Dissertations / Theses on the topic '1892-1962'

L'historiographie africaine, consacrée à la question du travail, s'est surtout focalisée sur le rôle des mouvements syndicaux dans l'émergence des courants nationalistes en Afrique et sur les formes d'exploitation de la force de travail des Africains, à travers des études sur le salariat, la condition matérielle des ouvriers, les migrations ou encore le travail obligatoire. Les hommes au centre de l'économie capitaliste sont ainsi assez mal connus. L'étude des travailleurs des chantiers forestiers du Gabon est une contribution pour une histoire sociale ouvrière africaine. Elle tente de mettre en relief l'autonomie ouvrière africaine, c'est-à-dire les formes originales de la culture née du travail industriel, des comportements propres qu'il suscite. Tout en présentant les mutations de l'économie forestière, ce travail s'attache à l'analyse des attitudes ouvrières qui s'inscrivent non seulement dans les contraintes économiques ou d'organisation du travail et de l'espace (le 1 chantier), mais aussi dans un environnement social complexe où les logiques coutumières et celles du travail salarié s'impliquent les unes des autres

The purpose of this dissertation is to describe the discourses about human subjectivity, here also named as psychological, appropriated and diffused by the Federal University of Minas Gerais Law School journal between 1892 and 1962, and to investigate the relationship between those discourses and the trends in psychology produced in Minas Gerais and in Brazil at that period. This Law School, one of the first to be founded in Brazil, is chosen for its role in the diffusion of psychological approaches to human mind in the first decades of the 20th century, side by side with teacher training schools then established. The relationship between different conceptions of human psyche, the education of lawyers and the evolution of the countrys juridical structure have not yet been fully investigated, notwithstanding its importance for present debates concerning the humanization of the juridical system and the possibilities of education in the prevention of criminal behavior. The theoretical reference that guided the research is the program of scientific studies proposed by Bruno Latour. This program aims at overcoming the debate internalism-externalism in the historiography of science, and considers that the immersion of scientists in their social and cultural context cannot be separated from their conceptual constructions. The questions proposed to scientists, the groups of individuals involved in the search for answers to those questions, their allied and funding institutions, the public representations of science are the factors that interact for the final production of scientific theories and research. The main source of information is the periodical(Law School Journal). Articles whose themes are related to Penal Law and Criminology were selected and, subsequently, the articles that are referred to psychology were chosen. The analysis of these articles has revealed that three categories of discourse about psychology have emerged sequentially in this Law School. In the first moment, the discourses aimed at the defense of the Positive School of Penal Law and Criminology prevailed. In this approach, the behavior of individuals was conceived as being determined by biology, and, therefore, their criminal behavior could be attributed to biological (innate) determinants. In the second moment, the discourses were marked by the presence of the psychometric approach. This approach valued the possibility of obtaining scientific measures of psychological characteristics and, through them, of discovering the personality traces pertaining to different types of criminals. In the third moment the psychiatric approach prevailed in the discourses concerning the psychological, aiming at, on one side, the understanding of the behavior of mad criminals, and, on the other side, to defend the prevention of crimes, be it through the education of childhood or the reeducation of criminals. Along the period investigated, these three trends were present in the discourses, however an organicist approach prevailed in the explanation of crime. Only in the beginning of the 1960s this approach began to be overcome, and education began to be considered a powerful means to prevent crime. The analysis of these three different lines of discourse shows that the Law School faculty participated in the process of construction and circulation of psychological knowledge in Minas Gerais, through the appropriation of concepts and theories in psychology that circulated in each moment, using them as a means of understanding the behavior of criminals. Besides, they contributed in the broadening, transformation and spreading of such information.
