Teses / dissertações sobre o tema "Ideologies of XXth century"

A principis del segle XX, l'arqueologia hispànica, que fins al moment havia anat a càrrec d'aficionats, començà un procés professionalitzador de la mà d'investigadors de formació germànica. Així, la seva metodologia i la concepció que tenien dels pobles es corresponia amb les dels professionals alemanys del seu temps implantades, especialment, per Pere Bosch Gimpera, que les inculcà als seus deixebles de l'Escola de Barcelona. En aquest treball s'han llegit detalladament les principals obres de diversos investigadors del moment per tractar d'esbrinar quines implicacions ideològiques tenen les seves teories etnològiques; bàsicament, quina distribució territorial proposaven per a l'Estat espanyol en base a la seva composició ètnica. Aquest exercici serveix per posar de manifest que, malgrat l'aparença cientificista i asèptica, les ciències socials no són alienes al context social i polític, ni a les passions dels seus professionals. Alhora, indirectament, pren el pols d'unes dècades molt convulses de la història hispànica.
Until early 20th Century, Hispanic archaeology had only been studied by amateurs. It was at that time when it started a process to give professional status to the subject, carried on by German-formated researchers. Thus, their methodology and the conception that they had about the peoples corresponded with the ones introduced by German professionals and, specially, Pere Bosch Gimpera, who instilled this ideas to their disciples from the called “Escola de Barcelona”. In this work we have read in detail the main works by various researchers of the moment to try to find out which ideological implications have their ethnologic theories; basically, what territorial distribution did they propose for the Spanish State in base of their ethnic composition. This exercise lays bare that, even with the scientificist and aseptic appearance, social sciences are not unconnected to the social and political context nor the passions of their professionals. At the same time, indirectly, it helps clarifying some decades of upheaval of the Spanish history.

COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR
Este trabalho tem como objetivo analisar uma pseudotradução no Brasil do século XX. O termo pseudotradução se refere a uma obra apresentada como tradução e que circula como tal por determinado período sem suscitar suspeita. De junho a dezembro de 1944, a jornalista, escritora, militante comunista e musa do movimento antropofágico, Patrícia Galvão, conhecida também pelo apelido Pagu, produziu um exemplo do gênero ao escrever uma dezena de contos policiais para a revista Detetive que foram apresentados ao público como traduções de um suposto autor estrangeiro chamado King Shelter. As razões e as implicações dessa medida podem ser parcialmente explicadas por meio do paradigma dos Estudos Descritivos da Tradução (Descriptive Translation Studies - DTS). Os adeptos dessa linha, denominados descritivistas, propõem-se a descrever as estratégias e os recursos utilizados numa tradução, a fim de entender o motivo dessas escolhas, bem como avaliar as razões que levam uma cultura a rejeitar ou aceitar determinada obra traduzida. A pesquisa para o presente estudo foi informada pelas reflexões dos teóricos Itamar Even-Zohar, Gideon Toury e Susan Bassnett e teve como foco os contos traduzidos por Pagu, as características do romance policial e a biografia da autora. Ao longo da história, a pseudotradução revelou-se um estratagema para driblar questões culturais (inclusive estéticas), políticas e ideológicas. Temos agora conhecimento de que esse recurso foi usado no Brasil do século XX para preparar o terreno para o desenvolvimento de um gênero pouco difundido no país na década de 1940: o romance policial.
This work aims to analyze a case of pseudotranslation in 20th-century Brazil. The term pseudotranslation refers to a verbal or written utterance which is presented to the public as a translation and which circulates as such without arousing suspicion. From June to December 1944, the journalist, writer, communist militant and celebrated member of the literary anthropophagic movement Patrícia Galvão, also known by the nickname Pagu, produced an example of pseudotranslation when she wrote a dozen of detective short stories for the magazine Detetive. The works were presented as translations of a fictitious foreign author named King Shelter. The reasons she resorted to this disguise and the consequences her act generated may be partly explained by the Descriptive- Translation Studies (DTS) paradigm. Descriptive translation researchers attempt to explain the resources and strategies used in a translation, in order to understand the reasons for such choices, as well as to evaluate why a given culture rejects or accepts a certain translated work. Research for this study was based on the ideas of Itamar Even-Zohar, Gideon Toury and Susan Bassnett and focused on the translated short stories written by Pagu, on the main aspects of the detective novel and on the life of Pagu. Throughout history, pseudotranslations have proven to be a cunning device to surpass cultural, political, ideological and even aesthetic barriers. We now know that this resource has been cleverly used in Brazil in order to pave the way for the development of a literary genre in the country in the 1940 s: the detective novel.

This thesis proposes and explores the concept of ‘invisible architecture’ as a means of interpreting the city in the nineteenth century. Invisible architecture is understood as the unseen structure which holds together the modern city, allowing it to exist as a concept despite the impossibility of gaining full knowledge of it. It has two sides, the first repressive and stabilising, the second fluctuating and utopian. In this way, the thesis is interested in the material and spatial basis of ideology, as well as the ways ideology can be disrupted or distorted. It is also interested in developing a link between invisible architecture and two forms of the unconscious: the psychoanalytic unconscious, which is read through Freud and Lacan, and Walter Benjamin’s ‘optical unconscious’. More broadly, the thesis explores the ongoing significance of Benjamin’s Arcades Project (1927-40) for nineteenth-century city literature. Invisible architecture is explored by analysing how it operates as an object of interest and concern for a selection of writers whose work engages with the modern city between approximately 1830 and 1885. Chapter One focuses on Nikolai Gogol, whose essay ‘On Present-Day Architecture’ (1835) is read in relation to Sergei Eisenstein (1898-1948). This text expresses the desire to bring into visibility the submerged history of architecture and to produce a modern urban architecture that is monolithic and controlling. At the same time, it imagines a city built from suspended structures made of iron, a form of architecture that is speculative and destabilising. Gogol’s use of the term ‘arabesque’ (as in his 1835 volume, Arabesques) is also investigated, with reference to ‘The Overcoat’ (1842), as a means of thinking about how the city both disrupts and evokes totality. Chapter Two looks at James Kay, Friedrich Engels and Elizabeth Gaskell’s writing on industrial Manchester, especially Mary Barton (1848). It argues that the trope of the underground, which is associated particularly with the working class, operates as a form of invisible architecture, and considers the ways Kay’s 1832 pamphlet on Manchester cotton-workers seeks to bring the city into greater visibility. Chapters Three and Four focus on Dickens’s London in Dombey and Son (1848) and Our Mutual Friend (1865) respectively. Chapter Three looks at the hidden, but unstable, connections between the domestic and financial ‘houses’ of Dombey, and reads the railway as a force which both breaks apart and connects the city of London. Chapter Four focuses on the river as indicating the presence of that which cannot be integrated into the city because it is fundamentally unknowable, drawing on Lacan’s work on vision and the unconscious. This chapter also suggests that city space in Our Mutual Friend is frequently uncanny, referring to Freud’s essay on the topic. Chapter 5 examines Zola’s Paris in The Kill (1872) and The Ladies’ Paradise (1883) in relation to Debord’s Society of the Spectacle (1967), arguing that Haussmann’s boulevards and the new department stores of Second Empire Paris seem to open up the city with new vistas of space and glass, offering absolute visibility, but at the same time suppressing and destroying parts of the city. The conclusion looks at whiteness within city space, basing its discussion on texts covered in the preceding chapters. It proposes the contradictory combination of visibility and invisibility which whiteness signifies as a final example of invisible architecture, and argues for a dialectical connection between nineteenth-century whiteness and the whiteness of modernism.

Pourquoi certaines armes disparaissent des champs de bataille tandis que d’autres ne cessent d’y être déployées? Afin de répondre à cette question, notre travail entreprend d’analyser sous un angle inédit l’influence du droit de la guerre (jus in bello) dans le choix des acteurs (gouvernements et militaires) d’utiliser une arme plutôt qu’une autre. Plus précisément, il s’attache à démontrer que les perceptions collectives de ce que proscrit ou autorise le droit de la guerre concernant les conditions d’utilisation des armes (conceptualisées sous le nom de meta-norme du « combattre justement ») est décisif dans la manière qu’ont les acteurs d’appréhender, évaluer et utiliser leur armement. A travers l’analyse des trajectoires de trois armes différentes (armes chimiques, armes incendiaires et drones de combat) fondée sur des données objectives, archives et sources secondaires, nous démontrons que chacun des pics significatifs de l’utilisation de ces armes s’explique aussi par des changements importants dans les perceptions collectives du « combattre justement ». Ainsi, les acteurs cessent d’utiliser leurs armes, ou prétendent cesser, quand ils ne parviennent plus à justifier et démontrer que leur utilisation s’accorde avec leurs perceptions collectives du « combattre justement », et vice versa. In fine, notre travail démontre que la guerre demeure un processus de justification continu, et, parce que les perceptions du combattre justement forment le socle de ces justifications, elles sont décisives pour comprendre le choix des pratiques de guerre. En second lieu, parce que les perceptions collectives du combattre justement sont décisives pour comprendre les pratiques de guerre, notre travail s’intéresse à leur formation. Il démontre que les acteurs sont plus enclins à imposer leur propre perception comme étant la plus légitime lorsque leur argumentaire perpétue un ordre symbolique dominant et ne révèle pas les fondamentales contradictions inhérentes au droit de la guerre. Ainsi, notre travail propose d’analyser sous un nouvel angle l’impact du droit de la guerre, mais aussi celui des argumentaires et des symboles dans les pratiques de guerre
The dissertation investigates why certain weapons continue, or cease to be employed on the battlefields. Employing an interpretivist perspective, it investigates an aspect largely overlooked by the extant literature: the impact of the meta-norm of 'fighting justly' on actors' weapons utilizations. The meta-norm of fighting justly is defined as the collective preconceptions shared by actors, on how and when the extant laws of war (jus in bello) either ban or allow weapons utilization. My work reveals that the significant shift in the utilization of three weapons (chemical weapons, incendiary weapons and unmanned aerial vehicles) can be explained by shifts in the dominant perceptions of the meta-norm of fighting justly. It is when actors believe that they cannot justify their weapons utilization with regards to their own meta-norm of fighting justly, that they decrease (or pretend to decrease by hiding) this utilization, or vice versa. In fine, when engaged in a war, militaries and states constantly seek to justify their actions, and the basis of these justifications is their understanding of the meta-norm of fighting justly. Because the meta-norm of fighting justly impacts on weapons variations, it is crucial to understand who shapes the norm, at the international level. My work reveals that states are engaged in a constant argument, where they defend, articulate and promote their own conception of fighting justly. In this 'battle for legitimacy', states are more likely to enshrine their own conception as the most legitimate one, under two conditions: namely, when their argument does not disrupt the extant symbolic order, and when it does not foster the inherent contradictions of the laws of war. Ultimately, this work aims to shed new light on how the laws of war influence practices of war. It also explores and provides new insights into the 'logic of arguing' and into the symbolic power in international relations

