Dissertations / Theses on the topic '1918-1932'

This thesis is a study of British policy towards three Central European states in the wake of World War I. The aim of this thesis is to illustrate the continual British attempts to promote a union or at least economic cooperation in 'Danubia'. The first section concerns Anglo-Austrian relations. Chapter I. deals with British plans for the federalisation of the Habsburg Monarchy during the war. Chapter II. compares the Austrian policy of the British Delegation in Paris, the Foreign Office in London, and the Military Representative in Vienna. Chapter III. explains British involvement in the reconstruction of Austria. Chapter IV. traces the reasons for British disentanglement from Austrian affairs after the failed * Eastern Locarno'. The second section deals with the x special relationship' between London and Budapest. Chapter I. highlights the role of two British individuals in exploding the x Hungarian myth' in London. Chapter II. shows how the Bolshevik Revolution affected British diplomatic activities in Hungary. Chapter III. documents British involvement in the establishment of the Horthy regime. Chapter IV. analyses the impact of Anglo-French rivalry in Budapest on the whole of Central Europe. Chapter V. elaborates on British economic policy and the rehabilitation of the 'Pariah of the New Europe'. Chapter VI. illustrates the gradual cooling in Anglo-Hungarian relations. The third section concerns Czechoslovakia. Chapter I. examines the conflict between Czechophiles and Czechophobes in London. Chapter II. is an account of British efforts to prevent French domination in Prague. Chapter III. deals with the manoeuvres of Benes in London and Paris, and the cooling in Anglo-Czech relations. Chapter IV. explores the origins of British indifference towards Czechoslovakia, which resulted in the Munich crisis. The thesis concludes that Britain lost interest in Central Europe because of its failed efforts to promote reconcilation in the Danubian triangle.

This thesis proposes to deal with the Iraqi Nationalist movement from its emergence after the First World War to the establishment of an independent Iraq in 1932. During these years the British controlled Iraq under a mandate granted by the League of Nations. This, in spite of the simultaneous creation of an Iraqi monarchy. Neither the new monarch nor the people were content with the political arrangement, based as it was on foreign control, but the drive for independence emanated from a small group of political activists. Both major religious sects of Islam, Sunni and Shi'a, played a leading role in the nationalist movement; in fact, the movement cannot be understood without an appreciation of Islam, and its major variations, in Iraqi life.
A historical background highlights the conditions which allowed Iraqism to take precedent over Arabism after the war and examines the reactions of Iraqis to the invasion by modern conquerors and their later occupation. Additionally, it provides a chronological account of the important events during the mandate period and the buildup of Iraqi resentment of foreign control which precipitated their demand for self-government.
This thesis is a broad study of the nascent nationalist movement in postwar Iraq which engaged in a desperate battle to transform a mandated territory into a sovereign state. Focus is on the role religion played in its beginnings and on the contribution of both Shi'is and Sunnis whose combined and independent efforts led to the formation of modern Iraq.

A few days after signing the Armistice of Mudros on 30 October 1918, British forces occupied the Ottoman province of Mosul, after which its future was a central factor in the formulation of post-war British policy in the region. In general, the studies of this period suffer from discontinuity and lack cohesion. We are dealing with partial accounts and imperfect narrations written from the standpoint of ideological, ethnic and political interests. By means of an examination of the factors influencing British decision-makers, this study seeks to answer the question why British policy came to support the inclusion of the Mosul vilayet within Iraq, rather than to be restored to the new Turkish republic or to be allowed to become a separate Kurdish state in south Kurdistan, although the Kurds were supposed to have self-determination. This study contests the common argument that the oil was the crucial factor, and instead it explores the contribution of all of the economic, political and strategic arguments considered by British policy-makers. It concludes that the security priority of stabilizing the newly-created state of Iraq was the most significant element in British decisions on the Mosul question. The geo-strategic, economic and racial position of the Kurds in southern Kurdistan were critical to both the British perspective and the League of Nations‟ decision for the inclusion of the Mosul vilayet in Iraq. It became clear that British policy towards the Mosul question was quite successful in achieving its interests in both the internal and external arenas, but it left the political and territorial question of the Kurds unresolved, and this can be described as the unexploded bomb in the region.