Esta tese teve como objetivos principais descrever os discursos sobre o psicológico apropriados e divulgados pela Faculdade de Direito da Universidade Federal de Minas Gerais entre os anos de 1892 e 1962, e investigar a relação desses discursos com as tendências dos estudos de Psicologia realizados em Minas Gerais e no Brasil no mesmo período. A Faculdade de Direito foi escolhida como alvo dessa investigação por estar, ao lado dos cursos de formação de professores, dentre as instituições de ensino mais antigas de Minas Gerais nas quais questões sobre o psiquismo humano são debatidas. O referencial teórico que norteou a pesquisa foi o programa de estudos científicos de Bruno Latour. Esse programa propõe a superação do debate internalismo-externalismo na historiografia das ciências em prol de uma concepção de ciência que considera inseparáveis os seguintes dados: questões que são colocadas para os cientistas, grupo de indivíduos envolvidos diretamente com a busca de respostas a essas questões, aliados e financiadores das pesquisas científicas, representação que o público constrói a respeito do conhecimento científico que está sendo produzido e as construções teóricas propriamente ditas. A fonte principal de informações foi a Revista da Faculdade de Direito. Dentre os artigos desse periódico, foram selecionados para análise, aqueles referentes ao Direito Penal e à Criminologia e dentre esses, os que faziam referência à psicologia ou a aspectos psicológicos do ser humano. A análise desses artigos revelou que três categorias de discursos sobre o psicológico e sucederam na Faculdade. Em um primeiro momento, prevaleceram os discursos cujo objetivo era a defesa da Escola Positiva de Direito Penal e da Criminologia. Esses discursos culminaram numa concepção determinista de indivíduo, considerando que teria sua subjetividade e seus comportamentos criminosos biologicamente determinados. No segundo momento os discursos foram marcados pela presença da psicotécnica, pela possibilidade de se obter medidas científicas de características psicológicas dos criminosos e de por elas determinar a sua periculosidade. Em um terceiro momento a psiquiatria passou a predominar nos discursos sobre o psicológico, buscando por um lado, compreender o comportamento do louco criminoso e, por outro lado, defender a profilaxia do crime, seja através da educação da criança, seja pela reeducação e/ou pelo tratamento do criminoso. Apesar de diferentes tendências da Psicologia terem se mostrado presentes nos discursos da Faculdade de Direito ao longo de todo o período investigado, percebeu-se que prevaleceram as concepções organicistas nas explicações da propensão ao crime. Apenas no início da década de 1960, com as propostas que apresentavam a educação como meio de prevenir o crime, surgiram os primeiros indícios de superação dessas concepções organicistas. Concluiu-se que a Faculdade de Direito participou do processo de construção e de circulação de um saber sobre o psicológico em Minas Gerais apropriando-se de conhecimentos próprios da Psicologia da época, tentando aplicá-los em busca da compreensão do comportamento do criminoso e atuando na transformação e na divulgação desses conhecimentos. _

Ce travail comparatiste a pour objet de mettre au jour les gestes et les rouages de la mémoire dans la littérature occidentale des XXe et XXIe siècles. Afin d'établir les enjeux de la création à l'époque de l'informatisation et de la disparition de masse, il étudie la manière dont les grands généalogistes (Zola, Nietzsche, Faulkner) soumettent l'archive aux détours de l'anachronisme et de l'oubli, avant d'aborder la dimension "machinique" de la mémoire. Au travers de l'œuvre protéiforme de Chris Marker et de la pensée de Benjamin, se donne à lire le travail d'une mémoire tisserande, accentuant la fêlure tout en raccommodant les accrocs du temps, prothèse assurant à la fois la conservation des données et rompant la chaîne de la transmission, qui exige que la lecture se fasse elle-même appareillage. C'est à l'aune d'une telle épistémo-critique, au croisement de la littérature, de la philosophie et des arts de l'image, que sont examinés les dispositifs romanesques de J. G. Ballard, W. G. Sebald, Jacques Roubaud, Hélène Cixous et Ricardo Piglia