La thèse se propose de retracer la recherche philosophique et littéraire qui réunit Czesław Miłosz et Nicola Chiaromonte en tant que membres d'une formation intellectuelle particulière. Pour comprendre la nature de leur relation dans ce milieu intellectuel, on a évité les pièges biographiques et interprétatifs qui auraient réduit l'étude comparative des deux auteurs à une recherche stérile d'influences explicites sur le plan de la pensée et de l'œuvre. Au contraire, on a fait émerger toute la complexité de leur rencontre, déterminée par une conjoncture historico-politique et culturelle très particulière. La voix de Czesław Miłosz semble si proche de celle de Nicola Chiaromonte pas seulement à cause de la participation aux mêmes évènements et au même climat politique du XX siècle, mais aussi grâce à la commune attention portée à la nécessité de définir un fondement éthique pour la liberté de la pensée, du langage et de l'action humaine dans un contexte de massification généralisée qui a pris une ampleur néfaste dans les idéologies totalitaires. À partir d'horizons socioculturels différents, leurs recherches se sont ensuite orientées vers une tentative de redécouverte de la dimension tragique de l'histoire en opposition aux déterminismes du XX siècle qui ont réduit l'homme à une monade isolée, pliée aux exigences des nombreuses nécessités historiques. Comme observe Gino Bianco, les deux auteurs semblent développer en parallèle une aversion « pour l'historicisme fondée sur la conviction que malgré la fureur et l'horreur de l'Histoire, l'homme est un absolu et que cet absolu réside dans la conscience ». La recherche, qui révèle comment la pensée et l'écriture de Miłosz et de Chiaromonte sont en oscillation constante entre la dimension socio-politique et métaphysique, a pour originalité de se fonder en grande partie sur l'analyse textuelle. La réflexion sur la relation entre l'histoire et l'individu ne se situe pas à un niveau spéculatif et théorique ; au contraire, elle se réalise dans un processus d'écriture qui n'est pas détaché des trajectoires biographiques des deux auteurs. Tous deux essaient de comprendre l'égarement de l'homme moderne face à l'histoire en se reconnaissant avant tout parmi ces individus pris dans son étau. Les textes analysés révèlent la position occupée par les deux auteurs dans leurs analyses, à savoir celle de spectateurs critiques des phénomènes décrits. Dans les textes choisis, celui qui parle est aussi celui qui a vécu, qui se rappelle et donc qui témoigne. C'est dans l'impossibilité de séparer l'homme de son expérience et le penseur-écrivain de son jugement et ses évaluations, que le chercheur polonais W. Karpiński identifie le point de contact entre les deux auteurs, auxquels il attribue l'utilisation d'une forme littéraire particulière, celle des « esquisses de réalité » (szkice rzeczywistości). Karpiński conçoit leur écriture comme une forme de résistance aux manipulations et aux distorsions produites par les logocraties du XXe siècle, comme une réappropriation de la fonction signifiante du mot. C'est dans ce présupposé sémantique, dans l'aspiration à une coïncidence renouvelée entre le langage et la réalité que les deux auteurs aspirent à un renouvellement des fondements éthiques de l'homme moderne. On pourrait même parler d'existentialisme sémantique car leur écriture, malgré les différences stylistiques, est animée par la même urgence de répondre aux propagandes idéologiques en conduisant une réflexion métalinguistique
This thesis sets out to trace the philosophical and literary research that brought Czesław Miłosz and Nicola Chiaromonte together as members of a particular intellectual formation. To understand the nature of their relationship in this intellectual milieu, we have avoided the biographical and interpretative pitfalls that would have reduced the comparative study of the two authors to a sterile search for explicit influences in thought and work. On the contrary, we have brought out the full complexity of their encounter, determined by a very particular historical-political and cultural conjuncture. Czesław Miłosz's voice seems so close to Nicola Chiaromonte's not only because of participation in the same events and the same political climate of the twentieth century, but also thanks to the common attention paid to the need to define an ethical foundation for the freedom of thought, language and human action in a context of widespread massification that has taken on a nefarious magnitude in totalitarian ideologies.From different socio-cultural backgrounds, their research then turned towards an attempt to rediscover the tragic dimension of history, in opposition to the determinisms of the twentieth century that reduced man to an isolated monad, bent to the demands of numerous historical necessities. As Gino Bianco observes, both authors seem to develop a parallel aversion "to historicism based on the conviction that, despite the fury and horror of history, man is an absolute, and that this absolute resides in consciousness".The research, which reveals how Miłosz's and Chiaromonte's thought and writing are in constant oscillation between the socio-political and metaphysical dimensions, is original in that it is largely based on textual analysis. Reflection on the relationship between history and the individual is not at a speculative, theoretical level; on the contrary, it takes place in a writing process that is not detached from the biographical trajectories of the two authors. Both attempt to understand the bewilderment of modern man in the face of history, recognizing themselves first and foremost among those individuals caught in its stranglehold.The texts analyzed reveal the position occupied by both authors in their analyses, namely that of critical spectators of the phenomena described. In the chosen texts, the speaker is also the one who has lived, who remembers and therefore bears witness. It is in the impossibility of separating the man from his experience and the thinker-writer from his judgment and assessments, that Polish researcher W. Karpiński identifies the point of contact between the two authors, to whom he attributes the use of a particular literary form, that of "reality sketches" (szkice rzeczywistości). Karpiński sees their writing as a form of resistance to the manipulations and distortions produced by twentieth-century logocracies, as a reappropriation of the signifying function of the word. It is in this semantic presupposition, in the aspiration to a renewed coincidence between language and reality, that both authors aspire to a renewal of the ethical foundations of modern man. We could even speak of semantic existentialism, for their writing, despite stylistic differences, is driven by the same urgency to respond to ideological propaganda by conducting metalinguistic reflection

This Thesis examines the factors that have helped to shape Brazilian ocean policy over the last half century emphasising changes in political thought, the driving forces behind the globalisation of an ocean regime, national security concerns, strategic relationships, resources and geopolitics. It focuses on the changes that enticed Brazil to revise its ocean policy, and when and how traditional limitations still impact on the exercise of the country's attitudes on ocean affairs. Attention is centred on how Brazil has utilised the Third United Nations Conference on the Law of the Sea (UNCLOS 111) and other international conferences to pursue national interests, and how its experience there has affected its domestic ocean policy. Policy considerations which underlie the development of the country's positions in external negotiations on the law of the sea include those relating to a hard-line unilateral territorialist policy narrowly connected with security (in its traditional terms), which dovetailed with an increasingly acceptance of an international ocean regime. Related to these there is an appraisal of Brazil's positions on coastal States' rights over the 200-mile zone with particular emphasis in the significant trends across time and space. As Brazil seeks to redefine its role in the post-Cold-War era a combination of new and old elements are again determining the future roles and character of its ocean policy and its approach to the South Atlantic as a whole. Factors contributing to this reorientation, and thus to the continuing evolution of the country's ocean policy, are discussed. Findings are used to suggest that the same combination of elements, in different proportions and at different pace is continuously provoking a dramatic change in collective values that may result in changes in contextual and situational factors. National and international arenas are increasingly interwoven, setting a complex framework for current national ocean policy-making.

This work is a study in some detail of the political history and development of Laos since 1975. The contents include: Origin of the Lao Modern Political Ideology; Backgrounds of the Lao Communist Party; Development of Lao People's Revolutionary Party (LPRP); The LPRP as a ruling party; New economic policy 'Chintanakarn Mai'; Future directions of the LPRP. Several maps, tables, charts and photographs are included in the research
Master of Arts (Hons)

The Lacy Hotel was a part of the "Great Locomotive Chase", a significant historical event in Kennesaw, Georgia during the Civil War (AD 1861-1864), yet little is known of this site. The Lacy Hotel was a boardinghouse that operated for roughly six years until General William Tecumseh Sherman burned it in 1864. This research utilizes historical records along with archaeological fieldwork in order to provide a more detailed analysis of daily life within the Lacy household. Dominant ideologies influence the roles of women concerning their activities and choices of consumption within the household. Although the results show that the boardinghouse is not a typical household, the social dynamics and consumption are still constrained by the culture and ideology of the time period. In conclusion, this research offers a case study about the role of women on the eve of turmoil and contends that the boardinghouse is emblematic of broader changes within the rural South during the 19th century.

This thesis examines the ways that African Americans in the mid-twentieth century thought about and practiced masculinity. Important contemporary events such as the struggle for civil rights and the Vietnam War influenced the ways that black Americans sought not only to construct masculine identities, but to use these identities to achieve a higher social purpose. The thesis argues that while mainstream American society had specific prescriptions for how men should behave, black Americans were able to select which of these prescriptions they valued and wanted to pursue while simultaneously rejecting those that they found untenable. Masculinity in the mid-century was not based on one thing, but rather was an amalgamation of different ideals that black men (and women) sought to utilize to achieve communal goals of equality, opportunity, and family.

La végétation herbacée est un bon indicateur des conditions environnementales. Pour cette raison, elle a souvent été utilisée pour mettre en évidence les changements environnementaux causés par les actions humaines, tels qu'eutrophisation, dépôts atmosphériques acides, changements de l'usage des sols ou de la pression d'herbivorie. Depuis peu, on s'intéresse aux effets des changements climatiques sur les écosystèmes en général, et sur la végétation en particulier. Le choix des zones d'étude s'est naturellement porté sur la montagne, car le gradient thermique induit par le relief (-0,56°C pour 100 mètres d'altitude) y est mille fois plus élevé qu'en plaine le long du gradient latitudinal. D'autre part, les zones de montagne sont soumises à une urbanisation et une pression agricole moindre qu'en plaine, limitant ainsi les obstacles à la migration des espèces. Ces deux arguments font des régions de montagne une zone privilégiée pour l'étude de la réponse migratoire précoce de la végétation aux changements climatiques. Jusqu'ici, les études effectuées se sont focalisées pour la plupart sur la limite supérieure des espèces, ou sur de petites zones géographiques, ou bien encore sur des zones où il est difficile de dissocier les effets du réchauffement de ceux des changements d'usage des sols, qui se produisent eux aussi à grande échelle. Une partie de cette thèse est consacrée aux milieux forestiers montagnards, dans lesquels l'effet du pastoralisme est réduit. D'autre part, une méthode basée sur la modélisation des changements de la réponse de la végétation au gradient d'altitude est développée, permettant le rééchantillonnage sur placettes non-permanentes, et ainsi d'étendre l'utilisation de données anciennes à des séries de relevés non géolocalisés. En s'appuyant sur cette méthode, deux caractéristiques de la végétation ont été analysées : la position de l'optimum d'espèces prises individuellement d'une part (données de l'Inventaire Forestier National dans les montagnes méditerranéennes du sud-est de la France), et les changements de la valeur indicatrice des communautés végétales d'autre part (vallée de la Maurienne, France). Par ailleurs, on a étudié les déplacements à long terme de la limite inférieure des espèces dans la vallée de la Bernina (Suisse), pour tester si la réponse des espèces en limite inférieure, peu étudiée jusque là, est identique à celle en limite supérieure de leur distribution. Enfin, on a étudié l'évolution de la flore d'une zone très localisée, mais par ailleurs protégée des migrations d'espèces par une large barrière physique constituée par deux glaciers (Nunatak Isla Persa, Bernina, Suisse) permettant de s'affranchir totalement des effets potentiels d'autres perturbations anthropiques concomitantes. Dans ces différentes études, les intervalles de temps entre chaque inventaire ou échantillonnage varient de 14 ans à un siècle. Chacun des cas étudiés montre une remontée des espèces en altitude : remontée moyenne de +12,6 m/décennie des optimums de 175 espèces forestières dans les montagnes méditerranéennes, communautés des forêts de Maurienne évoluant vers une végétation plus thermophile à une altitude donnée équivalent à une remontée moyenne de +29.6m/décennie, retrait de la limite inférieure des espèces en Bernina de +5,6 m/décennie, arrivée d'espèce d'étages inférieurs sur le nunatak Isla Persa. Mais d'autres phénomènes expliquant la réponse observée de la végétation sont clairement mis en cause dans cette étude : fermeture et maturation du couvert forestier relativement plus importante à basse altitude dans les montagnes méditerranéennes, eutrophisation importante de la végétation en vallée de la Maurienne probablement due à l'augmentation du trafic routier, probable fragmentation de l'habitat ou dispersion par les randonneurs en Bernina. Ces perturbations anthropiques directes jouent à des échelles de temps et d'espace comparables à l'effet anthropique indirect du changement climatique. Il est donc primordial de les prendre en compte dans les changements de végétation observés, avant de conclure à un effet du réchauffement climatique seul.

This thesis examines the experiences of fairgoers at the Lewis and Clark Centennial, American Pacific Exposition and Oriental Fair held in Portland, Oregon from June to October of 1905. Historians have framed world's fairs and international expositions as sites of legitimating narratives and restagings of empire and nationhood. This thesis focuses on women, Asian Americans, and Native Americans who interrupted and disrupted the performance and exhibition of U.S. imperialism in the specific case of Portland, Oregon. It considers who benefitted from or endured loss in the demonstrations of imperial culture at the Fair. Following the premises that metropolitan and colonial histories should be considered in the same analytical field and that the systemic power of domestic imperialism in the United States extended beyond Native Americans into the experiences of most nonwhite American communities, this thesis adds a metropolitan approach to Native-American history and, in turn, applies a more colonial approach to the study of African-American, Asian-American, and working-class women's histories. In three chapters, this study explores a range of disruptions at the 1905 Lewis and Clark Centennial - patched over by the Exposition's civic elites and overlooked by previous historians of the Fair - that shed light on the politics of race, class, and gender within the processes of empire and nation building in the turn-of-the-century West.

