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Adouni, Mouna. "La représentation de la figure du bourreau dans Les Bienveillantes de Jonathan Littel, La Part de l'autre d'Eric-Emmanuel Schmitt, La Disparition de Josef Mengele d'Olivier Guez et HhHH Laurent Binet." Electronic Thesis or Diss., Université de Lille (2022-....), 2023. http://www.theses.fr/2023ULILH059.
We consider the study of a problematic figure: the criminal or the Nazi executioner in four contemporary novels. The coherence of the corpus retained (La Part de l'autre d'E. Schmitt, Les Bienveillantes de B. Littell, HHhH de L. Binet and La Disparition de Josef Mengele d'O. Guez) is due both to this thematic aspect linked to the representation of a historical reality, but also to the chosen chronological span and the ethical issue that it induces: how can we today «speak» of the executioner, how can we give him the floor, without in any way accrediting the disastrous ideology that he claims to be? To meet this epistemological challenge, we summon the long history by questioning the place and the function of the executioner through the centuries. We then show how the narrative procedures of the novels of his corpus restore the social logics that make possible the emergence of such a figure; far from any psychological complacency for the theme of unfathomable evil, of romantically satanic cruelty or perversity, contemporary writers undertake to deconstruct black legends and mythologies of the curse to highlight the workings of a purely instrumental rationality. The filiation with the theses of Hannah Arendt on the banality of evil and the documented fiction of Robert Merle (Death is my profession, 1952) is in this respect patent. The temporality, the space, the system of the characters converge to place the executioner in an intelligibility that makes understand the facts (including psychic) without justifying them, or reduce them. The last part of the thesis brings the most fundamental piece to the demonstration: against the poorly lit positions of which Charlotte Lacoste is the most eminent representative (Seductions of the executioner. The denial of victims, PUF, 2010), the researcher shows very well how enunciative devices that work a ventriloquist narration, polyphonic (critical narrator, uses of irony) forbid the reader to fall into the trap of Nazi seduction or manipulation. Far from any aestheticization, from any commodification of the horrors of history, the four novels of the corpus constitute effective implementations of a literary anti-seduction
Harmand, Anne. "Entre pictorialisme et nouvelle vision, une figure de transition : Laure Albin-Guillot (1879-1962) /." Orry la Ville : A. Harmand, 2006. http://catalogue.bnf.fr/ark:/12148/cb410341981.
Uxa, Lorena. "Valutazione del progetto scuolambiente (1989-1996). Il centro di educazione all'ambiente marino di Miramare (Trieste)." Bachelor's thesis, Università degli Studi di Trieste, 2000. http://hdl.handle.net/10077/21663.
Vokurková, Zuzana. "Epistemic modalities in spoken standard Tibetan." Paris 8, 2008. http://octaviana.fr/document/145517160#?c=0&m=0&s=0&cv=0.
This dissertation is a study of epistemic modalities in spoken Standard Tibetan. They are generally conveyed by a system of verbal endings called 'epistemic endings'. These endings express various degrees of the speaker's certainty of the actuality of his utterance. The dissertation consists of five chapters. The first chapter is theoretic dealing with modality in general, and with the related categories of tense and aspect. I draw on the works of Palmer (1986), Dik (1997) and Gosselin (2005). The second chapter presents the linguistic situation in Tibet and characterizes spoken Standard Tibetan morphologically and syntactically. The third chapter concentrates on the system of epistemic endings analyzing them from a conceptual, functional and syntactic point of view. It is demonstrated that epistemic endings, just like evidential endings, also convey secondary evidential meanings (sensory, factual, egophoric) and that they are normally used in affirmative and negative sentences, and not in interrogative sentences. The fourth chapter is a classification of the various types of epistemic endings. Altogether, 44 epistemic endings are described and their tense-aspect paradigm is built. Finally, the fifth chapter deals with the compatibility of the secondary verbs with epistemic endings. In conclusion, a dozen of types of epistemic endings are commonly used in the spoken language. They differ in the degree of certainty, the tense-aspect, the evidential meaning, the geographic use and the frequency
Langlade, Laurent. "Laurie Lee : l'homme et l'oeuvre." Bordeaux 3, 1998. http://www.theses.fr/1998BOR30067.
The first part of the thesis summarizes the main stages of laurie lee's literary life. In the second part, the autobiographer is seen as a witness of his time, giving accounts of what happened in england and spain between the two world wars. The third part analyses the main themes of his works : childhood as a paradise lost, the young man's wanderings, war as a descent into hell, and finally how he is led to write. The fourth part shows to what extent laurie lee's work is the result of artistic elaboration, the sources of his inspiration, how the autobiography is built, the change of style over the years, and the need to keep in touch with the reader
Costan, Georges. "Quelques aspects de l'écologie de trois espèces de gastéropodes dans l'estuaire à marées d'eau douce du fleuve Saint-Laurent." Doctoral thesis, Université Laval, 1991. http://hdl.handle.net/20.500.11794/47355.
Préclaire, Florian. "Recommencer le monde. Poétiques du récit dans les œuvres de Marie-Hélène Lafon, Laurent Mauvignier, Pierre Michon et Jean Rouaud." Electronic Thesis or Diss., Paris 3, 2023. http://www.theses.fr/2023PA030037.