This thesis seeks to shed light on memory's gestures and machinery in 20th and 21st century western literature. In order to analyze what is at stake in contemporary creation, in the paradoxical era of computerization and mass disappearance, this work studies the way great genealogists (Zola, Nietzsche, Faulkner) push archives along the winding roads of anachronism and oblivion, before addressing the "machinic" dimension of memory. Chris Marker's protean oeuvre and Benjamin's philosophical thought reveal the work of a weaving memory that deepens time's fissure as it stitches up its tears. Thus, memory also acts as a prosthesis that ensures the conservation of data even as it breaks up the chain of transmission, thereby requiring that our reading become an epistemo-critical apparatus. This thesis, operating at the intersection of comparative literature, philosophy and visual arts, examines the novelistic devices of J. G. Ballard, W. G. Sebald, Jacques Roubaud, Hélène Cixous and Ricardo Piglia

Bataille et Benjamin se rencontrent en 1934, à la Bibliothèque nationale à Paris. Leurs écrits de la période 1929-1939 témoignent de la manière dont leurs pensées répondent à la contrainte du présent, avec sa conflictualité et son inventivité politiques et artistiques. Trois événements structurent la thèse : la parution du roman de Malraux, La Condition humaine ; la proximité tendue avec le surréalisme, comme expérience d’illumination ou d’intoxication physique par l’image ; la confrontation avec le fascisme, en tant que force politique à combattre, mais aussi en tant que forme de pensée et de sensibilité qu’il s’agit de comprendre pour en venir à bout. Bataille et Benjamin appréhendent leurs attitudes de pensée comme relevant du matérialisme, partageant un postulat crucial : ils prêtent la plus haute importance aux images, qui affectent les corps et agissent en eux, ne se laissant pas évacuer de la pensée conceptuelle et de l’action politique. Leurs reconfigurations matérialistes de l’expérience surréaliste permettent d’envisager un plan de recoupement entre leurs regards : un matérialisme surréaliste. Une divergence tranchante se révèle dans la tension entre l’hétérologie bataillienne et le concept critique benjaminien de l’esthétisation de la politique, alors que ces deux dispositifs sont convoqués pour penser le fascisme. Si les deux montrent comment l’imaginaire fasciste s’ancre dans la structure impérialiste du capitalisme, Benjamin permet de penser la spécificité de l’opération théorique dont le fascisme s’alimente, alors que le prisme de l’hétérologie permet à Bataille de toucher au plus près à ce en quoi il pouvait constituer une force d’attraction collective
In 1934, Bataille and Benjamin met in the Bibliothèque nationale, Paris. Their writings from the period of 1929 to 1939 show how their thoughts responded to the constraints and the impulses of their present time, its conflicts and its inventiveness in arts and politics. Three events have structured our dissertation: the publication of the novel Man’s Fate (La Condition humaine) by Malraux; their proximity to surrealism as an experience of illumination or intoxication with the image; the confrontation with fascism, as a political force to be fought against, but also as a form of thinking and sensibility that should be understood in order to be vanquished. Both Bataille and Benjamin claimed that their intellectual attitudes belonged to materialism, sharing this crucial postulate: they place a high importance upon images, how they affect bodies, acting within them, that cannot be evinced from conceptual thinking and political action. Both thinkers play out a materialist reconfiguration of surrealist experience. This enables us to envisage a prism of a surrealist materialism, as an intersection between their respective insights. Furthermore, by studying both authors attempt to think fascism, this work reveals a sharp divergence between bataillien heterology and the benjaminien concept of the aestheticisation of politics. Both these conceptual devices show how the fascist imaginary is rooted in the imperialist structure of capitalism; Benjamin allows us to grasp the specificity of the crucial theoretical operation that fascism feeds upon, while Bataille’s heterological prism opens the way to the core of what, in fascism, constituted a force of collective attraction

