1889-1934". Thesis, Massachusetts Institute of Technology, 1997. http://hdl.handle.net/1721.1/10774.
Pełny tekst źródłaIncludes bibliographical references (v. 3, leaves 470-517).
This dissertation is an historical inquiry into the role played by new building materials in the formation of architectural modernism in France. It proceeds on the theoretical assumption that a "material" is not a technical given -- a securely defined entity in the physical and linguistic senses -- but an architectural construct whose "inherent properties" are a matter of interpretation. It suggests that within a specific architectural culture, the conceptions and uses of a material are defined by concerns that are not only constructional but involve architectural doctrines, building practices, aesthetic projects, and cultural strategies. Since the publication of Sigfried Giedion's Bauen in Frankreich. Bauen in Eisen. Bauen in Eisenbeton (1928), reinforced concrete has been commonly accepted as the common denominator of French modernism. The dissertation questions this interpretive assumption, focusing on the changing conceptions of the material as an index of transformations in French architecture and architectural culture. It covers a period that spans from the Universal Exhibition of 1889 to the early 1930s, a period which saw the development of reinforced concrete in French architecture, from its emergence within architectural discourses to its inscription within early modernist historiography. Through a close examination of contemporary books and periodicals, unpublished sources, and graphic documents, the dissertation explores the theories and works that framed the critical relationship of new material to French modernism. Inaugurated with the late nineteenth-century demise of metal as the leading material in architectural theory, the preeminence of reinforced concrete in French architecture was marked by the dispersion of rationalist tenets into competing architectural programs. The First World War was a pivotal event in this process. Of principal importance were the positions of Auguste Perret and Le Corbusier. While Perret insisted on continuity with prewar practices, emphasizing the role of craft production, Le Corbusier embraced the rupture brought about by the societe machinique, shifting towards the idea of industrialized construction. These positions were key to the technical and aesthetic definition of the modem house, from the function of the concrete frame to the nature of external revetments. They also led the way to the cultural and ideological debates that ensued on the nationality of the material and the sources of modem architecture. In the late 1920s the return of metal merely underscored the "rhetoric of materials" in the definition of French modernism.
by Réjean Legault.
Ph.D.
Cole, Alistair. "Factionalism in the French Parti Socialiste, 1971-1981". Thesis, University of Oxford, 1985. http://ora.ox.ac.uk/objects/uuid:45540f01-8b00-4837-9920-b970c04e5ab6.
Pełny tekst źródłaRoy, Nina Tamara. "Harvest of memories : national identity and primitivism in French and Russian art, 1888-1909". Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=37827.
Pełny tekst źródłaThe myth of the peasantry as developed in nineteenth century European thought centres around the premise that rural populations were an unchanging element of society whose traditional customs, religious beliefs, and modes of production contrasted sharply with the accelerated changes in urban culture. A critical examination of selected paintings by the French artist Paul Gauguin (1848--1903), the Russian Neoprimitivist Natalia Goncharova (1881--1962), and the French Fauve painter Othon Friesz (1879--1949) within their specific, social contexts reveals the ways in which the modern, artistic maintenance of the rural myth elucidates current political and social issues of nationalism. This underscores the peasantry's symbolism within the nation as representative of a national, collective consciousness and ancestry. The peasantry's incorporation into the primitivist discourse and the cultural articulation of the rural myth are revealed in the paintings The Vision After the Sermon (1888), Yellow Christ (1889), Fruit Harvest (1909), and Autumn Work (1908). The paintings and their respective social contexts situate the peasantry both as constructions within the primitivist discourse and symbols of national identity, thereby disrupting the structure of alterity upon which primitivism is predicated.
Mueller, Marieke. "Subjectivity in Sartre's 'L'idiot de la famille' : biography as a space for the development of theory". Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:54f60363-e148-4481-b710-c7e68a908bd5.
Pełny tekst źródłaThériault, Mark J. "Art as propaganda in Vichy France, 1940-1944". Thesis, McGill University, 2007. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=112592.