From the 1980’s until today, between the initial assessment of its loss and that, more recent, of its re-creation, the world has been adopted by writers as a discontinuous and questionable subject. It is from traces only that the narratives of Marie-Hélène Lafon, Laurent Mauvignier, Pierre Michon and Jean Rouaud are constructed and constituted, while the re-assessment of the relationship to reality and to the story/History is urging them to question the origin of the world in symbolic terms. The understanding of the world is thus filtered in turns through the lens of the investigation or that of the anthropology to closely link the present to the symbols and myths that tell the story of beginnings. Hence, it is by profoundly questioning the arrangements of its narratives and its poetics that contemporary literature commits to recreating the world. Dealing with begetting figures, it positions itself interestingly between obliquity and ubiquity ; it focuses on rethinking place and time to fit the present time, as well as on re-assessing the scope and the arrangements of its implications ; it summons the whole span of the spectrum of elementary symbolism in the service of representations of the creation and of the depiction of ways of being a part of the world ; lastly it reenacts the place of the world in the cosmos, puts words to things, and questions the link between Human and Animal again in order to delineate the shape of a new ethos
Tremblay, Yves. "Histoire sociale et technique de l'électrification au Bas-Saint-Laurent, 1888-1963." Doctoral thesis, Université Laval, 1993. http://hdl.handle.net/20.500.11794/29274.
Denizot, Marion. "Jeanne Laurent, sous-directeur des Spectacles et de la Musique (1946-1952) : contribution à une histoire politique et culturelle de l'intervention de l'Etat en matière thèâtrale." Paris 10, 2002. http://www.theses.fr/2002PA100153.
Jeanne Laurent, vice-director in charge of Performing Arts and Music in the Ministry of Education from 1945 to 1952, imposed a series of measures which were to be decisive for the history of public theater in France : the creation of a competition for young companies, subsidies for the création of a first piece, the creation of five dramatic arts centers (Centre Dramatique de l'Est, Comédie de Saint-Etienne, Centre Dramatique de l'Ouest, Grenier de Toulouse et Comédie de Provence), and finally, the nomination of Jean Vilar at the head of the Théâtre National Populaire. The study of the biography of this civil servant, who has become a mythical figure among artists, gives new insights into the question of State intervention in theater from a double perspective : cultural and political. Through the uniqueness of her methods, Jeanne Laurent created a model of public action in theater confirmed by her published and unpublished writings.
Vadnais, Christiane, and Christiane Vadnais. "Mécanique de la nuit suivi de Narration et imagination environnementale dans"Les larmes de saint Laurent" de Dominique Fortier." Master's thesis, Université Laval, 2017. http://hdl.handle.net/20.500.11794/37624.
Tableau d'honneur de la FÉSP
Ce mémoire de recherche-création se divise en deux parties. La première, Mécanique de la nuit, est un recueil de nouvelles oniriques qui aborde la confrontation entre l’humain et la nature en mettant en scène des catastrophes naturelles, des animaux sauvages, des parasites, etc. Les textes se structurent par des échos entre les personnages et les lieux. Ils sont portés par une voix narrative qui raconte les histoires à la troisième personne et disserte sur la notion de rêve dans une perspective scientifique. La seconde partie s’intitule Narration et imagination environnementale dans Les larmes de saint Laurent de Dominique Fortier. Elle analyse la place de la narration dans la poétique de cette oeuvre éclatée pour ensuite en étudier la portée d’un point de vue écocritique. De cette façon, elle vise à dégager la contribution potentielle d’une narration atypique au renouvellement de l’imaginaire environnemental contemporain.
Ce mémoire de recherche-création se divise en deux parties. La première, Mécanique de la nuit, est un recueil de nouvelles oniriques qui aborde la confrontation entre l’humain et la nature en mettant en scène des catastrophes naturelles, des animaux sauvages, des parasites, etc. Les textes se structurent par des échos entre les personnages et les lieux. Ils sont portés par une voix narrative qui raconte les histoires à la troisième personne et disserte sur la notion de rêve dans une perspective scientifique. La seconde partie s’intitule Narration et imagination environnementale dans Les larmes de saint Laurent de Dominique Fortier. Elle analyse la place de la narration dans la poétique de cette oeuvre éclatée pour ensuite en étudier la portée d’un point de vue écocritique. De cette façon, elle vise à dégager la contribution potentielle d’une narration atypique au renouvellement de l’imaginaire environnemental contemporain.
This master thesis in creative writing is divided in two parts. The first one, Mécanique de la nuit, gathers dreamlike short stories about the conflict between human and nature. It stages natural catastrophes, wild animals, parasites, etc. The short stories are structured by echos between characters and places. They are told by an omniscient narrator who also talks about dreams in a scientific perspective. The title of the second part is Narration et imagination environnementale dans Les larmes de saint Laurent de Dominique Fortier. It talks about the role of narration in the novel poetic, and then analyses its scope with an ecocritic perspective. It aims to determine the potential contribution of an unusual narrative voice to the renewal of contemporary environmental imagination.
This master thesis in creative writing is divided in two parts. The first one, Mécanique de la nuit, gathers dreamlike short stories about the conflict between human and nature. It stages natural catastrophes, wild animals, parasites, etc. The short stories are structured by echos between characters and places. They are told by an omniscient narrator who also talks about dreams in a scientific perspective. The title of the second part is Narration et imagination environnementale dans Les larmes de saint Laurent de Dominique Fortier. It talks about the role of narration in the novel poetic, and then analyses its scope with an ecocritic perspective. It aims to determine the potential contribution of an unusual narrative voice to the renewal of contemporary environmental imagination.
Foucry, Sophie. "La propriété seigneuriale dans la vallée du Saint-Laurent au XVIIIème siècle." Master's thesis, Université Laval, 1994. http://hdl.handle.net/20.500.11794/18392.
McLeod, Naomi. "The expression of identity in Equatorial Guinean narratives (1994 - 2007)." Thesis, University of St Andrews, 2012. http://hdl.handle.net/10023/2614.
Salmi, Louis-Rachid. "Blessures par collisions de véhicules à moteur sur les ponts reliant i'île de Montréal à la rive sud du Saint-Laurent (1978-1982)." Thesis, McGill University, 1985. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=65352.
Lipscomb, Mary Virginia. "The response of four ericaceous shrub species to multiple environmental resource variation." Diss., Connect to this title online, 1991. http://scholar.lib.vt.edu/theses/available/etd-09202005-090957/.