This thesis focuses on the representations of the city in the early twentieth-century literary works of two groups of Italian writers: the crepuscolari and the vociani. My analysis shows how the theme of the city is deeply connected with the conception of modernity of these authors. In particular, I focus, case by case, on the ways in which the representation of the the urbs (the physical city) reflects different approaches to the multifaceted modem civitas (understood as society, and sometimes more broadly as human companionship). . The quality of the urban depictions also appears to be linked to the different ways in which the authors conceived of the role and the value of poetry within the new capitalist society. The authors are analysed separately. This allows me to focus not only on the shared aspects of their approach to the city, but also on the autonomous developments of their poetics in this respect. The characteristics ofthe lyrical ios and their relationships with both the Other and temporality emerge as key parameters, in order to understand the significance of the city within the broader system of poetic objects of each writer. The Introduction addresses methodological issues. Chapters 1 and 2, which constitute the first part, provide a socio-economic; and a cultural and literary framework respectively. Chapter 2 also introduces the collective poetics of the vociani and the crepuscolari, and analyses the urban representations ofD'Annunzio, an important model for both groups. In the second part (Chapters 3 to 7), I analyse the urban poetics in the works of Fausto Maria Martini, Sergio Corazzini, Corrado Govoni, Guido Gozzano, Marino Moretti, Aldo Palazzeschi, Camillo Sbarbaro, Clemente Rebora, Giovanni Boine, Umberto Saba and Scipio Slataper.

Popular interpretations and academic scholarship tends to emphasize the relationship between jihad, military action, and communal violence. These reinforce a sense that violence is inherent to Islam. Investigations into the contexts where jihad has been deployed highlight how its use is often a call for unity believed to be necessary for political goals. Therefore, in order to deconstruct this belief, this thesis tackles instead the relationship between textual interpretations and historical actions, and how these varied across specific moments in time. The case studies examined range from the initial evolution of a theory of jihad in the late antique world, to the Crusades in the 11th and 12th centuries, to early modern dynamics of the Ottomans and Safavids, and finally to modern state-making projects in the Arabian Peninsula These examples seek to create a comprehensive picture of the intricacies rooted in jihad and the narrative that can be associated with a religion that is most often misunderstood. The effort to shed some light on the multiple facets of jihad is hinged upon how these case studies differ from one another, thus forcing the reader to question how they previously understood the modern day phenomenon of jihad. While the conversation will reiterate various themes and concepts as discussed in previous scholarship, it should push the boundaries on how jihad has been framed as a modern day extremist ideology.

Scholars have studied American advertising in terms of collectible Americana, histories of printing technology, and consumer culture. These approaches leave a gap in our understanding of American advertising in terms of its role as a powerful carrier of ideological value and a critical participant in national discourses on race and American identity. My study examines nineteenth- and twentieth-century advertising imagery and visual culture—including postcards, prints, and other related ephemera—reading such images as conscious commentary on contemporary racial, social, and economic issues. I employ traditional art historical methods to examine advertising imagery and ephemera, bridging the fields of labor, food, health, and race studies to generate a complex discussion of the myriad stereotypes employed to oppress and limit African Americans’ participation in the American dream. I argue that stereotype comprised a potent method—technologically and ideologically—of identifying and qualifying humanity and “Americanness.” Bred by pseudoscience and propagated throughout the first half of the twentieth century, in particular, stereotypes targeting African Americans argued for their supposed inherent backwardness, inferiority, and suitability for the labors and livelihoods considered unsuitable for white Americans. Picturing black figures in American advertising and visual culture as out-of-control, insatiable, unclean, inexhaustible, and nostalgic bodies created a salve for white anxieties concerning the increasing opportunities afforded black Americans socially, politically, and economically. By closely reading advertising cards, postcards, prints, and other related ephemera as contributors to national discourses on race, I shed new light on their creation, use, and dissemination as powerful tools for selling ideologies about human value, identity, and participation in American life.

This work is a study in some detail of the political history and development of Laos since 1975. The contents include: Origin of the Lao Modern Political Ideology; Backgrounds of the Lao Communist Party; Development of Lao People's Revolutionary Party (LPRP); The LPRP as a ruling party; New economic policy 'Chintanakarn Mai'; Future directions of the LPRP. Several maps, tables, charts and photographs are included in the research

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A fundamentação teórica e literária sobre os conceitos de estupor, de fraturas narrativas e de interrupção de fluxo narrativo. Os estudos sobre o efeito de estupor sob o ponto de vista da psiquiatria e da psicanálise, do ritmo e efeitos da narrativa. O estudo crítico sobre o estupor em William Shakespeare, Anton Tchekhov e Samuel Beckett. O sentido e a evolução dos pressupostos fundamentais da tragédia. O estupor como hýbris. A precipitação trágica do drama beckettiano a partir destes pressupostos. Uma gênese da poética beckettiana, através das suas relações filosóficas e da sua experiência como crítico literário e de arte. O retrato do artista enquanto crítico. As relações filosóficas de Beckett e a constituição do Beckett-escritor a partir do Beckett-crítico. Leitura dos escritos críticos de Beckett sobre a obra de James Joyce, de Marcel Proust e de pintores modernos, em articulações com exemplos da obra dramatúrgica e ficcional do autor Leitura crítica do drama Eleutheria, escrito por Samuel Beckett em 1947. O estupor, enquanto hýbris, atuando como estratégia de libertação e motivo de ruína.
Salvador

Version anglaise de: Thèse de doctorat--Études ibériques--Paris 3, 1997. Titre de soutenance : Causes et conséquences économiques, politiques et culturelles de la migration dans l'aire des Caraïbes et de l'Amérique centrale au XXe siècle.
Bibliogr. p. 447-477. Index.

The dissertation deals with theoretical problem: it seeks to resolve the issues of what determines the competition of identity ideologies, what its manifestations are and what variations of demonstration of belonging and separateness of the population in a particular city of the South-Eastern Baltic Sea region can be created by this competition. The city of Klaipėda and the 20th century are taken as spatial and temporal boundaries of the study, thereby realising that the processes of the competition of identity ideologies which took place in Klaipėda were more general and incidental to many cities of particular South-Eastern Baltic Sea region. This is regarded as the case analysis in a comparative context, which aims at producing generalizations, limited by one case empirical data, of phenomena generic to many cities of the South-Eastern Baltic Sea region, and thereby to contribute to generalization of competition of identity ideologies incidental to multiple cases on the basis of a single case. The objective of the doctoral dissertation is to disclose the influence of the competition of the main consolidating identity ideologies in the public communication space of the city of Klaipėda on the identity of inhabitants of this city in the 20th century and formulate the pattern of the competition of such identity ideologies in the city of the South-Eastern Baltic Sea region on the ground of empirical data. In attaining this objective, the dissertation: 1) analyses the semantics... [to full text]
Disertacijoje sprendžiama teorinė problema: ja siekiama atsakyti į klausimą, nuo ko priklauso, kaip reiškiasi ir kokias gyventojų prisiskyrimo ir atskirumo demonstravimo variacijas konkrečiame Pietryčių Baltijos jūros regiono mieste gali sukurti tapatybės ideologijų konkurencija. Tyrimo erdvinė ir chronologinė apimtis yra apribota Klaipėdos miestu XX amžiuje, sykiu suvokiant, kad Klaipėdoje vykę tapatybių ideologijos konkurencijos procesai buvo bendresni, pasireiškę ir kituose Pietryčių Baltijos jūros regiono miestuose. Tai yra atvejo analizė lyginamajame kontekste, kuria siekiama pateikti vieno atvejo empirine medžiaga apribotus apibendrinimus apie reiškinius, būdingus daugeliui Pietryčių Baltijos jūros regiono miestų, ir šitaip vieno atvejo pagrindu prisidėti prie tapatybės ideologijos konkurencijos, būdingos daugybei atvejų, apibendrinimo. Disertacijos tikslas yra atskleisti pagrindinių konsoliduojančių tapatybės ideologijų konkurencijos Klaipėdos miesto viešojoje bendravimo erdvėje įtaką šio miesto gyventojų tapatybei XX amžiuje ir empirinės medžiagos pagrindu suformuluoti tokių tapatybės ideologijų konkurencijos Pietryčių Baltijos jūros regiono mieste modelį. Joje nagrinėjamas Klaipėdoje aktualizuotas nacionalistinių tapatybės ideologijų reikšminis turinys ir šių ideologijų simbolinio ir ritualinio palaikymo viešojo bendravimo erdvėje būdai 1918–1939 m., 1945–1988 m. ir po 1988 m.; yra nustatomi tapatybės ideologijų, kurios buvo palaikomos Klaipėdoje, konkurencijos... [toliau žr. visą tekstą]

While it is widely accepted that cancer incidence is on the rise in Africa, and global oncology has burgeoned, the history of cancer and cancer research on the continent is generally not discussed. This thesis reviews data original research and policy statements on cancer in Africa from the 1950s til the early 1980s. The analysis herein seeks to unpack the movations for the etiological and epidemiological cancer surveys that seem to have risen to prominence beginning in the 1950s. It also charts the significance of racial difference as it was factored into the categorization, incidence, and outcomes of various cancers, and considers colonial perspectives on the difference between African and European cancer. This work also reviews issues of treatment and therapeutics as they arose (though rarely) during certain regional conferences. It reveals that certain proposals about developing oncology infrastructure bore striking similarity to those advanced in the 21st century in Rwanda. Overall, Africa was a living laboratory for understanding cancer in its ‘natural’ state—it was observable and describable in contexts where the various conditions of European civilized and industrialized life had not taken hold, so that it was easier to isolate environmental exposures related to local ecology and lifestyle. Thus, despite certain gestures toward the future of treatment, knowledge about cancerogenesis was largely extracted from African contexts for the purposes of advancing cancer epidemiology and geographic pathology.

Through close textual analysis of 20^th century Czech anthropological texts from the Revivalist and Socialist periods and contemporary social research conducted after the Velvet Revolution, I demonstrate certain prominent discourses of identity developed in early Bohemian anthropology and their continuities in present day popular discourses. In each period, identity is deeply intertwined with teleological theories of history with Czech populations at the apex of cultural evolutionary development. In the Revivalist period this apex was believed to be the democratic nation state, transitioning to a Marxist nation state in the Socialist period, and in the contemporary period is conceived of as a neoliberal nation state. A major function of anthropology in the Revivalist and Socialist periods was to legitimate either period’s respective teleological theory and Czech possession of relevant values as 'objective' and 'natural' fact, a general mode of discourse which continued in the contemporary period in numerous editorials in the 1990s on the advantages of capitalism. The contemporary manifestation has particularly noteworthy consequences for the Roma minority, which I argue has provided Czech discourses with an ethnic category 'anti-thetical' to their own identity, providing a 'repository' for negative Czech self-stereotypes emerging from collaboration in the Socialist period.