Pełny tekst źródłaThe fine arts were purged of "foreign" influences, yet the German Arno Breker was invited to exhibit his sculptures in Paris. In the spirit of national redressement, traditional French art was promoted; however, Modern art, which Hitler condemned as cultural Bolshevism, continued to be produced. With reference to the words of Petain, Hitler, French artists and art critics, and a variety of artworks, this thesis shows how art was used to propagate the ideology of the Vichy regime.
White, Brook. "ANOTHER FORGOTTEN ARMY: THE FRENCH EXPEDITIONARY CORPS IN ITALY,1943-1944". Master's thesis, University of Central Florida, 2008. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/2595.
Pełny tekst źródłaM.A.
Department of History
Arts and Humanities
History MA
Basch, Sophie M. "La crise du philhellénisme ou l'élaboration difficile de l'image de la Grèce moderne chez les voyageurs et écrivains français depuis la création de l'Ecole d'Athènes jusqu'à la guerre civile grecque (1846-1946)". Doctoral thesis, Universite Libre de Bruxelles, 1994. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/212660.
Pełny tekst źródłaWalsh, Sebastian John. "Britain, Morocco and the development of the Anglo-French entente". Thesis, University of Cambridge, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.610042.
Pełny tekst źródłaBibert, Alexandre. "Les relations syndicales franco-allemandes (France, RFA, RDA) de 1945 à 1973". Thesis, Strasbourg, 2015. http://www.theses.fr/2015STRAG048.
Pełny tekst źródłaThe Second World War profoundly disrupted European societies. When the war came to an end, a dynamic of recomposition, based either on reconciliation or on sharp divisions, took hold of the continent. The French and German populations were the first to bear the brunt of these evolutions. Because of their numerous adherents, trade unions constituted the most important mass organizations of their time, and consequently offer a particularly interesting perspective on the Franco-German dialogue, especially against the backdrop of the division of Germany into two states, the Cold War, and the construction of Europe, of which economic interpenetration was a main aspect. This thesis considers, at the crossroads of a process of reconciliation and of future cooperation, the establishment and structuring of trade unions exchanges between France and Germany, examines exchange practices, and highlights adjoining convergence and tension phenomena
Marchand, André. "Opothérapie : émergence et développement d’une technique thérapeutique (France, 1889-1940)". Thesis, Paris, CNAM, 2014. http://www.theses.fr/2015CNAM0980/document.
Pełny tekst źródłaLaunched by a communication from the famous Professor Brown-Sequard in 1889 on the effects of self-injection of testicular juice, organotherapy – a technique of care using the juice of glands – falls within a long tradition of animal medication. Publications of doctors and pharmacists have allowed us to establish how the new treatment is part of the landscape of medicine that became more scientific at the turn of the nineteenth and twentieth centuries. Opotherapy/Organotherapy, whose development depends on the development of knowledge on the endocrine glands, develops through therapeutic successes in thyroid and gynecological diseases and by making pharmaceuticals produced by industrializing pharmacists which provided medication in a form that eliminates a medical procedure, available to the public. Organotherapy, which stands out from hormone therapy by the use of natural misidentified drugs that have generated a great number of debates on their composition and mode of action, will know its greatest development around the First World War and will persist despite the development of hormone therapy based on synthetic molecules until the 1990s
Berman, Nancy. "Primitivism and the Parisian avant-garde, 1910-1925". Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=38149.
Pełny tekst źródłaFrench critics of Le Sacre viewed the work as a portrayal of Russian "Otherness" against which they could assert or question their own identity. Whereas the primitivism of Le Sacre was understood to be radical, excessive, even prophetic and apocalyptic, the primitivism of Les Noces was perceived as a manifestation of the classicist "call to order" and as an emblem of American-style mechanization. That it was also understood in terms of the post-war avant-garde's emphasis on classical ideals of austerity, dryness, and sobriety reflects the Purists' belief that machines heralded the new classicism.
Jazz was the ultimate symbol of both primitivism and modernity, and was initially hailed by the avant-garde as a revivifying source for the French tradition. In their attempt to neutralize the racial and political threats perceived to be inherent in jazz, the avant-garde emphasized its rationality, precision, and economy. La Creation du monde represents the avant-garde's complete assimilation of jazz and l'art negre into the French classical tradition.
Moraly, Stéphanie. "La sonate française pour violon et piano (1868-1943). Identité d’un genre musical". Thesis, Paris 4, 2014. http://www.theses.fr/2014PA040020.