Baskin, Richard Lee. "Act I, Scene 2 of Hamlet: a Comparison of Laurence Olivier's and Tony Richardson's Films with Shakespeare's Play." Thesis, University of North Texas, 1989. https://digital.library.unt.edu/ark:/67531/metadc500951/.
Landman, Andre Louis. "From Volksmoeder to Igqira: Towards an intellectual biography of Dr Vera Bührmann (1910-1998)." University of the Western Cape, 2020. http://hdl.handle.net/11394/7272.
This biography of Dr Vera Bührmann is an intersectional and interdisciplinary investigation of an unusual Afrikaner woman who occupied several unusual places in South African society. Through rigorous archival research and a wide reading of English and Afrikaans secondary sources, I examine the mythology that has grown up around Dr Bührmann and expose contradictions and inaccuracies inherent within these myths. I adopt a chronological approach but focus on certain key motifs. I dwell on her family background in order to demonstrate the depths of the Afrikaner nationalist tradition to which she was heir. I uncover the impact that physical anthropology had on her during her initial medical training at Wits and UCT in the 1930s. I highlight the intensity of her commitment to, and leadership roles in, the Ossewa-Brandwag and Dietse Kinderfonds, both extremist right-wing Afrikaner nationalist organisations. Vera’s marital crises reveal something of her ‘human’ side but are an important component of her story because she reinvented herself following her divorce in the early 1950s, furthering her medical qualifications as well as training as a Jungian analyst. I investigate the various fields in which she worked following her return to South Africa in late 1959 but focus on her cross-cultural psychiatry research with a Xhosa igqira in the 1970s and 1980s since much of the mythology that surrounds her is based on publications that flowed from that research. I engage critically with her published works and associated archival records and present evidence which shows that the view that she underwent a ‘Damascus Road’ experience with respect to her racial politics is unfounded. The racial politics of her ancestors and the ideology of the radical right-wing Ossewa-Brandwag remained with her throughout her life, despite attempts (by Vera and others) to camouflage it. In addition, I show that her use of Jungian depth psychology as a framework for cross-cultural psychiatry research contributed to the reification of apartheid racial politics. This study draws attention to the many pioneering achievements of this remarkable woman but argues that a more nuanced approach to her legacy is needed in light of the evidence of her persistent racial prejudice.
Capone, Carine. "Frontières de l’évènement, frontières de la littérature : l’appropriation de l’évènement dans la littérature des années soixante à nos jours (Marguerite Duras, Claude Simon, Emmanuel Carrère, Laurent Mauvignier)." Thesis, Paris 10, 2015. http://www.theses.fr/2015PA100147/document.
The fact that contemporary French literature seizes what happens in the world is not surprising anymore. Since the 1980’s, and after the 1960’s and 1970’s formalist period, critic has proven many times how much fiction assumes more and more looking towards the world. Do we attend, nevertheless the dissolution of event? Through a corpus composed by works of Laurent Mauvignier, Emmanuel Carrère, Marguerite Duras and Claude Simon, going from the 1960’s to the 2000’s, this study aims to examine the modalities of events repossession. Proceeding through touches, brushing against the event, using metaphors and intersecting fragments with gaze, contemporary fictions plough the furrow of experimentations made by writers like Claude Simon and Marguerite Duras, who examine with a critical eye the way fiction can take hold of what happen in the wold. All that’s left of event is so symbolicals fragments that we call eventèmes. Physicals damages caused by events also give way to the imagination of weakness. The present dissertation thus leads to highlighting the underlying connections between contemporary aesthetics and the last avant-gardes. Nevertheless, in today’s fictions there is a more specific tendency to using the event as a relational aim. Contemporary literature is thus the echo of the 20th century’s rifts with the perspective of pointing out what brings these human experiences together
Gœtschel, Pascale. "La décentralisation théâtrale en France de la Libération à la fin des années soixante-dix." Paris, Institut d'études politiques, 2000. http://www.theses.fr/2000IEPP0001.
Shiono, Eiko. "Les traditions japonaises dans les œuvres de deux compositeurs français du XXIe siècle : Laurent Martin et Jean-Luc Hervé." Thesis, Paris 4, 2014. http://www.theses.fr/2014PA040179.
During their long history, the Japanese people had managed at the same time to cultivate carefully their own traditionswhile integrating the surrounding cultures, first those of continental Asia (China, Corea), then the Western cultures. Andyet, nowadays, it seems that the daily life of the Japanese people has become more and more westernized while the socalledJapanese tradition is receding. For the Japanese, the term itself of “tradition” seems to take an exotic meaning andhenceforth, Westerners are now mainly taking interest in the Japanese tradition, and among them, two contemporaryFrench composers, Laurent Martin (1959-) and Jean-Luc Hervé (1960-). The object of their research constitutes thedynamic of their musical creation and their interest in Japan is not confined to stereotypes. Laurent Martin’s maininterest lies in Japanese literature while Jean-Luc Hervé is attracted above all by the layout of Japanese landscapes (inarchitecture and gardens). Both are delving into what the Japanese people are ignoring or forgetting, i.e., the “Japanesetradition” which merits to be perpetuated and brought up to date. The fields of interest of the two composers are theobject of this present research. After studying the particularities of Japanese and French cultures, their commun featuresand their differences, we will analyse Laurent Martin’s Poèmes japonais and Jean-Luc Hervé, Effet lisière from variousperspectives. From those two musical models we will then ask ourselves how Japanese people can assess their owntraditions within modern society
Bontems, Vincent. "Essai sur le progrès épistémologique au siècle de la relativité (1905-2005) : l'analogie dans la construction des objets scientifiques contemporains." Paris, EHESS, 2005. http://www.theses.fr/2005EHES0097.