Associée d'habitude avec la tragédie comme genre littéraire et théâtral, la catégorie du tragique est en réalité une catégorieembrassant tous les genres d'arts. Elle est aussi l'objet de différentes sciences : philosophiques, littéraires, théâtrales.Premièrement, notre réflexion portera sur le tragique en tant que vision du monde, en tant que catégorie en mêmetemps, comme le montre bien Lucien Goldmann, d'ordre théorique, affectif et impensable sans ses rapports avec le systèmede valeurs. Deuxièmement, nous étudierons le conflit tragique étant à la base de cette vision comme un conflit insolubleentre l'homme et le monde, l'être et l'existence. Au cours de notre examen de la vision tragique, nous montrerons sa parentéavec la vision existentialiste telle qu'elle est présentée chez Albert Camus.Notre étude abordera les différents aspects du tragique, en particulier sa nature, l'opposition de la vision tragique àla vision rationaliste, les conditions de l'apparition du tragique, ses rapports avec le Mythe et avec les catégories pessimismeoptimisme,la question de la sortie éventuelle du tragique, etc.Nous examinerons le tragique sous le jour des concepts théoriques des auteurs de notre corpus critique, dans lesformes qu'il prend dans la tragédie grecque, la tragédie de Racine, dans le roman de Dostoïevski et dans l'oeuvre de Camus
The category of tragedy is usually linked with tragedy as a literary and theatrical type. In reality, it is a category embracingall types of arts. Besides, it is the object of different sciences: philosophical, literary, theatrical.Firstly, our reflexion will be focused on tragedy as vision of the world, as category at the same time, as illustratedby Lucien Goldmann, of theoretical, emotional order. Tragedy is unthinkable without its relation to the value system.Secondly, we will study tragic conflict at the root of this vision as insolvable conflict between the man and the world, thebeing and existence. During our review of the tragic vision, we will show his kinship with the existentialist vision aspresented in Albert Camus's work.Our study will address various aspects of the tragedy in particular: its nature, the opposition of the tragic vision tothe rationalist vision, the conditions for the appearance of the tragic, its relationship with the Myth and optimism-pessimismcategories, the question of the eventual disposition of the tragic etc.We will examine tragedy under the light of theoretical concepts of the authors of our critical corpus, in forms whichit takes in Greek tragedy, tragedy of Racine, in novel of Dostoïevski and in the Camus's work

Avec le soulèvement de 1946 (février-mars) débute en Égypte une crise politique qui dure jusqu’à la mise en place du système nassérien (1952-1954) où se mêlent velléités de changement social et d’indépendance. Les 18 et 19 janvier 1977, l’insurrection spontanée, contre la diminution des subventions publiques sur vingt-cinq produits de consommation, révèle le rejet massif du nouvel ordre moral que Sadate souhaite imposer. Les manifestants rappellent le Président de la République aux promesses nassériennes que la défaite de 1967 dans la guerre contre Israël a fait voler en éclat. Réflexion sur les façons de vivre et de transmettre l’expérience révolutionnaire, cette thèse présente, depuis Alexandrie, les épisodes insurrectionnels de 1946 et de 1977 qui ont secoué les grandes villes d’Égypte. Au travers d’une enquête orale auprès de militants alexandrins et des sources de nature diverses, les événements sont présentés tantôt sous l’angle du temps court, tantôt dans leur conjoncture.C’est à distance de la chronologie, dans les interstices des différents registres d’énonciation (témoignages et discours politiques, récit d’histoire ou de fiction, etc.), que cette thèse explore les traces du « trésor » : expérience collective de la liberté chère au poète René Char, « rejetée » par ceux qui la vivent une fois qu’elle se termine. On voit se dessiner des notions, des institutions et des expériences collectives au travers desquels se forgent, dans la seconde moitié du XXe siècle, l’idée du changement social, de ses limites et les moyens par lesquels des personnes ordinaires peuvent y participer
The uprising of 1946 (February-March) initiates a political crisis in Egypt that lasts until the implementation of the Nasserian system (1952-1954) and involves both hopes of social change and national independence. The spontaneous uprising that happens in January 18th and 19th 1977 against the reducing of price subsidies of 25 consuming products, reveals a massive rejection of the new moral order that Sadat wishes to impose. The demonstrators remind their President to the Nasserian promises that the 1967’s defeat in the war against Israel demolished.This thesis seeks to develop a reflexion on the ways of living and transmitting the revolutionary experience based on the events of the Egyptian urban uprisings of 1946 and 1977 from the point of view of Alexandria. It presents the events in the short time and in their conjunctures through an oral inquiry among Alexandrian activists and sources of several natures, as part of constant concern for documenting the effects of scale between individual history and collective history, as well as the historicity of insurrection.Away from linear chronology, in the interstices between the categories of expression (testimonies, stories and political discourses, history and fiction, etc.), this research explores the tracks of the “treasure”, a word that the poet Rene Char uses to describe a collective experience of liberty, rejected by whom lives it as soon as it ends. It reveals a network of notions, institutions and collective experiences which defines social change, its limits and the ways by which ordinary people get involved in it, through the second part of the XXth century

Chez D. H. Lawrence, le non-humain correspond à la fois à une forme de vitalité primordiale et aux créatures végétales et animales que cette vitalité anime bien davantage que les hommes, étouffés par une civilisation moderne qui les rend inertes. Le non-humain apparaît comme le dépositaire d‘une présence pure, existant avant ou hors de la culture. Lawrence est donc confronté à la difficulté de représenter cette présence pure par un moyen intrinsèquement « humain », le langage poétique. Il ne se pose alors pas simplement en anti-humaniste : son écriture poétique du non-humain procède d‘un conflit permanent entre la volonté de se libérer du carcan humain et la nécessité de demeurer dans la sphère humaine, voire de réinstaurer la limite entre humain et non-humain. Ce conflit s‘exprime déjà dans le non-humain comme simple matière vivante, sous la forme d‘une tension entre une conception de la matière comme pure présence extérieure à tout discours humain et une vision de la matière comme objet scientifique par excellence. Dans l‘évocation des créatures, le conflit incite Lawrence à réinventer spécifiquement pour elles des rapports au monde (émotions, perception, agentivité) qui leur permettent de préserver leur présence. Dans le rapport de Lawrence aux créatures non-humaines, le conflit demeure car Lawrence remet en question la limite qui le sépare du non-humain mais la réaffirme également. Enfin, la dialectique entre la volonté de saisir la présence du non-humain et la crainte de l‘abstraire complètement en l‘incluant dans le langage semble particulièrement présente dans ce que nous tentons de définir comme un langage poétique propre au non-humain, au-delà de sa simple utilisation chez Lawrence
In D. H. Lawrence‘s poetry, the non-human is both a form of primordial vitality and the living world of non-human creatures. Non-human creatures are seen as more able to embody this vitality than modern men, stifled by their civilization. The non-human stands outside the sphere of culture, and its mode of existence is consequently an untouched, pure form of presence. Therefore, Lawrence faces the difficulty of representing this pure presence through an inherently ―human‖ means, poetic language. However, his stance is not entirely anti-humanist: his poetic writing of the non-human is founded on an unceasing conflict between the will to break free from the constraints of humanity and the necessity to remain within a human sphere, and even to reinstate the limit between human and non-human. In the representation of the non-human as mere living matter, this conflict is already manifest, taking the shape of a tension between matter as existing completely outside human discourse, and matter as a scientific object par excellence. When Lawrence evokes the creatures, this conflict brings about a reconfiguration of specific non-human modes of being in the world (emotions, perception, agency), which allow the creatures to interact with each other without diminishing or abstracting their presence. In the poet‘s own relationship with the non-human creatures, the conflict appears again as Lawrence questions the limit between human and non-human while reinstating it. At last, the dialectic between a will to capture non-human presence and the fear of abstracting it when including it within the sphere of language seems particularly present in what we have attempted to establish as a poetic language specific to the representation of the non-human, in Lawrence and other poets

Dans la représentation collective, les monuments aux morts sont construits au lendemain de la Grande Guerre pour supporter les mémoires des victimes du conflit. Pour beaucoup ils constituent aussi une partie du patrimoine communal. Pourtant, cette définition est réductrice et n'englobe pas la réalité de cet objet mémoriel. Sa genèse est à discuter et la multiplicité de ses formes sont à prendre en compte pour comprendre ses fonctions anciennes et actuelles. Ce travail insiste sur l'évolution de ces constructions en un siècle. Il ne se conçoit pas uniquement le cadre de la commune puisque les paroisses et des groupements privés sont également à l'origine d'édifices. De nombreux conflits sont à l'origine de nouveaux édifices ou de modifications sur d'anciennes constructions. Les deux guerres mondiales ne sont pas les seules à générer une mémoire matérialisée par ces monuments et les guerres liées aux décolonisations ou encore les OPEX sont désormais à prendre en considération.Depuis la Grande Guerre, un monument aux morts est l'expression d'un hommage envers ceux qui ont combattu pour la France et qui en sont morts, quelque soit la période et le lieu concernés. Il convenait donc d'en savoir davantage sur les conditions de décès au cours des guerres, ainsi que la manière dont les défunts et les endeuillés sont gérés. Les questions matérielles et organisationnelles de la construction sont aussi à analyser pour mieux comprendre la diversité des résultats obtenus. Enfin l'étude des inaugurations puis des commémorations permettent d'appréhender les utilisations successives de ces monuments. Il convenait d'analyser ces points en fonction des conflits concernés pour dresser le bilan sur un siècle d'évolution et d'adaptation d'un objet de célébration et de commémoration de la mort collective au combat
In the collective representation, war memorials have been built after the Great War to support the memories of the victims of both world wars. For many they are also a part of the city heritage. However, this definition is simplistic and does not include the reality of this object. Its genesis is to discuss and the multiplicity of its forms is to be considered to understand its past and current functions. This work emphasizes the evolution of these structures over a century. It does not only perceive the framework of the city since parishes and private groups are also behind buildings. Old memorials have been altered and new ones have been built so as to include several new conflicts. The two World Wars are not the only ones to generate a memory embodied by these objects and wars related to decolonization or External Operations are now to be taken into consideration.Since the Great War, a war memorial has been an expression of tribute to those who fought for France and who died of it, whatever the period. It was therefore appropriate to inquire about the conditions of death in war, and how the deceased and its close relations in mourning are taken care of. The material and organisational issues of the construction are also analyzed to better understand the diversity of results. Finally the study of inaugurations and commemorations allows to understand the successive uses of these monuments. These points based on the involved conflicts had to be analysed in order to evaluate an object of celebration and commemoration of collective death in battle over one century of evolution and adaptation

La boxe anglaise professionnelle apparaît à Paris, au tournant du XXe siècle. Pratique venant d’Angleterre, elle se caractérise dès ses débuts par une forte monétisation et par une mise en spectacle poussée, au point de devenir rapidement l’un des spectacles sportifs les plus visibles de la capitale. Pour autant, peut-on vraiment qualifier cette pratique de « sportive » ? À bien des égards, cette appellation ne s’impose pas. Il semble même qu’il s’en fallu de peu pour que la boxe ne soit pas un « sport ». En effet, l’histoire de la boxe ne saurait se résumer à la transformation progressive, linéaire, incontestée d’un « combat aux poings » en une activité dite « sportive ». Cette histoire est plutôt celle d’une lutte opiniâtre et contingente entre des promoteurs cherchant à mettre en spectacle cette activité et des dirigeants fédéraux s’efforçant de la faire entrer dans la catégorie des « sports ». La perspective retenue permet alors d'étudier ce que recouvre la mise en spectacle de la boxe, étant entendu qu'il s'agit autant de décrire ce processus en lui-même que ses conséquences sur la structuration de l'activité. Et, parallèlement, il s’agit aussi d’examiner comment une instance « fédérale » s'érige et conquiert, plus ou moins difficilement, un pouvoir régulateur. Ce travail montre alors que la forte mise en spectacle de la boxe confère aux « organisateurs » de soirées une position forte dans la lutte pour le contrôle de cette pratique. Pour autant, les dirigeants fédéraux ne sauraient être considérés comme totalement absents. Les relations entre dirigeants fédéraux et organisateurs de spectacles sont même tantôt conflictuelles tantôt collaboratives. Finalement, la boxe apparaît comme une activité doublement codifiée, à la fois par le sport et par le spectacle, sans pour autant que ces codifications ne relèvent de l’action exclusive des dirigeants fédéraux ou d’industriels du spectacle
English professional boxing made its appearance in Paris in the early nineteen hundreds. Originating from Great Britain, it was characterized, from its beginning, by the great amount of money that was vested in it and also by the incredible amount of matches that were organized. As a result of this, it soon became one of the most visible sports event in the French capital. But can we actually consider this activity as a “sport”? From many regards, this coinage seems unnecessary. It would not have taken much for boxing not to become a sport. The history of boxing cannot, indeed, be summed up as a progressive, linear, actual transformation of a “fist fight” into a sport activity. It is more the history of a hard and uncertain battle between entertainment promoters trying to develop boxing and federal directors who did their best to turn it into a noble sport. The point of view we have decided to adopt has enabled us to study what is behind the concept of organizing a boxing match. For obvious reasons both the process in itself and the consequences it has on the structuring of the activity need to be described. We also need to study simultaneously how a “federal” institution sets itself up as a regulatory authority and conquers power with varying degrees of ease and difficulty. This work demonstrates that the large amount of boxing matches that were set up conferred an important position to the “organizers” of the events in the fight to control this activity. Yet, the federal directors should not be seen as totally absent from the scene. Federal directors and show organizers had ties that could be either conflicting or collaborative. Finally, boxing appears as an activity that rests on a dualistic set of codes based on sports and entertainment. Therefore, these codes do not fall exclusively within the actions of the federal directors nor within the actions of people from the show business