Pełny tekst źródłaA great number of sonatas for violin and piano were composed during the French Third Republic, among which are some well-known masterpieces, such as the Franck, Fauré, Debussy or Ravel sonatas. This thesis draws on an unpublished catalogue of four hundreds and twenty-one sonatas by two hundred and nighty-one composers (French or Belgian), and seeks to study and define this musical genre.The first part examines the historical and socio-cultural context that enabled the French violin sonata to reach its acme at the end of the 19th century. The author goes to the sources of the repertoire to establish the favorable juncture at which particular currents met; from nationalism, the reinvigoration of instrumental music, artistic salons, concert societies and leading composers, to the Franco-Belgian school of violin playing. The second part seeks to better characterize the repertoire by applying typological and statistical methods to the referenced catalogue of the encountered works. The third part endeavors to define the identity of these sonatas as a musical genre, based on elements of their musical language. Finally, the fourth part sheds new light on Proust’s Sonate de Vinteuil, through a detailed analysis of fifty sonatas. The appendices gather numerous documents, including the referenced catalogue of the sonatas, a catalogue of composers, analytical tables for fifty sonatas, and a CD recorded by the author playing the violin
Coll-Vinent, Sílvia. "The reception of English fictional and non-fictional prose in Catalonia (1916-38), with particular reference to Edwardian literary culture and associated debates concerning the novel in England, France and Catalonia". Thesis, University of Oxford, 1996. http://ora.ox.ac.uk/objects/uuid:e715592b-063c-4a02-9bbb-d89078ec1719.
Pełny tekst źródłaBoileau, Patricia. "Le grain et la peau : de la temporalité de l'image photographique dans l'architecture de Mallet-Stevens". Thesis, McGill University, 1999. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=30839.
Pełny tekst źródłaTrippe, William Micah. "Where are the urban mechanics? : the case of the French city film 1926-1930". Thesis, University of Cambridge, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.610501.
Pełny tekst źródłaSchneider, Marie-Alexandra. "Desseins politiques. Représentations iconographiques de la France en Sarre (1945-1956)". Thesis, Paris 4, 2017. http://www.theses.fr/2017PA040104.
Pełny tekst źródłaIn the wake of World War II, the Saar was subjected to a specific treatment from the victors. Separated from the French zone of occupation, the territory is managed in autonomy and is economically tied with France from the end of 1947. Ten years later, the Saar returns to Germany. During this first post-war decade, perception of France changes. With the years passing by and depending on the local political forces, official or dissidents ones, France embodies both the face of the liberator and the invader, the partner and the enemy, the protector and the exploiter. France’s image turns into a conflict of representations, which will affect the campaign of the 1955 referendum. This is the main subject of this thesis. In order to determine the way France was depicted in the Saar between 1945 and 1956, we will establish two directions: we will analyse on one hand the depictions France carried out, with the help of the powers in place in the Saar, to subserve its political ambitions. On the other hand, we will study the dissident depictions published by those in favour of a return to Germany to end the special regime that had been in place since the end of the war. Taking into consideration that visual images nourish mental images, we will study iconographic depictions used in the communications means of the time, press and posters essentially, that circulated in the Saar between the arrival of the French troops in Sarrebruck and the end of this period of autonomy
Gaudette, Stacey Leigh, i University of Lethbridge Faculty of Arts and Science. "Genêt unmasked : examining the autobiographical in Janet Flanner". Thesis, Lethbridge, Alta. : University of Lethbridge, Faculty of Arts and Science, 2006, 2006. http://hdl.handle.net/10133/531.
Pełny tekst źródłav, 93 leaves ; 29 cm.
Wang, Xuning. "Realist painting and its relationship to my creative practice". Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2010. https://ro.ecu.edu.au/theses/122.
Pełny tekst źródłaBlanchard, Charlotte. "Réception et traduction de la poésie d’Adrienne Rich en France". Thesis, Bordeaux 3, 2019. http://www.theses.fr/2019BOR30011/document.