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Graciliano Ramos and Cândido Portinari were friends, but they had something in common that bound most strongly: the desire to express in their works the authentic Brazilian man, the worker and the migrant in their daily lives. This research aims to show how the works of Graciliano and Candido Portinari are close, not only as a social content and theme, but mainly as a form, style and technical resources, as the verbal and visual language are intimately linked as modes of representation. The rapprochement between Graciliano and Cândido Portinari, between the books São Bernardo, Vidas Secas, and the frames Café, Lavrador de café, Retirantes and Criança Morta, aims to demonstrate how the life and work of these artists intersect, in order to represent critically the reality of the time, through a dialectical analysis of form and content, combining text and context in levels of interpretation, according to the hermeneutic proposal of Frederic Jameson in the political unconscious (1982) and the principles of visual semiotics. To achieve this goal, we consider the history of each narrative, structural components, linking them to the historical context of the country at the time. Thus we examine how each represents a social issue: the contradictory reality of Brazil, a country that keeps living archaic modes of production with the arrival of Modernism and Capitalism; antagonistic classes of this society, exploiters and exploited, farmers, migrants, landowners, the government; and alienation/reification that they are submitted, direct consequences of this system. The analyzes are performed with dialectic dialogue, form and content, text and context in reading the social content of his compositions. That is, we analyze how they say what they say about this fundamental aspect of socioeconomic and political organization of the country. Thus, through the analysis we confirm why Graciliano and Portinari are considered realistic and social critics, as such works make use of realism and expressionism as technical resources to bring about awareness of the real and present in the political unconscious subtexts, which allows to conclude from the comparison made that the connection between them, the analogy between literature and painting produced, is stronger and larger than the gap.
Graciliano Ramos e Cândido Portinari, além de amigos, tinham algo em comum que os unia mais fortemente: o desejo de expressar em suas obras o autêntico homem brasileiro, o trabalhador e o retirante no seu cotidiano. Esta pesquisa pretende mostrar como as obras de Graciliano Ramos e Cândido Portinari estão próximas, não apenas enquanto conteúdo social e temático, mas, sobretudo, enquanto forma, recursos técnicos e estilo, pois a linguagem visual e a verbal são intimamente ligadas enquanto modos de representação. A aproximação entre Graciliano Ramos e Cândido Portinari, entre os livros São Bernardo, Vidas Secas, e os quadros Café, Lavrador de café, Retirantes e Criança Morta, tem como objetivo demonstrar como a vida e a obra desses artistas se cruzam, a fim de representar criticamente a realidade da época, através de uma análise dialética entre forma e conteúdo, conjugando texto e contexto em níveis de interpretação, de acordo com a proposta hermenêutica de Frederic Jameson em O inconsciente politico (1982) e os princípios da semiótica visual. Para atingir esse objetivo, consideramos a história de cada narrativa, seus componentes estruturais, ligando-os ao contexto histórico do país na época. Assim examinamos o modo como cada um representa a questão social: a contraditória realidade do Brasil, um país que mantém modos de produção arcaicos vivendo a chegada do Modernismo e do Capitalismo; as classes antagônicas dessa sociedade, exploradores e explorados, lavradores, retirantes, latifundiários, o governo; e a alienação/reificação a que são submetidos, consequências diretas desse sistema. As análises são realizadas de maneira dialética, dialogando forma e conteúdo, texto e contexto, na leitura do conteúdo social das suas composições. Ou seja, analisamos como dizem o que dizem, sobre esse aspecto fundamental da organização socioeconômica e política do país. Assim, através das análises confirmamos porque Graciliano e Portinari são considerados realistas críticos e sociais, como tais obras fazem uso do realismo e do expressionismo como recursos técnicos para trazer à tona a consciência do real e o inconsciente político presente nos subtextos, o que se permite concluir da comparação efetuada, que a aproximação entre eles, a analogia entre a literatura e a pintura que produziram, é mais forte e maior que o distanciamento.