Cette étude analyse la place que les femmes occupent au cœur du phénomène de résurgence que le mythe arthurien va connaître à partir de la seconde moitié du XXe siècle. A l'origine de cette résurgence, nous évoquons l'influence considérable du Seigneur des Anneaux de J.R.R. Tolkien et nous établissons un parallèle entre cet ouvrage et la légende arthurienne.Nous analysons ensuite des réécritures arthuriennes d'auteures féminines et contemporaines, d'origine française, anglaise ou américaine. D'une part, nous nous penchons sur les œuvres qui restent proches de la tradition arthurienne ; d'autre part sur celles qui sont en rupture avec cette tradition.Enfin, nous étudions les similitudes et les divergences entre les réécritures proposées par des femmes et celles de leurs homologues masculins. Nous abordons évidemment la question du féminisme et celle de la féminisation d'une matière essentiellement masculine à l'origine. Différents points liés à la question féminine seront alors abordés, comme la littérature de jeunesse, le recours aux sciences, le rôle des religions et la figure de la femme tentatrice développée par les auteurs masculins, en opposition à la valorisation du corps féminin dans les œuvres de femmes.Ce travail de comparaison entre des réécritures masculines et féminines du mythe d'Arthur a pour but de déterminer la place que les femmes ont su prendre dans la résurgence de cette légende, mais aussi de s'interroger sur la pertinence d'une sexuation systématique de l'écriture des mythes
This study analyses women's place in the resurgence phenomenon that the Arthurian myth has known from the second part of the twentieth century onwards. At the root of this resurgence, we mention the significant influence of The Lord of the Rings by J.R.R. Tolkien and we parallel this novel with the Arthurian legend.Then, we analyse Arthurian rewriting by female French, English or American contemporary authors. On the one hand, we look into works which stay close to the Arthurian tradition; on the other hand, into those which are at odds with this tradition.Finally, we study similarities and divergences between rewritings offered by women and the ones of their male counterparts. We obviously deal with the feminism issue and the one of the feminisation of an essentially and originally masculine topic.Different points related to the feminine question are then tackled, like youth literature, the resort to sciences, the role of religions, and the case of the temptress developed by male authors, in opposition to the valorisation of the feminine body in women's novels.This comparative work between masculine and feminine rewritings of the Arthurian myth aims at determining the place that women have managed to take in the resurgence of this legend and also to question the significance of the systematic sexuation in the myth writings

Aux États-Unis, si le mouvement féministe ne s’est jamais vraiment éteint après l’obtention du droit de vote des Américaines en 1920, la création de N.O.W (National Organization for Women) en 1966 lui a redonné de la vigueur en inaugurant en même temps le début du féminisme de la deuxième vague.Pour N.O.W, les principaux quotidiens et hebdomadaires du pays étaient un outil servant leurs propres intérêts. L’organisation tenta d’engager des réformes, d’agir directement sur la presse afin d’améliorer sa propre représentation, de légitimer son existence et d’être prise au sérieux. La première partie sera consacrée à la manière dont N.O.W s’est appropriée les outils du journalisme dans le but d’apparaître dans la presse et de diffuser ses revendications. Dans la deuxième partie, une analyse de la manière dont les événements féministes marquants des années 1970 ont été couverts par la presse nous amènera à réfléchir à l’impact de cette représentation sur l’opinion publique et l’image de l’organisation. La troisième partie s’intéressera à la manière dont N.O.W a exercé son influence sur la presse écrite, tout d’abord directement, c’est-à-dire en organisant des actions dans le but d’améliorer l’image des femmes et des féministes, tout en permettant d’augmenter le nombre de femmes à des postes clés dans les quotidiens et les hebdomadaires ; et indirectement, son existence et sa visibilité ayant un impact sur les femmes en général et certaines organisations féministes. La relation entre N.O.W et Ms. sera également abordée, la question sous-jacente étant de savoir si la création de Ms. devait être ressentie comme un échec de N.O.W à traiter avec la principale presse du pays, ou bien comme un échec de la presse américaine à fournir l’information au public. À travers l’étude de la relation que N.O.W a instaurée et entretenue avec la presse, l’enjeu sera de savoir si elle a représenté un outil efficace et fiable pour N.O.W tout au long des années 1970
In the United States, although the feminist movement has not died after women got the right to vote in 1920, it was invigorated by the birth of N.O.W (National Organization for Women) in 1966 which also marked the beginning of what is known as the second wave of feminism.To N.O.W’s feminists; the main dailies and weeklies of the country embodied a tool serving their own interests, as they tried to set up several reforms, to influence the press so as to legitimize their existence, to be credible and to control their image. In a first part, we will see how N.O.W got familiar with the journalism’s tools in order to be in the newspapers and to spread their claims. In a second part, the question at stake will be to know how the main feminist events of the 1970s were covered by the press, and think of the impact of this coverage on public opinion and on the organization’s image. The last part will deal with the way N.O.W influenced the press, both directly, by setting up actions in order to improve the image of women and feminists, by increasing the number of executive women in newspapers and magazines; then indirectly, thanks to N.O.W’s existence and visibility which had an impact on women as a whole and on feminist organizations more specifically. N.O.W’s relationship with Ms. will be tackled as well, the underlying question will be to know whether Ms.’s birth had to be considered as N.O.W’s failure to deal with the mainstream press or as the press’s failure to provide the information to the public.Analyzing N.O.W’s relationship with the country’s dailies and weeklies, the mains take will be to know whether the mainstream press has been considered as an efficient and reliable tool by N.O.W over the 1970s

Розглянуто творчий шлях провідного дизайнера-іміджмейкера ХХ ст. Відала Сассуна, революційні новації якого докорінно змінили стиль та технології у перукарському мистецтві й індустрії моди. В результаті аналізу життєдіяльності майстра розкрито особливості його творчої практики, включно із рішенням зачіски, іміджу, а також образу перукаря й дизайну інтер’єру салону. Життя майстра є прикладом самореалізації в конкретних справах, якими для В. Сассуна стали також телешоу, написання книг, організація підприємств, громадянська діяльність.
The creative way of Vidal Sassoon, the leading designer-image-maker of the XX century, whose revolutionary innovations had radically changed style and technology in the hairdressing and fashion industries has been examined. The peculiarities of Vidal Sassoon's creative practice, including the decisions of the hairstyle, image, as well as the image of the hairdresser and the interior design of the salon, has been revealed as a result of the master`s life analysis. The master`s life is the example of self-realization in the specific cases, which for V. Sassoon have become such things as TV shows, books writing, organization of enterprises, social activities.

Les romans de Dostoïevski et de Bernanos se rencontrent sur la frontière fragile de la littérature et de la métaphysique ; l’incarnation des personnages dans des espaces et des lieux que leurs cœurs troublés contaminent donne au texte son symbolisme essentiel, qui n’est ni le « paysage choisi » romantique, ni l’espace surdéterminé des réalistes. L’incarnation ne contredit pas les règles de la création romanesque, puissamment remodelées par les deux auteurs, mais les refondent dans des histoires familiales archétypales où la maison paternelle peut être le lieu d’un meurtre moral initial. Derrière les discours de personnages bavards, avides de philosophie et de psychologie (ce qui a longtemps retenu surtout l’attention de la critique), se cache la question du langage et de l’esthétique face à la vérité. Beaucoup sont des menteurs, qui ont oublié le sens du langage enraciné auquel croyait Bernanos, et les soliloqueurs de Dostoïevski se perdent dans les méandres de leurs souterrains verbaux. La question de l’esthétique est tributaire des vicissitudes d’une époque (les années 1880-1930) qui est celle du déracinement des intellectuels ; quelle est cette beauté qui « sauvera le monde » dans un univers qui n’est plus théocentré, et quelle est la légitimité du romancier à en proposer la quête, surtout si elle est spirituelle ? Malgré la présence de figures du salut qui, dans la douleur de confrontations violentes, proposent l’acceptation de l’altérité, les déracinés persistent souvent dans la voie du mensonge et préfèrent le masque démoniaque du double ou le néant de l’«à quoi bon ? »
Dostoyevsky's and Bernanos's novels meet up on the frail boundary between literature and metaphysics; the incarnation of characters in spaces and places tainted by their troubled hearts gives the text its essential symbolism, which is neither the romantic "chosen landscape" nor the realists' overdetermined space. Incarnation does not contradict the rules of fictional creation —powerfully remodeled by the two authors— but recasts them in archetypal family stories where the father's home can be the locus of an initial moral murder. Behind the words of garrulous characters, who are eager for philosophy and psychology (which long caught the critics' attention), there lies the question of language and aestheticism confronted with truth. Many of them are liars who have forgotten the meaning of the entrenched language which Bernanos cherished, and Dostoyevsky's soliloquists get lost in the rambling development of their convoluted wording. The question of aestheticism depends on the vicissitudes of a period (1880-1930) which was marked by the uprooting of intellectuals: what is this beauty which will "save the world", a world which is no longer theo-centred, and how legitimate is a novelist who proposes its quest, especially if it is a spiritual one? Despite the existence of salvation figures who, through the suffering caused by violent confrontation, propose the acceptance of otherness, the uprooted characters often choose to lie persistently and prefer the demonic mask of duality or the nothingness of the "a quoi bon", an expression of absolute indifference and disillusionment

Jean Degottex, né en 1918 et décédé en 1988, est un peintre qui a exercé des années 1938 jusqu'à sa mort, soit pendant cinquante ans. Se tournant assez tôt dans sa pratique vers une peinture gestuelle, il est vite remarqué pour cela par André Breton qui y voit la mise en pratique de l'automatisme qu'il recherchait dans l'écriture. Il n'a cependant jamais adhéré au surréalisme tout en étant sensible à certains de ses aspects. La poésie en particulier est une de ses sources d'inspiration majeure. Curieux de l'Orient et de ses calligraphies, il montre un intérêt plus particulier pour l'Asie. Après une rupture importante au milieu des années 60, il reprend son travail en se focalisant tour à tour sur le cercle, la déchirure ou encore la ligne afin de mettre en évidence les caractéristiques plastiques de la matière : la toile, le papier, le bois sont ainsi ouverts, écorchés, disséqués et montrés tels quels, afin de ne rien cacher des processus à l’œuvre dans le travail du peintre. Sensible aux climats sociaux de son temps, la peinture est pour lui une façon de militer. A partir de la biographie du peintre, basée sur ses propres archives, ce travail met en évidence ses contacts, ses réseaux et sa place en France et dans le Monde. L'analyse s'arrête sur ses outils et ses méthodes de travail et montre également l'importance du temps et de la chronologie car elle éclaire la logique interne à l’œuvre, permettant de passer d’une pièce ou d'une série (appelée Suite chez Degottex) à la suivante
Jean Degottex, was born in 1918 and died in 1988. He worked from 1938 to his death, during fifty years. Early using gestural painting, he is recognized by André Breton for that, who is seeing in this manner the perfect automatism in painting, the same automatism he was seeking in writing. Degottex never subscribed to Surrealism, but he was receptive to some of its aspects. Poesy is one of his major sources of inspiration. Interested in East and its calligraphies, he showed a special interest for Asia. After an important break in his work in the middle of the Sixties, he went back to his work by making a focus on the circle, the rip or the line, with the will to show all the plastic characteritics of the material. Canvas, paper or wood are opened, skinned, dissected and shown as is, with the desire to hide nothing of the processes at work in the painter's work. Sensitive to the social climate of his time, painting was for him a way to militate. From his biography, based on his own archives, this work highlights his contacts, his networks and his place in France and in the World. The analysis put an emphasis on his tools and working methods, and also shows the importance of time and chronology, as it sheds light on the painter's work internal logic, moving from a piece or a series (called Suites by Degottex) to the next one