The notion of "epistemological progress" relies on the hypothesis of a recurrent evolution of philosophical concepts, which is induced by scientific dynamism, and especially by relativistic physics. From the work of Gaston Bachelard, these evolutions can be identified as petaphysical "relativisations" of spontaneous substantialism. Nowadays, the theory of scale relativity (Laurent Nottale) and the phylosophy of transduction (Gilbert Simondon) point to the same method based on the postulate of relational realism, the hypothesis of preinviduality and a fractal schematization. This kind of epistemological contemporariness relation can be retrospectively extend to the different historical stages by the means of the concept of analogy, and therefore used as criterion for epistemological progress. First, this study goes through the transformations of the concept of abalogy from Plato to Simondon (1 The construction of analogies), then it investigates the epistemological contemporariness between the works of Nottale and Simondon (2 A contenporaneous scientific object), and the progress of the relativistic method from Einstein to Nottale (3 Relativity on the scale of a centruy), and finally, we bring out theoretical improvements in historical studies induced by the new epistemological contemporariness, and try to distinguish these improvements from the fictional adaptation of scientific schema (4 Historical and fictional frames of references). The conclusions emphasizes the need for a new quest of all-round knowledge, and the epistemological obstacles that stand in the way of this analogical research. This work also develops an original method of "spectral" elaboration of concepts by means of insertion and extraction operations accross the different scientific horizons
Fontaine, Fanny. "La poétique de la dérive dans la littérature contemporaine (Laurent Mauvignier, Lin Bai, Imre Kertész)." Thesis, Sorbonne Paris Cité, 2015. http://www.theses.fr/2015USPCA167/document.
This thesis aims to study the concept of drift, through a corpus of French, Hungarian and Chinese texts written by Laurent Mauvignier, Imre Kertész and Lin Bai, and published between the 1990s and 2014. Described by Guy Debord as a key word to experience the psychogeographic dimension of the city, the drift enables to study, through contemporary fictions, the important wandering of characters because they are deprived of existence and thus of a territory : their identity is no more attached to a place, but dissolved in many places or what is called non-places. We will thus study a topography of the gap between the self and its territory, as a first signal of an identity crisis. Then, this loss of a location invites us to focus on all the symptoms of the disappearance of the self, from living distress to any kind of ghostly dissolution of the self. Finally, the concept of drift questions representation because the writers have to express a floating identity, which has lost the meaning of existence and the meaning of language : how express this movement, how figure out the reconstruction of a contemporary self? Our thesis will show how the drift is a real poetics, an aquatic vision of the world and of literature
Destremau, Frédéric. "Louis Anquetin et Henri de Toulouse-Lautrec : amitié, environnement, rencontre et résonance." Paris 4, 1994. http://www.theses.fr/1994PA040188.
19 chapters, 124 subtitles: this thesis examines the friendship between Louis Anquetin (1861-193), and Henri de Toulouse-Lautrec (1864-1901), and the circle in which they moved for some fifteen years, the two artists struck up a friendship soon after beginning at the Cormon studio (1882-1887) and continued seeing one another after the end of that period until about 1894. Anquetin and Lautrec were both of exceptional artistic caliber but whereas the former attempted to control his ardor and to restrain his impetuous nature, the latter allowed his emotions a free reign. More of a technical painter Anquetin devoted himself to a life-long search for an esthetic ideal that would combine the craftsmanship of the classical school to modern artforms. Each one of his paintings became a subject of research, turning into a specific and unique experiment. Lautrec was quite the opposite: he painted as the mood took him without undu4 introspection. Despite this essential distinction in their approach to art there is a parallel that can be drawn between the work of Anquetin and that of Lautrec
Routier, Hélène. "D’une esthétique métakitsch sur la scène contemporaine : évolution de la notion de kitsch et son usage au second degré dans des mises en scène d’opérettes de Jacques Offenbach au XXIe siècle." Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCA005.
Modern live shows tend to be light and fun affairs which integrate with bad taste and popular culture. Some stagings, which possess an undeniable artistic value, have emerged with a tone that one could call kitsch. According to Hermann Broch, kitsch is the "anti-art". This contradiction arises because, as Susan Sontag and Guy Scarpetta have demonstrated, when kitsch is considered at a distance, with irony, it can be considered art. To call a show kitsch in a non-pejorative manner, and in order to understand the manner of this reversal, one must first define kitsch. Based on the definitions of this notion by thinkers like Walter Benjamin and Clement Greenberg and the descriptions of the properties of kitsch by Abraham Moles and Christophe Genin, this dissertation will notably end with the role of the self-reflexive process of metatheatre. This allows kitsch, in identifying it as such, to become a tool for the stage that produces an aesthetic that we call metakitsch. In terms of concretely defining the stakes, the effects and the limits of this aesthetic, the operetta has proved to be the most suitable theatrical genre. The second part of this study is centered, on the one hand, on four works by Jacques Offenbach presented by the same director, Laurent Pelly, and on the other, on a comparative analysis of four representations of La Belle Helene by Offenbach, presented by different directors. It will emerge that the use of kitsch, which offers a great deal of freedom to directors, produces spectacles that are often ironic, even caustic, hybrid, eclectic and playful. The use of kitsch, of anti-art in art, seems to meet the public's need for something new
Camarasa-Bellaube, Marion. "Un voyage par delà la "Grande Eau" : des algériens au pays de l'érable ou la Méditerranée sur les rives du Saint Laurent : étude de cas, une histoire de l'émigration algérienne au Canada 1962-2002." Toulouse 2, 2007. http://www.theses.fr/2007TOU20095.