Pełny tekst źródłaThe aim of this thesis is to understand why the poetry of Adrienne Rich (1929-2012), the major United States poet, is absent from the French literary field. Adrienne Rich was awarded numerous literary prizes throughout her prolific career. As an essayist, she was one of the first theorists of the feminist movement in the United States. Collections of her poems have been published in almost twenty languages worldwide. In French, fifteen of her poems have been translated and published in different forms (anthologies, literary magazines, blogs). A collection was being drawn up in collaboration with the poet, but to this day has never been released. Despite several attempts to introduce her work in France—some of her essays have been translated, a collection of her poems was in the agrégation curriculum, and she was invited to read her work in a bookshop—in 2019 it remains largely invisible to French readers. This thesis will thus try to explain this “arrested” reception first by examining the translations of Rich’s poems which have been published in French. Who translated her poetry? How can we characterise their translations? Their work is part of the French subfield of translated poetry which will be analysed so as to identify what is at stake, who is involved and how the poetry is distributed. In the light of these analyses which come under the sociology of translation and of reception, the case of Adrienne Rich’s poetry will be compared with other US male and especially female poets from the same period. In this reception context, addressing the history of ideas is crucial. Indeed, Adrienne Rich’s work is marked by her engagement with feminism, which is a significant element in the cultural transfer which translation represents. As such, the history of feminist movements and theories in France and the United States since the 1960s will be subjected to close analysis. Lastly, in a prospective approach, this thesis will focus on the conditions for the possible publication of a collection of Adrienne Rich’s poetry translated into French, in light of the analysis of the publishing field of poetry in France and of a microtextual reading of her previously published poems. These considerations will be illustrated by new translations or retranslations of selected poems. At the heart of this research lies the question: how is feminist poetry to be translated?
Hurlburt, Christopher. "Paul Claudel and World War One". Fogler Library, University of Maine, 2005. http://www.library.umaine.edu/theses/pdf/HurlburtCG2005.pdf.
Pełny tekst źródłaCHINCOLI, Veronica. "Black North American and Caribbean music in European metropolises : a transnational perspective of Paris and London music scenes (1920s-1950s)". Doctoral thesis, European University Institute, 2019. http://hdl.handle.net/1814/62230.
Pełny tekst źródłaExamining Board: Professor Stéphane Van Damme, European University Institute; Professor Laura Downs, European University Institute; Professor Catherine Tackley, University of Liverpool; Professor Pap Ndiaye, SciencesPo
This thesis examines black music circulation in the urban spaces of London and Paris. It shows the complexity of the evolutionary processes of black musical genres, which occurred during the late imperial period (1920s-1950s) within the urban music scenes of two imperial metropolises, and how they played an important role on the entertainment circuit. Both cities functioned as sites of crossfertilisation for genres of music that were co-produced in a circulation between empires and Europe. Musicians of various origins met in the urban spaces of the two cities. The convergence and intermingling of musical cultures that musicians had brought with them produced new sounds. This process was influenced by a minority group (blacks), but had a significant and lasting influence on the musical world. By creating an historical account of the encounters and exchanges between people of different origins within the music scenes, this thesis examines music development and the complexity of processes of racialisation according to their historical locality and meaning. Using a variety of sources including police reports, government documents, interviews, guidebooks and newspapers, this work contributes to widen the perspective of historical studies on music developments, emphasising their social and spatial dimensions, which are fundamental for the exploration of music scenes, in general, and for the spread of black genres of music in particular. Black music styles spread internationally, but were produced in several specific locations where music industry infrastructure was developing. In the urban spaces of the music scenes of London and Paris social networks were formed by various actors - both blacks and whites - and were crucial for music production and reception; different perceptions of blackness, processes of competition, and debates on authenticity emerged; and processes of regulation and negotiation underpinned the intervention of public authorities.
Chapter 4 'Black Music Styles as Vehicles for Trans-racial Interplay: Practices of Learning, Perceptions of Blackness and Commercialisation of Music' of the PhD thesis draws upon an earlier version published as an article “Black Music Styles as Vehicles for Transnational and Trans-Racial Exchange: Perceptions of Blackness in the Music Scenes of London and Paris (1920s-1950s),” (2017) in the journal 'Zapruder world'
Sadoun, Clara. "Le roman de La Vie parisienne, 1863-1970: presse, genre, littérature et mondanité, 1863-1914". Doctoral thesis, Universite Libre de Bruxelles, 2010. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/209915.