Les années 1966-1967 sont marquées par un renouvellement de la presse littéraire française avec l’apparition de La Quinzaine littéraire, du Magazine littéraire puis du « Monde des livres ». Il nous est apparu nécessaire d’éclairer ce tournant en définissant l’identité d’une publication littéraire d’un genre nouveau : le Magazine littéraire. Mensuel créé en novembre 1966, il se caractérise au premier abord par sa vocation commerciale, par son ouverture à un large public, par ses illustrations abondantes, et par sa dimension encyclopédique propres au support magazine. Pendant près de trente-cinq années (1967-2003), Jean-Jacques Brochier en fut le rédacteur en chef. Le corpus de la thèse correspond aux 418 numéros publiés entre novembre 1966 et mars 2003. Nous avons cherché à saisir le Magazine littéraire dans son environnement médiatique autant que dans son parcours éditorial, depuis ses conditions d’émergence, en passant par ses innovations et ses évolutions, jusqu’à son essoufflement. Ses liens avec la maison Grasset interrogent la structure du champ littéraire et montrent la dépendance mutuelle des milieux de l’édition et de la presse littéraire. La publication est une chambre d’enregistrement et d’écho des grandes tendances culturelles et littéraires en France. L’étude des discours polyphoniques et l’analyse des entretiens littéraires du Magazine littéraire ont pour ambition de mettre en évidence l’influence exercée par les médias dans la construction d’imaginaires collectifs de la littérature et de l’écrivain. Au fil des trois décennies, le mensuel constitue son propre Panthéon littéraire mais aussi, assigne des fonctions variées à la littérature et travaille à sa propre patrimonialisation. L’originalité du Magazine littéraire a résidé dans l’alliance paradoxale mais bienvenue du discours médiatique, qui répand souvent une pensée préconstruite sur la littérature, et du discours universitaire, qui a donné une certaine aura et scientificité au titre
The years 1966-1967 were marked by a renewal of the French literary press with the appearance of La Quinzaine littéraire, the Magazine littéraire and then the "Monde des livres". Our thesis proposes to clarify this turning point by defining the identity of a literary publication of a new genre: the Magazine littéraire. A monthly magazine created in November 1966, it is characterized, as is typical of the medium, by its commercial vocation, by its openness to a large public, by its abundant illustrations, and by its encyclopedic dimension. For nearly thirty-five years (1967-2003), Jean-Jacques Brochier was its chief editor. The corpus of the thesis includes the 418 issues published between November 1966 and March 2003. We sought to examine the Magazine littéraire in its media environment as well as through its editorial history, from its conditions of emergence, through its innovations and its developments, to its commercial decline. Its connections with the Grasset company shed light on the structure of the literary field and show the mutual dependence of the publishing and literary press circles. The publication reflects the major cultural and literary trends in France. The study of polyphonic discourse and the analysis of literary interviews in the Magazine littéraire aim to demonstrate the influence exerted by the media in the construction of a common perception of both literature and writers. For three decades, the monthly magazine built up its own literary pantheon, but also assigned various functions to literature. The originality of the Magazine littéraire resides in the paradoxical but productive alliance of media discourse, which more often than not promotes pre-constructed ideas of literature, and of academic discourse, which gave a certain aura and a scientific angle to the publication

During the eighteenth century, the dominant rhetorical and explanatory power of civic humanism was gradually challenged by the rise of a new organising language in political economy. Political economic thought permitted radically different descriptions of what laudable private and public behaviour might be: it proposed that self-interest was often more beneficial to society at large than public-mindedness; that luxury had its uses and might not be a threat to liberty and political integrity; that landownership was no particular guarantee of virtue or disinterest; and that there was nothing inherently superior about frugality and self-sufficiency. These new ideas about civil society formed the intellectual basis of a large body of verse written during the long eighteenth century (at mid-century in particular), in which poets engaged enthusiastically with political economic arguments and defences of commercial activity, and celebrated the wealth and plenty of Britain as a modern trading nation. The work of my thesis is to examine a contradiction in the way in which these political economic ideas were handled. Forward-looking and confident poetry on public themes did not develop pioneering forms to suit the modernity of its outlook: instead, poets articulated such themes in verse by appropriating and reframing traditional genres, which in some cases involved engaging with inherited moral values and philosophical preferences entirely at odds with the intellectual material in hand. This inventive kind of generic revision is the central interest of the thesis. It aims to describe a number of problematic meeting points between new political economic thought and handed-down poetic formulae, and it will focus attention on some of the ways in which poets manipulated the forms and tropes they inherited in order to manage – and make the most of – the resulting contradictions.

Le dialogue culturel méditerranéen connaît aujourd'hui une période difficile. Or, à la fois connexe et indépendante, la dimension religieuse offre un autre canal possible de dialogue dans les relations méditerranéennes. Les transformations du regard chrétien porté sur l'islam amorcées dès l'entre-deux-guerres, puis les pratiques du dialogue entre chrétiens et musulmans, en métropole et outre-Méditerranée, favorisent progressivement l'affirmation du dialogue islamo-chrétien sur le devant de la scène méditerranéenne. Dans les années 1960, le concile Vatican II marque un temps fort dans ce processus. Rattrapé par ses propres ambiguïtés et soumis aux forces de la géopolitique méditerranéenne, le dialogue islamo-chrétien entre cependant, à la fin des années 1970, dans une période plus chaotique rythmée aussi bien par des actes symboliques en faveur de la paix que par des crispations identitaires. En faisant appel à diverses sources de documentation, en particulier le fonds réuni par le Service des Relations avec l'Islam (SRI), ce travail propose un panorama historique des acteurs, des enjeux et des limites du dialogue islamo-chrétien en Méditerranée au XXe siècle. Des retours sur l'histoire et les acteurs marseillais illustrent ces évolutions
Intercultural dialogue in the Mediterranean is undergoing hard times. However the religious dimension, connected and independent at the same time, offers another possible channel of dialogue in the Mediterranean relations. The transformations of the Christian perception of Islam started during the interwar period, then the practices of the dialogue between Christians and Muslims, in mainland France and beyond the Mediterranean Sea, gradually promote the Islamo-Christian dialogue on the Mediterranean forefront. In the 1960s, the Second Vatican Council stands out in this process. Trapped inside its own ambiguities and conditioned by Mediterranean geopolitical settings, the Islamo-Christian dialogue however enters a much more chaotic period punctuated both by symbolic acts for peace and identical tensions at the end of 1970s. Inspiring by multiple documentation sources, in particular by the collection of the Service des Relations avec l'Islam (SRI), the present work offers an historic overview of the actors, the stakes and the limits of the Islamo-Christian dialogue in the Mediterranean Sea throughout the 20th century. Historic reviews and the actors from Marseille illustrate such development

Destiné à se métamorphoser en danse, le livret serait un texte transitoire, et par là même privé de valeur littéraire. Pourtant, des Ballets russes aux années 1960, les collaborations entre le ballet et les écrivains connaissent un essor sans précédent. Jean Cocteau, Blaise Cendrars, Paul Claudel, Louis-Ferdinand Céline, René Char, Jean Anouilh, Jean Genet ou Eugène Ionesco furent tous auteurs de livrets. Que cherchent les écrivains dans cette forme a priori éphémère ? S’agit-il de s’emparer du livret en poète, de le délivrer de son statut utilitaire pour en faire une œuvre littéraire, digne d’être appréciée pour elle-même ? Il semble aussi que le livret tire sa valeur de l’accès qu’il donne à un espace autre, celui de la création collective et du spectacle, d’une œuvre où la scène et le corps éclipsent les mots et où l’écrivain peut rompre avec la littérature pour se rêver chorégraphe. Cette double tendance place le livret au cœur des évolutions qui travaillent les champs littéraire et chorégraphique au XXe siècle. Tandis que la littérature voit son statut d’art dominant vaciller, la danse conquiert son autonomie et le chorégraphe s’affirme. Persistant à fonder la danse sur le texte, à rebours des recherches de la danse moderne, le ballet conserve à l’écrivain sa place dans la création chorégraphique pour mieux interroger la préséance du verbe. Qu’est-ce que la littérature ? qu’est-ce que la danse ? telles sont dès lors les questions que pose le livret de ballet
Meant to be danced, the libretto should have been a transitory text, hence lacking in literary value. Yet the period from the Ballets Russes to the 1960s saw an unprecedented rise in collaborations between writers and the ballet. Jean Cocteau, Blaise Cendrars, Paul Claudel, Louis-Ferdinand Céline, René Char, Jean Anouilh, Jean Genet and Eugène Ionesco all wrote librettos. But what were writers looking for in this a priori ephemeral form? Did they want to seize hold of the libretto and deliver it, as poets would, of its utilitarian status, transform it into a literary work, worthy of appreciation in itself? The libretto also drew its value from the access it gave to an alternative space of collective creation and performance, to a kind of work where the stage and the body eclipse the text and where the writer can break with literature and dream of being a choreographer. This dual tendency placed the libretto at the heart of the evolutions that shaped literature and choreography during the twentieth century. Whereas literature saw its status as a dominant art waver, dance won its autonomy and the choreographer asserted himself. Unlike the investigations of modern dance, ballet continued to make dance rely on text, retaining a place for the writer in choreographic creation in order to better question the precedence of language. What is literature? What is dance? These are the questions that the ballet libretto poses

Du recueil A Boy’s Will (1913) au recueil In the Clearing (1962), l’œuvre du poète américain Robert Frost (1874-1963) déploie sa réflexion sur le concept d’écart, et le présente comme principe majeur de son esthétique et de sa stratégie d’écriture. Utilisant une approche fondée sur la micro-lecture des poèmes, cette thèse entend mettre en lumière la richesse d'une thématique frostienne qui permet de repenser la dialectique entre centre et marge à différents niveaux d'analyse : cette dialectique semble à l’œuvre non seulement dans la représentation poétique des espaces nord-américains mais aussi dans le rapport des textes à l'espace métaphorique du canon, ainsi que dans l'ambiguë mise en scène du sujet dans son rapport aux espaces intime, social et politique. Nous souhaitons montrer que le poète et les personae multiples qu’il adopte au fil des recueils privilégient un positionnement détaché, qui n’est ni complètement au centre ni complètement à l’écart, mais pour ainsi dire dans l’écart. Cette position de léger retrait, à la fois sereine et équilibriste, dessine ainsi un triple autoportrait du poète. Il fait le portrait d’un artiste chez qui la tension entre tradition et modernité, entre formes fixes et libre expérimentation, relève d'une position compliquée et féconde, qui permet à Frost de se situer à la fois à l'intérieur et légèrement à l'écart du genre de la poésie pastorale ; d'autre part, il esquisse le portrait « bougé » d'un sujet en mouvement au sein du paysage de Nouvelle-Angleterre, sujet que des tentatives d’ancrage dans certains territoires installent dans une position de voisinage méfiant avec son prochain, à la fois contre les autres et tout contre eux. Enfin, l’œuvre laisse apparaître en filigrane l’autoportrait d’un Américain utilisant la stratégie de l’écart dans l’habile mise en scène de sa propre iconisation
From the collection A Boy’s Will (1913) to the collection In the Clearing (1962), the works of American poet Robert Frost (1874-1963) can be viewed as a reflection on the concept of deviation, presenting it as a major principle in his aesthetics and writing strategy. This doctoral dissertation provides a close reading of many poems, with a view to highlighting the highly seminal quality of the Frostian theme of the slight deviation, which allows one to rethink the dialectic between the center and the margins at different levels of analysis. This dialectic appears not only in the poetic representation of North American space, but also in the established connection between the texts and the metaphorical space of the canon, as well as in the ambiguous presentation of the poetic figure in relation to the intimate, social or political spheres. We wish to show that the poet together with the multiple personae that he uses in the collected poems, favor a specific vantage point, a detached position which is neither in the center nor completely in the margin, but rather within the limits delineated by some deviation. This slightly withdrawn position, which is both dispassionate and perilous, sketches out a triple self-portrait of the poet. It is the self-portrait of an artist for whom the tension between tradition and modernity, between fixed forms and free poetic experiments, creates a complicated but fertile position which allows Frost to position himself both within, and slightly on the margin of, the genre of pastoral poetry. Frost's poems also depict the portrait of a moving poetic figure in the New England landscape, a figure who is put, because of his attempts at settling in certain territories, in a situation where neighbors are both aware and wary of each other. Lastly, the poems could be regarded as the self-portrait of an American posturing as a marginal figure in the skillful staging of his own iconization

The content of this thesis is premised on a reflexive examination of some historical juxtapositions culminating in critical aspects of being Māori in the twenty first century and how such aspects have informed contemporary indigenous identity. That is, the continuing acknowledgement and exponential public recognition of critical concepts which inextricably link indigenous and civic identity. The theoretical sources for this research are, in the main, derived from anthropological and religious studies, particularly on the significance of mythologies and oral histories, as well as from the oral theorising of elders in Aotearoa New Zealand. A very significant contribution from one such elder, a senior Māori woman academic, has been included in the form of the transcript of an interview. She herself had collected the views of a number of elders on myth, creating a rare and valuable resource. In the interview she married her reflections on these with her own experiences and her cogent analyses. From the outset, it was necessary to be discerning so as to ensure the thesis workload was manageable and realistic. For this reason the selected critical aspects that have been used to frame this research are (1) a developing Western validation (that is, acknowledgement and respect) of Māori, Māori culture and their mythology; (2) oral history (genealogy) and traditions that have remained constant despite the influences of modernity; and (3) notions of fluidity, negotiation and pragmatism regarding kinship legacies and cultural heritage. The thesis is comprised of six chapters starting from a subjective narrative leading through increasingly objective discourses that culminate in a conclusion which supports a belief that modern Māori require a balancing of critical aspects of cultural heritage, with a broad understanding of the world of the 'other', in order to realise and develop their contemporary indigenous identity. Ultimately, indigenous ideologies, practices and knowledge recorded and examined in the world of academia today, become potential resources for tomorrow. The intention of this research is to aggregate and discuss intrinsic aspects of the Māori past as well as developing aspects of the present, in order to better understand the significance of the future, and to add to the growing corpus of indigenous worldviews.