Canada is, in the world, one of the most big country for immigration. Lots of South contries' people go to Canada for make a better life. Algeria is one of them. Since 1962, the departures are constitued by the algerian youth and the algerian élite. This work is the evolution of this migration between Algeria and Canada, and specialy Quebec. Why they go, how they live in their new country ? These Algerians come in Canada and with sometimes lots of difficulty, grow richer the canadian culture in their mediterranean culture
El Canada atrae hoy una mirada numerosa a traves el mundo a lo largo de su politica de inmigración y de su concepción comunotarista en los tratos humanos. La universalidad no es un símbolo del sueño canadiense, pero tan tenaz para las poblaciones que llegan de los paises los mas pobres en busca de una vida amejorada. Argelia, pays joven cuyo desarollo a conocido muchos desordenes que causaron un poperismo de sus habitantes, aparece desde 1962 como una tierra de emigración de mas en mas importante al curso de los años. El Canada y aùn mas el Québec logran presentarse como tierra de refugio para la juventud y la élite argelinas. Esta investigación mostra la evolución de esa emigración presentando las causas y incribiendolas igualmente en una perspectiva mas amplia al nucleo de las relaciones economicas y politicas entre los dos estados. Las características de esa población argelina en el Canada nos aclara sobre la realidad de la integración mas o menos cuplida y sobre los tropezos a veces muy frequentes que ella tiene a su llegada en tierras americanas y tambien muco mas despues. Pero produce igualmente brillantes exitos que enriquecen culturalmente y intelectualmente el mundo canadiense
Ass-agi at'as n meden i-yerran luhi nsen ar tmurt n kanada, lad&a f-ayen id icudden ar tsertit n l&urba akw d wayen temsel di leqder' ger imdanen yalwa s yidles ines. Maca ulama imdanen n ddunit akw msawan mazal yeggug iswi. Mazal leqdic &ef izerfan n umdan &ef id nfan ne& id rulen imzeda& n tmura timeluz'in. Tamurt n lezzayer mazal-itt mez'iyet. Seg asmi tefra lgirra di 1962 ur tessin talwit. Sya &er da ad yekker cwal almi tu&al ttaz'awalit yesserwalen imdanen ines. D ilemz'i ne& d amusnaw tu&al asen Kanada, lad&a Kebek, d ifri anda ara ddarayen. Anadi yagi n Marion yulsed amek id tebda l&urba n izzayriyen ar tmurt n usemid', d acu i d sseba n r'wah'. Tesefra-d di&en assa&en n tisertit akw tadamsa ger snat timura yagi. Tuffa belli izzayriyen n Kanada mxalafen &ef wiyed' , yerna bd'an &ef sin : llan wid isselken iman nsen, llan wiyad' seg asmi i-d usan ar Marikan nitni deg i&ublan. Izzayiren n Kanada effkan-d at'as n itran i tmurt agi isen igan azal
Canut, Emmanuelle. "Evolution de la syntaxe et de l'ancrage enonciatif dans des narrations d'enfants de moins de six ans. Interaction langagiere entre adulte, enfant et livre." Paris 3, 2000. http://www.theses.fr/2000PA030159.
Lavoie, Richard. "La chasse à la sauvagine au-delà du plomb et du sang." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape11/PQDD_0019/MQ49035.pdf.
Gould, Jean. "Des bons pères aux experts : les élites catholiques et la modernisation du système scolaire au Québec, 1940-1964." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape7/PQDD_0019/MQ47204.pdf.
Ruolt, Anne. "La petite école des deux cités : genèse et contribution du mouvement des Écoles du Dimanche au développement de l'éducation populaire en France de 1814 à 1902 un modèle d'éducation " pan-anthropique "." Phd thesis, Université de Rouen, 2010. http://tel.archives-ouvertes.fr/tel-00652678.
Fondée sur des sources archivistiques (manuscrits, PV d'AG, périodiques, mémoires, médailles commémoratives, documents iconographiques...), d'acteurs des ÉdD (A de Staël, Ph-A Stapfer, F Guizot, L Cadoret, F Monod, J-P Cook, M Lelièvre) selon une approche a posterioriste, et une méthode herméneutique mais aussi statistique, cette thèse montre l'apport en éducation du courant 'protestant-orthodoxe' marqué par la 'théologie du Réveil' et caractérisé par le paradigme dooyeweerdien : 'création-chute-rédemption'. La méthode 'pananthropique' est fondée sur l'anthropologie et le triangle pédagogique du comeniusien Gauthey. Pour l'ancien pasteur de Pestalozzi, l'éducation concerne le corps, l'esprit, le coeur et l'âme de l'homme et vise à 'donner à toutes ses facultés le plus haut degré de développement dont elles sont susceptibles'. Cette École des deux cités, qui articule sans dualisme, la cité des hommes et celle de Dieu, est la première branche d'un espalier précurseur de la SEIPPF, des Écoles : déguenillées, missionnaires, du jeudi, de garde, de vacances...
Vignon, Elodie. "Mère et fille - des relations en question, ou la liberté à tout prix." Thesis, Paris 3, 2013. http://hdl.handle.net/1974/7889.
Thesis (Ph.D, French) -- Queen's University, 2013-04-18 17:21:29.738
Palé, Titi Eri Aramatou. "Paysage électoral et stratégies de communication des candidats à la présidentielle de 2010 en Côte d'Ivoire." Thesis, Bordeaux 3, 2017. http://www.theses.fr/2017BOR30020.