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This present work has as objective a discussion about the statute of photographic image, its uses and characteristics from an analysis of the work of plastic artist Rosângela Rennó and from the approach of two philosophers, Walter Benjamin and Roland Barthes. It was presented a brief historic of the birth of photography and after, an introduction of the ideas of Walter Benjamin, specially his considerations about the work of art and its technical reproduction. Subsequently, it was introduced the considerations about photography developed by French philosopher Roland Barthes in his famous book Camera Lucida . It was examined the work of plastic artist Rosângela Rennó in the light of these philosopher s works. The analysis is about a specific work, Bibliotheca a compiled images redeemed by artist and reused as support for the development of her artistic universe. The issue of photography as a possibility of memory rescue, the massification of photographic images and the appropriation of existing images resignified in the art guided this dissertation
O presente trabalho possui como objetivo a discussão sobre o estatuto da imagem fotográfica, seus usos e características a partir da análise da obra da artista plástica Rosângela Rennó e das abordagens de dois pensadores, Walter Benjamin e Roland Barthes. Tratamos inicialmente de um breve histórico do nascimento da fotografia e posteriormente uma introdução ao pensamento de Walter Benjamin, especialmente suas considerações acerca da obra de arte e sua técnica de reprodução. Posteriormente a isso introduzimos as considerações sobre fotografia elaboradas pelo pensador francês Roland Barthes em seu célebre livro A Câmara Clara . Examinamos a obra da artista plástica Rosângela Rennó sob a luz das teorias dos pensadores em questão. A análise destina-se a uma obra específica, a Bibliotheca , um compilado de imagens resgatadas pela artista e reutilizadas como suporte para o desenvolvimento do seu universo artístico. A questão da fotografia como possibilidade de resgate da memória, a massificação das imagens fotográficas e a apropriação de imagens existentes ressignificadas na arte pautam a presente dissertação

À travers la discussion entre les deux livres "Ursprung des deutschen Trauerspiels" de Walter Benjamin et "Naissance de la clinique" de Michel Foucault, le but de cette thèse consiste à essayer de pointer une sorte d'histoire de l'ambivalence et son rapport au savoir possible. La thèse contenue dans ce travail peut se formuler ainsi : Benjamin et Foucault accordent une position importante à l'écriture dans son aspect se rapportant au savoir. En fait la question directrice se pose ainsi : comment est-il possible, pour ces deux philosophes, de penser l'ambivalence? Comment et pourquoi s'approche-t-elle des intérêt et connaissance philosophiques ? Nous partons du principe selon lequel l'ambivalence contiendrait une revendication de vérité et qu'elle ne constituerait pas seulement une relativisation de celle-ci. La motivation de cette thèse réside dans l'intuition que le concept d'écriture employé par Benjamin et Foucault est caractérisé par des formes de l'ambivalence. Ainsi l'écriture peut être comprise comme une limite mobile non seulement dans la pensée de ces philosophes mais encore comme une expérience du monde. L'ambivalence exprime ainsi une expérience fondamentale de la modernité. L'écriture ambivalente fait l'effort de trouver des significations qui ne se laissent pas fixer dans un système. L'écriture met en question le discours établi. Elle peut être comprise comme une tournure politique et critique. Il nous a semblé que le texte de Bachelard sur l'intuition de l'instant, avec ses analyses sur "temps et écriture", peut servir de lien entre les conceptions de l'allégorie chez Benjamin et de la clinique chez Foucault, comme il nous a semblé que ces derniers questionnent implicitement le rapport entre écriture et temps