Les œuvres de César Dávila Andrade sont encore largement méconnues et peu diffusées. Elles ont également été peu étudiées par la critique. Notre corpus comprend les œuvres complètes de César Dávila Andrade, à savoir l'ensemble de son œuvre poétique, les nouvelles et les essais. À partir des héritages et des influences de l'écrivain, il s'agit de montrer comment, autour d'un travail sur le langage et l'imagination, l'auteur part à la conquête de nouveaux paysages littéraires. L'écriture, en effet, se veut dynamique et en mouvement, repoussant toujours les limites du domaine littéraire, afin d'atteindre la connaissance du véritable moi de l'homme, et de transmettre la parole du poète
César Dávila Andrade’s works are still underestimated and enjoy limited distribution. Moreover, they have been largely unexplored until now. Our corpus is composed of the César Dávila Andrade‘s complete works, which means his total body of poetic work, the short stories and the essays. We will focus on the legacies and the influences of the writer, in order to study the language and the imagination. We will show how the author is in search of new literary landscapes. Indeed, as his purpose is to find a dynamic writing, in movement; the author breaks up the limits of the field of literature. He explores a new way that could give him access to transcendental higher-order knowledge, so as to reveal the Word

En 2002, le Centre d’Études Alexandrines a reçu près de sept mille documents ayant une même origine, une famille gréco-syro-libanaise. Ces documents intéressent l’histoire d’Alexandrie, de 1882 à 1985. Cette thèse, exploitant ce fonds d’archives, comprend deux parties. 1) L’histoire de deux familles, les Zogheb et les Sinano, sur quatre générations, l’implantation de ces conquérants venus chercher et faire fortune, appelés par Mehemet Aly, dans une Égypte en voie de modernisation. Nous les suivons dans leur vie quotidienne, leur quartier, leurs habitudes au travers de certains personnages, lieux ou événements qui montrent par petites touches toute une sociabilité, celle des notables. Ces familles sont « notables », par leur richesse, leur ancienneté ou leur place dans la cité. Ces différentes approches sous plusieurs angles permettent de donner une vue d’ensemble de cette microsociété aujourd’hui disparue. 2) L’histoire de Charles Ayoub, un « Alexandrin dans son siècle » que nous suivons de l’enfance à la mort. Élève des Jésuites, puis étudiant en droit, il a rejoint les services du Contentieux de l’État comme stagiaire, jusqu’au grade de Conseiller royal et chef du Contentieux. Après avoir démissionné du service public, il est devenu avocat en ville. Son parcours professionnel et familial, son milieu et celui de son épouse, font qu’à travers lui nous suivons à la fois le déclin et la fin d’une certaine société et la rencontre de l’Égypte avec son propre destin. Égyptien de culture française, appartenant à la haute société cosmopolite alexandrine, comment Charles Ayoub a-t-il intégré et vécu les remous du siècle, de l’époque khédiviale à la monarchie, de la monarchie à la République ?
In 2002, the CEAlex received nearly seven thousand documents having the same origin, a Greco-Syrian-Lebanese family. These documents concern the history of Alexandria from 1882 to 1985. They are the sole source of this thesis.The thesis consists of two parts. 1) The story of two families, the Zogheb and Sinano family through four generations. Implanted in Alexandria these conquerors searched and made their fortune, encouraged by Mohammad Ali, in an Egypt which was undergoing modernization. We follow them in their daily life, their neighborhood, their habits, through certain people, places or events that illustrate through very small touches a whole structure of society of “noblemen”. These families are “noble” due to their wealth, their age or their place in the city. These different approaches, different angles, permit, little by little, to give an overview of this micro-society which today no longer exists. 2) The story of Charles Ayoub, an “Alexandrian in his century” whom we follow from childhood to death. A pupil of the Jesuits, then a law student, he joined the services of the State Litigation as a trainee, reaching the rank of Royal Councillor and Head of Litigation. After resigning from the public service, he became a city lawyer. Through his professional and family background, his environment and that of his wife’s, we follow both the decline and the end of a certain society and how Egypt met it’s own destiny. An Egyptian of French culture, belonging to high Alexandrian cosmopolitan society, how did Charles Ayoub integrate and live through the eddies of century, from the khedivial period to the monarchy, the monarchy to the Republic ?

La importancia de la Historia de la Arqueología radica en su capacidad para dar respuesta a la primera pregunta que nos debemos plantear como arqueólogos, ¿cómo hemos llegado a ser lo que somos? (Murray 2002, en Ruíz Zapatero 2017b). Para conocer este pasado es indispensable llevar a cabo su estudio, el cual se puede afrontar desde diversas perspectivas. Aquí nos centraremos en analizar las relaciones internacionales dentro de la Historia de la Arqueología, como parte del mecanismo para comprender nuestro pasado en una época donde las fronteras entre países dibujan tanto los tratos personales como académicos, en especial las relaciones entre arqueólogos españoles e italianos del siglo XX (Díaz-Andreu García 2016; Gracia Alonso 2010; Gracia Alonso 2012a), dado el desconocimiento que existe sobre este tema, en contraposición con los trabajos sobre las relaciones con alemanes, franceses y también en menor medida con los ingleses. La presente Tesis se propone profundizar en el conocimiento del impacto que las relaciones entre investigadores tuvieron en la Arqueología española del siglo XX. Con ello se intenta romper varios tópicos firmemente establecidos en la Historia de la Arqueología española, como que los profesionales españoles son receptores pasivos de las novedades que provienen de otros países y que, sobre todo en lo que se refiere a la dilatada etapa franquista, el aislamiento internacional de los expertos es prácticamente total. Dentro de este contexto, se han analizado específicamente las relaciones entre la arqueología española e italiana desde principios del siglo XX a 1975, estableciéndose este año como fecha límite del estudio. En nuestro examen hemos dividido el periodo estudiado en dos: antes y después de la Guerra Civil. Para alcanzar estos objetivos generales se han investigado a través de objetivos más específicos cuales fueron primer lugar las instituciones españolas que se encargaron de propiciar directa o indirectamente las estancias de arqueólogos españoles en territorio italiano. Como resultado, se han documentado multitud de ayudas económicas de carácter personal de dos instituciones, la Junta para la Ampliación de Estudios y el Centro Superior de Investigaciones Científicas. Con esta documentación se han pretendido establecer cuales fueron relaciones personales entre la arqueología española e italiana a lo largo de los dos periodos anteriormente descritos, así como formarnos una ida más precisa de la influencia que supusieron estos contactos en la arqueología española posterior. Para completar estos objetivos específicos, se ha realizado un estudio de las publicaciones españolas contemporáneas con un marcado carácter arqueológico, que permite refutar esta influencia a través de las referencias bibliográficas utilizadas en los artículos que contienen. También hemos tenido en cuenta el convulso contexto político del siglo XX como elemento influyente en todo el proceso. Con estas premisas hemos desarrollado varias hipótesis en función a los objetivos planteados, esbozando un escenario en el que, pese al desarrollo de instituciones acorde con las necesidades de mantener investigadores en el extranjero, Italia no fue un centro de recepción primordial para la arqueología de principios del siglo XX frente a Francia y Alemania, acrecentado por la situación de aislamiento político y académico durante el franquismo. Estas hipótesis generales se complementan con otras más específicas, fundamentadas en la difícil situación económica de los periodos entre guerras para la inversión en estancias en el extranjero, y la imprecisión de lo que se entiende por la labor arqueológica. Esto lleva a plantear que quizá nuestro conocimiento sobre los viajes de arqueólogos españoles a Italia se haya visto disminuido, a lo que en realidad fueron viajes más prolíficos, y cuya influencia posterior en España, considerada exigua a principios del siglo XX, se desarrolló con mayor fluidez a partir de los años cincuenta. Como método de trabajo se han realizado vaciados en diferentes archivos y bibliotecas nacionales, y en algún caso muy puntual se ha acudido a la historia oral. A partir sobre todo de la documentación obtenida en archivos y bibliotecas se han podido obtener los datos de los sujetos susceptibles de ser incorporados a este estudio. Conjuntamente, se ha llevado a cabo un análisis bibliométrico de varias de las revistas más importantes sobre arqueología publicadas durante el periodo establecido, recogiendo así toda la información relevante para nuestro trabajo. Además, se ha vaciado la información encontrada en publicaciones tanto coetáneas a los hechos como posteriores. Se ha dividido este estudio en dos grandes etapas temporales, abarcando la primera desde principios del siglo XX hasta la Guerra Civil, y la segunda desde ese último momento hasta el final del periodo franquista. Con todo ello, se ha realizado un análisis de las estancias de españoles en Italia, tanto por la colaboración en exposiciones como por viajes de estudio o de trabajo. También se ha examinado la importancia de las instituciones nacionales para el desempeño de estas acciones, y el reflejo de sus actuaciones en la difusión de los conocimientos adquiridos a través de las publicaciones españolas en las que participaron. Los resultados obtenidos nos han permitido demostrar cómo las relaciones personales entre los académicos internacionales repercutieron directamente en el desarrollo de la actividad arqueológica española, asegurar que esta no estuvo completamente cerrada a las influencias extranjeras, y observar una evolución en los contactos establecidos a lo largo del marco cronológico estudiado. Durante la primera etapa entre principios del siglo XX y la Guerra Civil, las pensiones (denominación que reciben las ayudas económicas en este periodo) fueron concedidas a un mayor número de investigadores españoles, que, finalmente, realizaron algún tipo de actividad arqueológica. Aunque la Escuela Española de Historia y Arqueología en Roma se funda en 1910 como centro de recepción para estos pensionados, no será el epicentro de las relaciones entre arqueólogos españoles e italianos, siendo más característicos los viajes itinerantes por la península itálica y cuya influencia inmediata ha sido menos señalada, aunque asienta las bases de los contactos de la etapa siguiente, mucho más evidentes y fructíferos. Durante el segundo periodo y una vez pasados los primeros años de postguerra, la Escuela reabre sus puertas en 1947, comenzando en la década de los cincuenta su edad dorada, hasta los años setenta. Esta se ve acompañada por un mayor número de estancias en Italia, sobre todo de larga duración, gracias a los acuerdos para excavar la Grotta dei Pipistrelli (Finale), la Grotta del´Olivo (Toirano) en 1954 y 1955 respectivamente, y fundamentalmente Gabii, entre 1956 y 1969. Esto permite establecer contactos más profundos y dilatados en el tiempo, siendo el máximo exponente de las relaciones entre ambos países la contraída por Martín Almagro Basch y Luis Pericot García con el arqueólogo italiano Nino Lamboglia, presente en la bibliografía española de forma destacada como se demuestra tanto en el análisis de las revistas, como en la correspondencia personal, y la documentación administrativa. A pesar de esta nota positiva, en comparación con las relaciones establecidas para la misma época con arqueólogos alemanes y franceses, las relaciones italo-españolas todavía siguen siendo menores quizá incluso con británicos.
The importance of the History of Archaeology lies in the capacity to respond to the first question we should consider as archaeologists: how have we become what we are?. It is essential to study this past, and this research could be faced from different perspectives. Here we will focus on analysing the international relations inside the History of Archaeology, as part of the mechanism to understand our past in a period where borders between countries portray the personal and academic relations of scholars. In particular, the relationships between Spanish and Italian archaeologists of the 20th century will be examined due to the ignorance existing around this topic, compared to the studies about the relations with Germans scholars, and also, to a lesser extent, with British academics. The purpose of this thesis is to take a closer look at the impact that the relationships between researchers had in the Spanish Archaeology of the 20th century. With this, we have tried to break away from the clichés which were solidly established in the History of Spanish Archaeology, such as, the general belief that Spanish professionals were passive receptors of the newness that came from other countries, and the idea that, particularly during the Francoist period, the international isolation of the experts was practically total. Within this context, it has been specifically analysed the relations between Italian and Spanish archaeology from the beginnings of the 20th century to 1975, establishing this year as the closing date of the study. In our examination we have divided the period studied in two parts: before and after the Civil War. To accomplish these general objectives, our investigations started studying the Spanish institutions that were in charge, directly or indirectly, of the stays of Spanish archaeologists in Italian territory. As a result, we have documented a multitude of economic aids from two institutions: “Junta para la Ampliación de Estudios” and “Centro Superior de Investigaciones Científicas”. Thanks to this information, it was possible to establish the personal relations between Italian and Spanish archaeology during the two periods described above, as well as confirming the influence that these interactions meant in the later Spanish archaeology. To achieve these specific goals, we have conducted a study of the contemporary Spanish publications related to archaeology, which refute this influence through the bibliographic references used in these articles. In addition, it was taken into consideration the rough political context of the 20th century as an influential element in all the process. Under this premiss, several hypotheses were developed in function of the objectives planned, setting a scenario where, despite the fact that the development of institutions in compliance to the necessity of keeping researchers in foreign countries, Italy was not the essential centre of receptions for the Archaeology in the beginning of the 20th century, in opposition to France and Germany, increased by the situation of academic and politic isolation during the Francoist period. These general hypotheses are completed by others more specific, based on the difficult economic situation of the periods between wars for the investment in foreign stays, and the inaccuracy of what is known as “archaeological labour”. This can lead us to think that the knowledge about Spanish archaeological trips to Italy could have been misvalued, being in fact very productive journeys, of which later influence in Spain, considered exiguous in the start of the 20th century, developed with more fluency after the 1950s Furthermore, as a work method, different national archives and libraries have been exhaustively inspected, including some oral history resources. Jointly, a bibliometric analysis of several archaeological journals published during this period was taken, collecting all the relevant information for our work. In addition, the information found in coetaneous publications and later ones was also investigated. The study has been divided in two big temporal periods, first covering from the beginning of the 20th century until the Civil War, and the second from this last event up to the end of the Francoist period. Due to these facts, it was possible to conduct an analysis of Spanish scholars’ stays in Italy, for their collaboration in exhibitions as well as for study and work trips. Also, the importance of the national institutions for the performance of these actions, and the observation of their intervention in the diffusion of the achieved knowledge throughout Spanish publications in which they took part in, were examined. Consequently, the results retrieved allow us to demonstrate how personal relationships among international scholars directly influenced the development of Spanish archaeological activities, which were not completely closed to foreign influences, and discover the evolution of these contacts over the timeline studied. Moreover, between the beginning of the 20th century and the Civil War, the “pensiones” (name given to the economic aids in this period) were granted to a larger number of Spanish researchers, that finally, carried out some type of archaeological activity. Despite the foundation in Rome of “Escuela Española de Historia y Arqueología” in 1910 as a centre of reception for all these pensioners, it would not become the epicentre of the relations among Italian and Spanish archaeologists but set up the basis of the contacts for the next period, that were much more prolific and obvious. The itinerant journeys around the Italian Peninsula were more characteristic during this first part, but its immediate influence was less emphasized. During the second period and the beginning of postwar, the “Escuela” reopened in 1947, beginning its golden era until the 1970s. The stays in Italy increased, especially long-term stays, thanks to the agreements to excavate Grotta dei Pipistrelli (Finale), Grotta del´Olivo (Toirano) in 1954 and 1955 respectively, and Gabii, between 1956 and 1969. These agreements allowed to establish strong and long contacts, being the most important of these connections the relationships between Martín Almagro Basch and Luis Pericot García with the Italian archaeologist Nino Lamboglia, who are strongly present in the Spanish literature, personal correspondence and administrative documents. However, even though Spanish-Italian relationships were very productive and prolific, the relations between Spanish researchers and German, French and British academics were more intense.