At the end of the year 2010, the Ivorians organized a presidential election after a decade of civil war. Since then, these elections are still in the news because of their critical outcome: murderous post-electoral crisis in 2011, complicated national reconciliation and, since the year 2016, mutinies in the ranks of a composite and transitional army. This study considers the Ivorian presidential elections of 2010 as a social sciences study subject and is devoted to the political campaign communication of three "great candidates" : Henri Konan Bédié of the Democratic Party of Côte d'Ivoire (PDCI), Laurent Gbagbo of the Presidential Majority (LMP) and Alassane Ouattara of the Rally of Republicans (RDR). The scientific purpose here is to determine the different axes of partisan communication, which illuminate the socio-political profile and behavior of the Ivorian voter in the 2010 presidential election. More specifically, our investigations are devoted, on the one hand, to the determination of the Ivorian electorate in its social, political and cultural composition, but also psycho-sociological dimension. This electorate is here defined in terms of voting intentions, or motivation to vote for a particular candidate. On the other hand are observed the means of communication used by these major candidates who become structuring points of the Ivorian political field by endorsing the mandatory parties. In this electoral confrontation to capture the majority of voices, the study shows how interfere a very strong political representations and imaginings, which consecrate these candidates into challengers of national political life and polls of the moment. These issues affect and differentiate campaign political communication strategies, which the thesis analyzes by collecting data and resources that influence them below and structure both the speeches and the media practices of the candidates studied. Clearly, the electoral context of 2010 and its sociohistorical determinants forge communication strategies and the media behavior of major candidates
D'Ambrosio, Mariano. "Le roman de la non-linéarité : une analyse comparée de Tristram Shandy, Pale fire, La vie mode d'emploi et House of leaves." Thesis, Sorbonne Paris Cité, 2016. http://www.theses.fr/2016USPCA092/document.
This thesis aims to explore the idea of the existence of a novel of nonlinearity, through an inspection of the criticism and the comparative analysis of four works considered as belonging to this tradition (The Life and Opinions of Tristram Shandy, Gentleman, by Laurence Sterne; Pale Fire, by Vladimir Nabokov; Life, a User’s Manual (La vie mode d’emploi), by Georges Perec; and House of Leaves, by Mark Z. Danielewski).The first chapter postulates the thesis of two traditions in the history of the novel: the tradition of the realist novel, and a tradition distinguished by the use of nonlinear forms. In order to support this thesis, I’ll take into account studies about the reflexive tradition of the novel, about chaos theory as applied to literature, about the margins of the text, about the reading experience, and about intertextuality.On the basis of this examination, the second chapter outlines a definition of the novel of nonlinearity, which includes a repertoire of the literary devices and themes common to this tradition, and a reflection about its perspectives upon the world and human identity.The third chapter is dedicated to the analyses of the texts included in the corpus. The four novels are analyzed for their distinctive features, and also in the aim of verifying the premise of the existence of a novel of nonlinearity. Drawing on numerous examples selected from the novels, these analyses are structured in eight sections: the problem of beginning; intertextuality; the complexity of life narratives; the issues of interruption, procrastination and absence; the approaches to time; the approaches to language; the theme of the game; and the impossibility of an ending
Edgar, Brenda Lynn. "Le motif éphémère : ornement photographique et architecture au XXe siècle." Thesis, Paris 1, 2013. http://www.theses.fr/2013PA010585.
The thesis reconstructs the history of photographic ornament. Little known in the history of 20th century architecture, photographic ornament appeared in the 19th century, with the advent of photography itself at one of the most critical moments in the history of ornament. Introduced both as a means to create motifs and as a motif in and of itself in the form of prints and transfers, the photographic paradigm became one of the most important for ornament in the contemporary era. The photographic constitutes a nex genre specific to the century of the machine, of Freud and of capitalism.Throughout the 20th century, photography was udes to modernise traditional forms of mural decoration : panoramic wallpapers, murals, frescos and stained glass. It thus reveals the persistence of the will to dissolve architecture with images, a phenomenon whiwh reaches its apogee in the photographic façade at the turn of the 21th century. The thesis examines examples of large format photography from the 20th in terms of their ornamental value, bringing together a divers corpus of photographers, such as Edward Steichen, Laure Albin-Guillot and Thomas Ruff, and architects such as Le Corbusier, Berthold Lubetkin, Jean Nouvel and Herzog & de Meuron. In addition to identifying the photographic as a form of ornament in modernist architecture, the thesis also brings to light previously unknown practices such as that of thr Russian-British artist Eugene Mollo during the interwar period. Throughout this history, a commercial production parallel to artistic creation highlights the persistence of photographic ornament and the importance of technical invention in the industrial arts
Brouillette, Marc André. "Spatialité textuelle dans la poésie contemporaine : le langage et son espace dans les oeuvres d'Anne-Marie Albiach, Jean Laude et Gilles Cyr." Paris 3, 2002. http://www.theses.fr/2002PA030011.
Modern poetry has shown considerable interest for the relationship between language and space by exploring, among others, the possibilities of the theme as well as those of visual composition. This study aims to analyse the patterns of spatial semantic relations within poems, patterns we will call textual patiality ("spatualité textuelle"). Our intent is to show the commonality between the various components (linguistic and visual) of the representations of space within a poem. Three works comprise the corpus of study : Mezza voce by Anne-Marie Albiach (1984), La trame inhabitée de la lumière by Jean Laude (1989) and Diminution d'une pièce by Gilles Cyr (1983). The study essentially consists of the presentation of textual analyses through which we hope to single out certain semantic relations that further the emergence of spatiality in poems. .
Langendorff, Judith. "Le nocturne comme catégorie esthétique de l'image dans la photographie et le cinéma contemporains." Electronic Thesis or Diss., Sorbonne Paris Cité, 2018. https://books.openedition.org/pur/180789.
Based on a large corpus of colorist film directors and photographers who share a fascination for the nocturne, this thesis explores the different gradations and meanings of this one, from the more obvious to the more abstracts. The thesis endeavours to demonstrate how the nocturne reasserts the darkness values to turn them into colors, and how it illuminates, with a subtlety absent in diurnal vision, the more complex aspects of society as well as the human mind.The confrontation between picture and film sequences analysis, with a perspective articulating aesthetic, philosophy and art history, leads to three main concepts: Distortion, Sublimation and Transfiguration. Thereby it establishes the nocturne as an image’s aesthetic category in cinema and photography.The main corpus in cinema and photography, organised by externals criteria (nocturne, post-1960-1970 years color) and internals criteria (similar operating processes aesthetic), is established with the movie extracts of Stanley Kubrick (1928-1999), David Lynch (1946), Brian de Palma (1940), Francis Ford Coppola (1939) as well as the photographic series of Gregory Crewdson (1962), Bill Henson (1955), Rut Blees Luxemburg (1967) and Daniel Boudinet (1945-1990).The second is based on the photographic series of Darren Almond (1971), Jean-Christian Bourcart (1960), Nicolas Dhervillers (1981), Laurent Hopp (1974) and Chrystel Lebas (1966), as well as Antoine Barraud’s (1973) movie extracts. Finally, for the requirement of the demonstration, a Nic Pizzolatto (1975) and Justin Lin (1973) TV show
Joyeux, Hélène. "Un certain "esprit de collection" : les collectionneurs d'art français du monde de la mode (XXe-XXIe siècles)." Thesis, Paris 1, 2020. http://www.theses.fr/2020PA01H040.