Through the discussion of the two texts: "The Origin of German Tragic Drama" by Walter Benjamin and "Birth of the Clinic" by Michel Foucault, the aim of this thesis consists in trying to point out a kind of history of ambivalence and to understand its rapport with possible knowledge. The thesis contained in this work can be formulated as follows: Benjamin and Foucault grant an important position to writing in its aspect to knowledge. In fact the direct question arises as follows : how is it possible for these two philosophers to think the ambivalence? How and why has it an interest to philosophical knowledge? We act on the assumption that ambivalence contains a postulation for truth and that it is not only a relativization of the latter. The motivation of this thesis resides in the intuition that the concept of writing employed by Benjamin and Foucault is characterized by ambivalence. Thus the writing can be understood not only like a mobile limitation of thought for these philosophers, but as an experience of the world. Ambivalence thus expresses a fundamental experience of modernity. Ambivalent writing makes the effort to find significations which cannot be fixed in a system. The writing challenges the established discourse. It can be understood as a political and critical turning point. It appeared to us, that the text Intuition of the moment by Gaston Bachelard, and its analysis about ‘time and writing’ can serve as a link between the conception of Benjamin’s allegory and the Clinic of Foucault. It seemed to us that in a similar manner the two implicitly question the relationship between writing and time

La thèse se propose de vérifier la présence du saxophone dans le répertoire français et italien pour orchestre de la première moitié du XXème siècle, avec le but de confirmer la possibilité d’intégrer le saxophone à l’orchestre de façon permanente.Le choix d’étudier le répertoire pour saxophone dans l’orchestre en France et en Italie des premières décennies du XXème siècle a été fait car cet instrument, créé par Adolphe Sax, facteur d’instrument d’origine belge, a sa première diffusion sur le territoire français pendant la seconde moitié du XIXème siècle, avant de « s’expatrier » dans d’autres pays. C’est à la France donc de vanter les premières compositions pour le saxophone, et c’est au XXème siècle que cette production augmente considérablement. La France, avec son goût pour la couleur du timbre des instruments, influence l’Italie d’une façon particulière, pays où cet instrument est déjà présent au milieu du XIXème siècle, aussi grâce aux appréciations de Gioachino Rossini (qui à l’époque est à Paris), qui poussent le Lycée Musical de Bologna à acheter les produits de la maison Sax. La thèse est subdivisée en trois parties : la première, d’empreinte théorique, dédiée à la présence du saxophone dans les traités d’instrumentation et d’orchestration français et italiens, ainsi que d’autres pays des XIXe et XXe siècle ; la seconde, de caractère illustratif, dans laquelle on analyse les partitions de trois compositeurs français (Ravel, Honegger et Ibert) ; la troisième, toujours de nature illustratif, dédiée à l’étude des compositions de deux auteurs italiens (Marinuzzi et Zandonai)
The thesis’ purpose is to examine the presence of the saxophone in the French and Italian repertoire for orchestra in the first half of the 20th century, and aims at confirming its possible, permanent inclusion in the orchestra. The decision of investigating the repertory of the saxophone in the orchestra in France and Italy in the first decades of the 20th century was made because this instrument, created by the inventor of plenty of other musical instruments, Adolphe Sax (born in Belgium), spreads out for the first time in France during the second half of the 19th century and then ‘expatriates’ to other countries. It is France that can boast the first compositions for this instrument and it is in the 20th century that its production grows excessively. France, with its taste for the color of the instruments’ timbre, influences especially Italy, where the instrument is already present in the first half of the 19th century, thanks to Gioachino Rossini’s appreciations (who was in Paris at that time), pushing the Liceo Musicale in Bologna to buy the maison Sax’s products. My thesis is divided into three parts: the first, with a theoretical purpose, is dedicated to the presence of the saxophone in instrumentation and orchestration treatises published in France, Italy and other countries in the 19th and in the 20th century. In the second part, of explicative kind, the scores of three French composers (Ravel, Honegger and Ibert) are analyzed. Finally, the third section, of explicative kind as well, is dedicated to the study of some compositions by two Italian authors (Marinuzzi and Zandonai)

ix, 182 p. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number.