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Doctorat en Langues et lettres
info:eu-repo/semantics/nonPublished
Lacroix, Michel 1969. "La beaute comme violence : la dimension esthetique du fascisme francais, 1919-1939". Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=37754.
Pełny tekst źródłaOur thesis is divided in three parts, each one devoted to one of fascism's central themes: the leader, the youth, and the group. In our first chapter, we examine the charismatic leader's many faces, among which are the poet and the warrior. We then show that fascism's discourse on heroism makes of the epic hero an ideological model and that, in its turn, this ideological hero greatly influenced Pierre Drieu la Rochelle's representation of the hero. But, as we indicate, Drieu's novels reveal that the cult of the hero is both a glorification of the self and a self-hatred. In our second chapter we examine fascism's cult of youth such as it was in Italy and Germany, after which we have demonstrated that, in a way, French fascism was an extreme radicalization of the contemporary French discourse on youth. Then, we analyse one of Robert Brasillach's novels which brings to the fore the dark side of fascism's cult of youth: its death drive.
In our last chapter, we unearth the aesthetic principles underlying fascism's political spectacle, principles that we also find at the heart of Drieu's texts. We consequently state that Drieu has adopted fascism's aesthetic years before he realized he had fascist ideas. Going a little further yet, we stipulate that Drieu thus reveals that the aesthetic was one of the main roads towards fascism. We then establish, in our final conclusion, a synthetic description of fascist aesthetics: an aesthetics of pathos, exhibition, sublime, violence, and death.
Aballéa, Marion. "Un exercice de diplomatie chez l'ennemi : l'ambassade de France à Berlin, 1871-1933". Thesis, Strasbourg, 2014. http://www.theses.fr/2014STRAG029.
Pełny tekst źródłaBetween 1871 and 1933, the French embassy in Berlin was, seen from France, an embassy sent to the main enemy, and, seen from Germany, the nest of the main enemy in Berlin. Mistrust was the ground principle of the relationship between Paris and Berlin, forcing those representing France in imperial and Weimar Germany to face the obstacles, contradictions and frustrations resulting from a diplomatic mission in an unwelcoming city, and whose goals were not clearly stated. How, in these circumstances, can diplomacy be practiced on a daily basis? Our work aims at answering the question, wandering through the kitchens, the offices as well as the ballroom of the embassy, trying to figure out what the daily life of the French microcosm on the Pariser Platz looked like. Emphasizing how the embassy was, at the same time, confronting French-German rivalry, working around and trying to overcome it, the study sheds light on the meaning, the purpose, the possibilities and the limits of residence diplomacy on hostile ground
Segura, Mauricio. "Le discours francais sur l'Amerique latine revolutionnaire (1950-1985) /". Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=38274.
Pełny tekst źródłaThis investigation, which perceives itself as an overview of the images elaborated by the French social discourse on Latin America, examines closely the historical moments when there are determinant discursive mutations. Therefore, from 1950 to 1961, a first manner of apprehending the Latin American other is identified. This period was described as a moment of transition during which the French discourse goes from a discursive frame which emphasizes on the theme of nature to a discursive frame which privileges the power relations between social agents. From 1962 to 1974, Latin America becomes for the French writers a geographical region upon which one pours off revolutionary aspirations. The axioms of third worldism, primary discursive formation enhanced by this period, run through the whole of the texts at various degrees. Also, this thesis aims to reveal the figures and spaces which emerge from this whole of contradictory representations. From 1975 to 1985, one witnesses the decomposition of the discursive formations and representations established during the two previous decades. Indeed, several discursive formations during these ten years question not only third worldism and its revolutionary impulses, but also the function of the intellectual.
On a more general basis, this study examines the history of ideas in France from 1950 to 1985. One of its implicit goals is to describe the rules which diversify, give coherence, integrate, exclude, and legitimate a "new" idea in the French social discourse.
Cheng, Chi-Suen. "Yves Daniel-Lesur and le canique des cantiques: nonconformism and humanism in a mid-twentieth-century choral work". HKBU Institutional Repository, 2016. https://repository.hkbu.edu.hk/etd_oa/310.
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