Since the invention of haute couture at the end of the XIXth century until today, the fashion world has been one of the professional sectors where the collectors are the most numerous. This raises the question of whether there is a specific type of collectionnism among the fashion collectors, and if so, how is it structured and how has it evolved. If this is the first line of research chosen to analyze these relationships, it is certainly not the only one but it cannot be understood without addressing, more widely other forms of collaboration between all the peripheral creative actors in this field. Indeed, collectionism is part of the network of relationships between leading fashion designers, or leaders of luxury goods companies, artists, art dealers, gallery owners, journalists, critics, photographers and clients of both sectors, etc. To do so, we have chosen three examples of collectionism that have in common the fact that they have marked their era, contemporary fashion and the ‘spirit’ of collection: those of Jacques Doucet, the couple Pierre Bergé and Yves Saint Laurent and Bernard Arnault through the brand Louis Vuitton and the Louis Vuitton Foundation. This thesis proposes to analyze and explore collectionism from the point of view of the collector but also, to place these collections at the same time in their respective era, in their filiations, in the history of art and fashion history
Commans, Julie. "Le jeu du père : le père-narrateur dans le roman français contemporain." Thesis, Université Clermont Auvergne (2017-2020), 2017. http://www.theses.fr/2017CLFAL017.
In the contemporary French novel, the father has few opportunities to be heard. While there have been an increasing number of stories about filiation since the 1980's, giving sons and daughters the possibility of questioning their ancestry, the father figure remains silent. Nothing is new here: literature often shows the father being kept away from the private sphere of family life, the father being a victim of the enduring patriarchal image and of his lost authority. At the turn of the 21st century, however, the humanities and social sciences suddenly began to take an interest in the topic. Looking at the father's silence, sociology, psychology, history, and also literature ask the question: what place, what role, and, in the end, what identity should be given to the father? In the midst of this growing discussion, the key player pressed by questions struggles to make his way into the foreground and take the floor. If eventually he introduces himself as a narrator, this should be noted and the forms of such an emergence in the contemporary novel should be investigated. An analysis based on the novels of four writers – Philippe Forest, Laurent Mauvignier, Gisèle Fournier et Sylvie Gracia – blending fictional and autobiographical works, allows us to define the features of an unprecedented phenomenon leading to new ideas about being a father today in terms of how it reflects the uncertainty of the individual in society, and also about the authorship of the work (“paternity”) and its issues in contemporary writing. This study first lays out historical and generic contexts of fatherhood by addressing the points of view offered by the social sciences and those derived from the literary approach. The structure of the paternal narration is then observed in such a way to allow an understanding of what's behind the father's words and how they work. Finally, the last chapter focuses on the singularity of the paternal voice and on that which, attempting to take account of reality, lends itself to an endless literary game, carrying away author, characters, and readers
Langendorff, Judith. "Le nocturne comme catégorie esthétique de l'image dans la photographie et le cinéma contemporains." Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCA085.
Based on a large corpus of colorist film directors and photographers who share a fascination for the nocturne, this thesis explores the different gradations and meanings of this one, from the more obvious to the more abstracts. The thesis endeavours to demonstrate how the nocturne reasserts the darkness values to turn them into colors, and how it illuminates, with a subtlety absent in diurnal vision, the more complex aspects of society as well as the human mind.The confrontation between picture and film sequences analysis, with a perspective articulating aesthetic, philosophy and art history, leads to three main concepts: Distortion, Sublimation and Transfiguration. Thereby it establishes the nocturne as an image’s aesthetic category in cinema and photography.The main corpus in cinema and photography, organised by externals criteria (nocturne, post-1960-1970 years color) and internals criteria (similar operating processes aesthetic), is established with the movie extracts of Stanley Kubrick (1928-1999), David Lynch (1946), Brian de Palma (1940), Francis Ford Coppola (1939) as well as the photographic series of Gregory Crewdson (1962), Bill Henson (1955), Rut Blees Luxemburg (1967) and Daniel Boudinet (1945-1990).The second is based on the photographic series of Darren Almond (1971), Jean-Christian Bourcart (1960), Nicolas Dhervillers (1981), Laurent Hopp (1974) and Chrystel Lebas (1966), as well as Antoine Barraud’s (1973) movie extracts. Finally, for the requirement of the demonstration, a Nic Pizzolatto (1975) and Justin Lin (1973) TV show
Coelho, Constança Augusta da Silva. "A adaptação cinematográfica das obras The civil war letters of colonel Robert Gould Shaw, One gallant rush e Lay this Laurel proposta por Glory, de Edward Zwick." Doctoral thesis, 2014. http://hdl.handle.net/10400.2/3781.