My dissertation analyzes the overlooked short works of authors and auteurs who do not fit comfortably into the conventional category of modernism due to their subtly experimental aesthetics: the versatile British author Vita Sackville-West, the Anglo-Irish novelist and short-story writer Elizabeth Bowen, and the British emigrant filmmaker Charlie Chaplin. I focus on the years 1920-1923 to gain an alternative understanding of modernism's annus mirabulus and the years immediately preceding and following it. My first chapter studies the most critically disregarded author of the project: Sackville-West. Her 1922 volume of short stories The Heir: A Love Story deserves attention for its examination of social hierarchies. Although her stories ridicule characters regardless of their class background, those who attempt to change their class status, especially when not sanctioned by heredity, are treated with the greatest contempt. The volume, with the reinforcement of the contracted short form, advocates staying within given class boundaries. The second chapter analyzes social structures in Bowen's first book of short stories, Encounters (1922). Like Sackville-West, Bowen's use of the short form complements her interest in how class hierarchies can confine characters. Bowen's portraits of classed encounters and of characters' encounters with class reveal a sense of anxiety over being confined by social status and a sense of displacement over breaking out of class groups, exposing how class divisions accentuate feelings of alienation and instability. The last chapter examines Chaplin's final short films: "The Idle Class" (1921), "Pay Day (1922), and "The Pilgrim" (1923). While placing Chaplin among the modernists complicates the canon in a positive way, it also reduces the complexity of this man and his art. Chaplin is neither a pyrotechnic modernist nor a traditional sentimentalist. Additionally, Chaplin's shorts are neither socially liberal nor conservative. Rather, Chaplin's short films flirt with experimental techniques and progressive class politics, presenting multiple perspectives on the thematic of social hierarchies. But, in the end, his films reinforce rather than overthrow traditional artistic forms and hierarchical ideas. Studying these artists elucidates how the contracted space of the short form produces the perfect room to present a nuanced portrayal of class.
Committee in charge: Paul Peppis, Chairperson, English; Michael Aronson, Member, English; Mark Quigley, Member, English; Jenifer Presto, Outside Member, Comparative Literature

Dans cette thèse de doctorat on étudie la carrière et les films «américains » de cinq cinéastes, d'origine germanique, qui ont immigré aux États-Unis et à Hollywood plus particulièrement pendant les années 20, et qui ont influencé significativement les formes cinématographiques américaines, en portant parallèlement un regard différent, parfois critique et même un-American, sur la société, sur les tabous et sur les codes moraux du pays d'accueil. L'émigration européenne vers les États-Unis est, historiquement, un fait constant. Depuis toujours l'Amérique et Hollywood, depuis sa naissance, ont exercé une grande fascination sur les Européens. Dans le cadre de son désir pour une forme (Kunstwollen), exprimé par une politique offensive de « recrutement » pendant les années 20-30, le cinéma américain a tenté d'attirer les meilleurs réalisateurs, scénaristes et techniciens du cinéma allemand, afin de s'imposer sur le marché européen et affaiblir les cinématographies antagonistes, mais aussi pour y introduire une qualité plus artistique. En examinant les raisons diverses de ce phénomène, ce permanent stream, comme les Américains eux-mêmes le caractérisent, on peut dire qu'il existe plusieurs cinémas de l'exil et de la migration; probablement un pour chaque cinéaste immigrant. Cependant, dans cette étude, on a décidé de limiter le champ d'étude aux œuvres hollywoodiennes de cinq cinéastes: celles d'Erich von Stroheim, d'Ernst Lubitsch, de Josef von Sternberg, de Michael Curtiz et de William Dieterle ; qui représentent cinq différents paradigmes des réalisateurs d'origine germanique, cinq différents cinémas de l'immigration. Autrement dit, on essaie d'examiner leurs visions d'Amérique, à travers l'étude de leurs films les plus personnels, leur imagerie et leurs systèmes de représentation, avant et après leur arrivée aux États-Unis. Il est donc utile d'adopter une perspective historique, sociologique et parallèlement esthétique, pour tenter d'approcher les formes et les thèmes de leurs œuvres.