La presente investigación pretende hacer una revisión de todas las jurisdicciones, tribunales y juzgados especiales que han juzgado y hecho ejecutar lo juzgado en Cataluña, a lo largo del siglo XX, al margen de la jurisdicción ordinaria. La tesis se estructura en siete capítulos, el primero dedicado a la metodología y el marco teórico. Los capítulos II a VI repasan los órganos jurisdiccionales objeto del estudio organizados en períodos históricos: el capítulo II está dedicado a las jurisdicciones que han ejercido su competencia a lo largo de todo el siglo o de la mayor parte de él, atravesando regímenes políticos y circunstancias históricas diversas; el capítulo III aborda el análisis de los tribunales especiales creados por los gobiernos de la Segunda República; el capítulo IV analiza las jurisdicciones, tribunales y juzgados creados durante el Franquismo; el capítulo V los creados durante la Transición; en el VI se exponen los que han quedado fuera del análisis y los motivos para ello; en el VII se revisan los miembros del poder judicial que han formado parte de los diversos tribunales especiales, con un pequeño análisis de su carrera y de los honores recibidos por parte del Estado.
This research aims to revise all the jurisdictions, courts and special tribunals that tried and sentenced in Catalonia throughout the 20th century, apart from the ordinary jurisdiction. This thesis is divided in seven chapters, the first one focused on the methodology employed and the theoretical framework. Chapters II to VII analyze the jurisdictional organs, target of this study, organized by historical periods: chapter II is focused on those jurisdictions that lasted and performed their functions throughout the whole century or most part of it, going through political regimes and diverse historical circumstances; chapter III addresses the special tribunals created by the governments during the Second Republic; chapter IV analyzes the jurisdictions, tribunals and courts created during Francoism; chapter V does so with the ones created during the Transition; in chapter six those which have been excluded of this analysis are listed, along with the reasons to do so; chapter VII revises the members of the Judicial power who have been part of the special tribunals, along with a brief analysis of their career and the honors they have received from the State.

This thesis analyses the constructions of the market in the thought of Adam Smith and Georg Wilhelm Friedrich Hegel and their relevance for contemporary political philosophy. Combining the history of ideas with systematic analysis, it contrasts Smith’s view of the market as a benevolently designed ‘contrivance of nature’ with Hegel’s view of the market as a ‘relic of the state of nature.’ In two interpretative chapters these two constructions of the market are discussed within the contexts of Smith’s and Hegel’s thought. In three systematic chapters, the relevance of these different constructions for the problems of identity and community, social justice, and different notions and dimensions of freedom is discussed. The first of these chapters argues that the conceptualization of the labour market as a market place for human capital or as a locus for the development of a professional ethos has a deep impact on how one thinks about the relation between individual and community, cutting across the debate between liberals and communitarians. The second systematic chapter shows that the market can be seen either as an instrument for addressing issues of social justice or as an institution against which social justice needs to be realized: for Smith, who thinks that free markets reward virtue and equalize income, it is the former, whereas for Hegel, who holds that free markets lead to unpredictable results and exacerbate social differences, it is the latter. The third systematic chapter addresses the relation between different aspects of liberty and the market. It shows that the market offers both chances and risks for liberty in the sense of individual autonomy, and analyses the relations of the market to positive liberty in a political sense. The concluding chapter draws some broader methodological lessons, arguing for a closer integration of economic and political theory at a ‘less-ideal’ level.

On croyait l’élégie disparue après l’apogée qu’avait connue le genre pendant le Romantisme et après les attaques dont il avait été la cible, les poètes « modernes » ayant choisi de s’affirmer contre les « excès » du lyrisme romantique dont l’élégie était devenue la caricature. Le lyrisme et la poésie de la première personne sont eux-mêmes restés au centre des attaques et des moqueries durant tout le XXe siècle. C’est pourtant à une renaissance du genre que l’on assiste, timide et progressive dans la première moitié du XXe siècle, puis à une véritable recrudescence dans la seconde moitié du siècle. Les noms des plus grands poètes s’associent aux titres de recueils d’élégies : outre les très célèbres Élégies de Duino de Rilke (1923), ce sont par exemple les Élégies de Juan Ramón Jiménez (1908), les Élégies et satires de Karyotákis (1927), les Hollywoodelegien (1942) et les Buckower Elegien (1953) de Brecht, les Élégies de Pierre Emmanuel (1940), de Jean Grosjean (1967), les Élégies d’Oxópetra d’Elýtis (1991), ou encore les trois grands recueils posthumes de Nelly Sachs, Schwedische Elegien (1940), Die Elegien von den Spuren im Sande (1943) et Elegien auf den Tod meiner Mutter (1950). L’élégie, née au VIIe siècle avant J.-C., est bien vivante au XXe siècle. Face à une telle longévité, trois questions se posent, qui structurent notre travail : sous quelles formes et selon quelle(s) définition(s) l’élégie existe-t-elle au XXe siècle ? Comment joue-t-elle des rapports entre modernités et traditions ? Comment se repositionne-t-elle face aux attaques virulentes des détracteurs du lyrisme et par quoi se caractérisent les nouveaux lyrismes qu’elle met en jeu au XXe siècle ?
Elegy is generally believed to have disappeared from European poetry in the XXth century, after a period of apogee during the Romanticism and after the hard criticism that the “modern” poets, who rejected the “excessive” romantic lyricism, leveled at the elegiac poets. Elegy was considered by the former as the emblem of a romantic out-of-date lyricism. Lyricism and the poetry expressed in the first person remained also the target of the attacks and mockery from a part of the XXth century poets and literary critic. Yet a real revival of the genre happens since the very beginning of the XXth century, hesitant and gradual during the first half of the century, then more abundant and obvious in the second part of the period. The names of major European poets of this century are linked with the genre of elegy, and the titles of their works show it: Juan Ramon Jiménez’s Elegías (1908), Rilke’s Duineser Elegien (1923), Karyotákis’ Elegies and satires (1927), Brecht’s Hollywoodelegien (1942) and Buckower Elegien (1953), Pierre Emmanuel’s and Jean Grosjean’s Élégies (respectively 1940 and 1967), Elýtis’s Oxopetra Elegies (1991), or the three posthumous works of Nelly Sachs, Schwedische Elegien (1940), Die Elegien von den Spuren im Sande (1943) et Elegien auf den Tod meiner Mutter (1950). Born in the VIIth century B.C., the genre of elegy is well alive in the XXth. Such a longevity brings us to three questions which organize our research: which are the shapes of the elegy of the XXth century and on which definition(s) of the genre is it based? Which are the connections and balance between traditions and modernity? How does the genre of elegy outlive the attacks against lyricism and what are the characteristics of the new lyricisms which it gives birth to?

L’errance est thématiquement présente dans le théâtre irlandais du début du XXe siècle. Le personnage errant est tout d’abord un moyen pour le dramaturge d’explorer et de dénoncer la perte ressentie par le peuple irlandais. Les vagabonds mis en scène expriment également le questionnement métaphysique de l’homme sur terre. Dans la Seconde moitié du siècle, l’errance infiltre la structure de la pièce, qu’il s’agisse de pièces irlandaises ou anglaises. Elle demeure, à travers le siècle, un thème de prédilection pour explorer les traumatismes, qu’ils soient économiques, politiques ou éthiques. La crise de valeurs du XXe siècle trouve écho sur des scènes théâtrales qui n’ont de cesse de questionner les certitudes, et qui mettent au jour la « déroute » du sens. L’ampleur et l’évolution de l’errance, à la fois thématique et structurelle, à travers des œuvres dramatiques étalées sur tout le XXe siècle, permettent de confirmer l’existence d’une dramaturgie de l’errance. Forte d’un siècle de remise en cause des certitudes, celle-ci se dessine à travers de nombreux exemples tirés des scènes anglaises et irlandaises du XXe siècle
Thematically speaking, wandering and erring are particularly noticeable in early XXth century Irish drama. Playwrights stage vagrants, tramps, and Tinkers as a means to explore the loss felt by a large part of the Irish population throughout history. These characters also express metaphysical questions which will be echoed in the second half of the century. From being rather important themes, wandering and errancy gradually invade the very structure of the plays, be they Irish or British. Wandering has remained a major way of exploring trauma-related situations, be they economical, political or ethical. As the stage keeps questioning certainties, directions and sense are played with. The thematical and structural roles of wandering onstage highlight the widespread existence of a skeptical dramaturgy debunking trust and conviction