O objetivo a que nos propomos nesta tese consiste em analisar de que modo o texto fílmico histórico Glory, do realizador Edward Zwick, fruto da adaptação de três obras não-ficcionadas, designadamente The Civil War Letters of Colonel Robert Gould Shaw, One Gallant Rush e Lay this Laurel, e de uma leitura eivada de subjetividade pode contribuir para a divulgação do conhecimento histórico, e neste caso específico, pode recriar a história da organização, treino e atuação do 54º Regimento de Voluntários de Massachusetts, que se destacou pelo seu desempenho na Guerra Civil Americana. Consequentemente, tornou-se incontornável, por um lado, aprofundar a relação existente entre literatura e outras formas de arte, com especial incidência entre a literatura e o cinema referindo as interações, intersecções e aspetos dissonantes entre elas, abordando nomeadamente a problemática da adaptação cinematográfica através de diferentes conceptualizações, perfilhadas por teóricos de períodos distintos, inerentes à transposição de um texto literário ao fílmico, sublinhando as especificidades de cada sistema semiótico apresentado no produto final concebido pelo cineasta. Por outro, debruçamo-nos sobre a importância do filme na recriação do passado, nomeadamente, a relação que se tem estabelecido entre o cinema e a história, mais precisamente, de que maneira o texto fílmico pode ser considerado uma fonte documental da história e, assim, contribuir para a disseminação do conhecimento histórico.
This research work aims at analysing how the historical filmic text Glory, directed by Edward Zwick, the result of the adaptation of three non-fictional books, namely The Civil War Letters of Colonel Robert Gould Shaw, One Gallant Rush and Lay this Laurel, and of a reading riddled with subjectivity can contribute to the dissemination of historical knowledge, and in this specific case, how it can recreate the history of the organization, training and performance of the 54th Regiment Massachusetts Volunteers, who stood out for their performance in the American Civil War. Consequently, it has become essential, on the one hand, to deepen the relationship between literature and other art forms, with special emphasis between literature and cinema referring the interactions, intersections and dissonant aspects between them, addressing in particular the issue of film adaptation through different conceptualizations, adopted by different theorists, inherent to the translation of a literary text into a filmic one, highlighting the specificities of each semiotic system presented in the final product designed by the filmmaker. On the other hand, we look on the importance of film in the recreation of the past, namely, the relationship that has been established between film and history, more precisely, how the filmic text can be considered a documentary source of history, thus contributing to the dissemination of historical knowledge.
Myre, Alexandre. "Suivis isotopiques (2H & 18O) du fleuve Saint-Laurent et de la rivière des Outaouais entre 1997 et 2003 : relations avec la variabilité hydroclimatique à l'échelle saisonnière et interannuelle." Mémoire, 2006. http://www.archipel.uqam.ca/1672/1/M9201.pdf.
Borges, António Cristiano. "De Jim Crow a Langston Hughes: quando a música começou a ser outra." Master's thesis, 2008. http://hdl.handle.net/10451/380.
Esta dissertação é um estudo diacrónico sobre o trabalho literário dos poetas afro- -americanos, desde o século XVIII até às primeiras décadas do século XX. Neste estudo sublinha-se o empenhamento e os constrangimentos que os poetas negros americanos tiveram de enfrentar para poderem afirmar de modo progressivamente mais desinibido o valor da sua especificidade cultural. Inicialmente os poetas negros escreviam sem manifestação de diferença cultural significante pois só pretendiam que lhes fosse reconhecida capacidade literária e intelectual igual à dos autores brancos. Mas depois procuraram inscrever no texto branco a oralidade negra. As possibilidades poéticas do dialecto negro também foram exploradas no século XIX, principalmente pela tradição do menestrel e a da grande plantação que sedimentaram estereótipos preconceituosos acerca do negro contidos naquelas duas tradições. Paul Dunbar é o poeta afro-americano dos finais do século XIX e início do século XX que então usou com mestria o idioma negro na sua poesia, correndo o risco das conotações negativas associadas ao modo incorrecto de falar do negro iletrado. Nos anos vinte a cultura da gente negra nos E.U.A. teve condições para afirmar a sua especificidade própria, num momento de grande vitalidade criativa que ficou conhecido por Renascença de Harlem e cujos principais mentores foram Du Bois e Alain Locke, que buscavam superar um persistente sentimento de double-consciousness ou twoness e alcançar o reconhecimento de igualdade racial através da arte mais elevada que uma pequena elite de talentos, os Talented Tenth, fosse capaz de produzir. Mas Langston Hughes, um New Negro na sua missão de dignificação da raça , optará por usar as formas da tradição oral afro-americana, o dialecto, o blues, o jazz. E assim, ao usar estas formas da tradição popular como fonte de inspiração da sua poesia, Hughes deu visibilidade deliberada e nova dignidade à tradição oral negra, inscrevendo-a no texto moderno americano.
This dissertation is a diachronic study on the literary work of afro-american poets from the eighteenth century to the first decades of the twentieth century. Our focus here is on the commitment and the constraints endured by Negro American poets to affirm, in an uninhibited way, the worthiness of their cultural specificity. At first, Negro poets used to write with no evidence of cultural signifying difference, because they just wanted to be acknowledged as having the same literary skills and intellectual capacities as white authors. But afterwards they sought to inscribe black oral forms in the white text. The poetic possibilities afforded by negro dialect were also explored in the twentieth century, by the minstrel and the great plantation traditions thus reinforcing biased stereotypes on the negroes conveyed by such traditions. Paul Dunbar is the afro-american poet who by the end of the nineteenth century and the beginning of the twentieth century used Negro idiom with mastery on his poetry though risking the negative connotations associated with the poor speech of illiterate negroes. In the 1920s black people culture in the U.S.A. was able to affirm its specificity in a moment of great creative vitality later known as the Harlem Renaissance, whose main mentors were Du Bois and Alain Locke who aimed at overcoming a persistent feeling of double-consciousness or twoness and the acknowledgement of racial equality by means of the noblest art forms a small elite group the Talented Tenth could produce. However Langston Hughes as a New Negro on his mission for granting dignity to the common negro would choose folk oral tradition namely negro dialect, the blues and jazz as the inspiring sources for his poetry, thus giving a deliberate visibility and a new dignity to the vernacular black tradition inscribing it in the modern American text.