La thèse se propose de vérifier la présence du saxophone dans le répertoire français et italien pour orchestre de la première moitié du XXème siècle, avec le but de confirmer la possibilité d’intégrer le saxophone à l’orchestre de façon permanente.Le choix d’étudier le répertoire pour saxophone dans l’orchestre en France et en Italie des premières décennies du XXème siècle a été fait car cet instrument, créé par Adolphe Sax, facteur d’instrument d’origine belge, a sa première diffusion sur le territoire français pendant la seconde moitié du XIXème siècle, avant de « s’expatrier » dans d’autres pays. C’est à la France donc de vanter les premières compositions pour le saxophone, et c’est au XXème siècle que cette production augmente considérablement. La France, avec son goût pour la couleur du timbre des instruments, influence l’Italie d’une façon particulière, pays où cet instrument est déjà présent au milieu du XIXème siècle, aussi grâce aux appréciations de Gioachino Rossini (qui à l’époque est à Paris), qui poussent le Lycée Musical de Bologna à acheter les produits de la maison Sax. La thèse est subdivisée en trois parties : la première, d’empreinte théorique, dédiée à la présence du saxophone dans les traités d’instrumentation et d’orchestration français et italiens, ainsi que d’autres pays des XIXe et XXe siècle ; la seconde, de caractère illustratif, dans laquelle on analyse les partitions de trois compositeurs français (Ravel, Honegger et Ibert) ; la troisième, toujours de nature illustratif, dédiée à l’étude des compositions de deux auteurs italiens (Marinuzzi et Zandonai)
The thesis’ purpose is to examine the presence of the saxophone in the French and Italian repertoire for orchestra in the first half of the 20th century, and aims at confirming its possible, permanent inclusion in the orchestra. The decision of investigating the repertory of the saxophone in the orchestra in France and Italy in the first decades of the 20th century was made because this instrument, created by the inventor of plenty of other musical instruments, Adolphe Sax (born in Belgium), spreads out for the first time in France during the second half of the 19th century and then ‘expatriates’ to other countries. It is France that can boast the first compositions for this instrument and it is in the 20th century that its production grows excessively. France, with its taste for the color of the instruments’ timbre, influences especially Italy, where the instrument is already present in the first half of the 19th century, thanks to Gioachino Rossini’s appreciations (who was in Paris at that time), pushing the Liceo Musicale in Bologna to buy the maison Sax’s products. My thesis is divided into three parts: the first, with a theoretical purpose, is dedicated to the presence of the saxophone in instrumentation and orchestration treatises published in France, Italy and other countries in the 19th and in the 20th century. In the second part, of explicative kind, the scores of three French composers (Ravel, Honegger and Ibert) are analyzed. Finally, the third section, of explicative kind as well, is dedicated to the study of some compositions by two Italian authors (Marinuzzi and Zandonai)

The critical attention that has been given to Vita Sackville-West’s travel literature has primarily focused on the relationships between these texts and the novels of Virginia Woolf on account of the intimate relationship that existed between the two writers. I argue in this paper that Sackville-West’s travel accounts are worthy of study in and of themselves. This report explores the ways that the genre of travel literature was changing in the early twentieth century through Vita Sackville-West’s Passenger to Teheran (1926). Critics such as Marie Louise Pratt have noted that eighteenth- and nineteenth-century British travel accounts had been used as a way to transmit technical knowledge of, and authority over, the East. Sackville-West’s text throws this tradition of the genre into question through its focus on the traveler’s subjectivity. Working from Michel de Certeau’s ideas regarding railway travel and incarceration, I want to demonstrate that the traveler’s subjectivity is augmented by her position as a passenger in various modes of mobility. Ultimately I argue that the privileging of imagination and subjectivity over scientific knowledge found in Passenger to Teheran unravels the traditional epistemology of travel writing which positions the traveler as an authority figure on the East, and instead positions Sackville-West as a traveler-aesthete. This shift in the role of the travel writer reveals that while Pratt’s description characterizes some travel writing, Sackville-West’s travel project is more concerned with discovering the creative potential that travel can stimulate in the mind rather than purporting to reveal facts about the outside world.
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