This essay deals with Swedish unemployment politics during the period 1918-1932, and can be seen as a contribution to earlier research of how the policies, established by the State Unemployment Commission, was carried out at a local level. This study bears upon  Uddevalla municipality, a town in the southwestern part of Sweden, which had about 13,700 inhabitants in 1920. The research was conducted in Uddevalla municipality archives, and the sources used are above all municipal records and documents from the local unemployment committee. The measures taken by the local committee to reduce the effects of unemployment have then been compared with the directives of the State Unemployment Commission. The survey shows that the local unemployment committee, at least during the first half of the 1920s, was very keen to follow the directives of the State Unemployment Commission, and they also tried to charge the municipality's economy as little as possible. The local policy was often even more restrictive than the demands from the State Unemployment Commission. During a few years in the middle of the 1920s, when the unemployment was relatively low, most of the unemployed did not recieve any help at all. The restrictive policy, however, led to an increasing distress among the unemployed, and the poor relief had to give financial help to a lot of unemployed and their families. The unemployment committee became then a little bit more active and generouos in its policy towards the unemployed. The political majority in Uddevalla municipality was changed in the period, but the changes that occurred in the local unemployment policy does not appear to be linked to political governance, but rather to the untenable situation of the unemployed which was no longer to ignore.

Between 1918 and 1932, a number of European modern architects described their work as “scientifically managed” or “taylorized”, and as “laboratory work” or “practical experiments”, all of which were approaches attributable to the principles of organization used in American industry. Scholars would later dismiss these claims as “ideological” or “propagandistic”, since many of the architectural works of this period were in fact neither fabricated like industrial products nor did they perform as efficiently. However, relying on recent scholarship regarding the history of American industrial organization between 1880 and 1918, this dissertation reassesses the claims of these architects, revealing a more nuanced and thorough comprehension of the principles of American industrial organization, particularly scientific management, than has been previously acknowledged. While many modern architects admired the tools, products and spaces of industry, a select group also showed interest in scientific management’s central ontological theory, the “laboratory method”, which called for the fusion of inquiry and material production within a single space. While the laboratory method is most closely associated with Frederick Taylor, who developed this approach specifically for use in the industrial plant, it was Frank Gilbreth, who, by 1918, had translated this theory for use in a different space of production, the construction site. Frank and his partner, Lillian Gilbreth, developed a “multi sensory” approach to projecting processes in “space-time”, one that combined orthographic projection with data mapping and new media, such as photography and film. Their “visualization theory” offered modern architects assistance in an already defined design problem, namely the projection of architectural artifacts at the scale of the pre-modern urban unit, the village or settlement, with the intricacy of a pre-modern manufactured product, such as a door or window, all while considering the perception of a moving subject. Utilizing the principles of modern management, architects sought to rationalize their own “mental work”, the production of drawing sets, as well as to participate in the bureaucratization or standardization of material parameters and social conventions, occurring at the municipal, national and international scales, during this period. While an interest in scientific management among interwar architects was widespread, this dissertation will show that there were few actual examples of the application of these principles to the process of architectural production; the most notable examples were those conducted by Peter Behrens (1918-1920), Le Corbusier (1923-26), Martin Wagner (1924-1929), Walter Gropius (1926-1929) and Ernst May (1926-1930). In all five cases, the primary goals were the same as they had been for Taylor and Gilbreth, the derivation of novel tentative standard methods, and not solely increase in the efficiency of material production. The application of the laboratory method to settlement-building by these architects was not revolutionary so much as it was evolutionary, with Hermann Muthesius’ notion of typological evolution and adaptation, summarized in Kleinhaus und Kleinsiedlung (1920), as well as a set of projection instruments included in Raymond Unwin’s design manual, Town Planning in Practice (1909), providing a crucial foundation for the interwar work. This interwar work was further informed by a series of American experiments in industrialized settlement-building, including the Atterbury, Harms and Small, and Unit Systems. The laboratory method and visualization theory of scientific management required a particular balance of control and feedback, which proved difficult to achieve in architectural production, helping to explain the relatively few applications of these principles. Expanding conjecture from the atelier onto the construction site and into use itself, exposed architects to a myriad of problems that they were not entirely equipped to handle. The unique context of Weimar Germany afforded architects like Wagner, Gropius and May a framework that combined the degree of bureaucratization necessary to support experimentation without the “over-bureaucratization” that would define the postwar period. A similar framework of control and feedback afforded a team of architects, working within in Zagreb, Yugoslavia, between 1957-1964, an opportunity for applying the laboratory method to architectural production. This work would in turn attract the attention of an international group of artists and theorists, the New Tendencies movement (1961-1973), who saw in it the architectural equivalent of “programmed art”. As one of the most frequently cited books at these conferences, Norbert Wiener, explained in 1952, “the notion of programing” was itself rooted in the “work of Taylor and the Gilbreths on time study”, before it was “transferred to the machine”. This research will serve to show that modern architects had translated the principles of industrial organization well before programing became digitized.
Architecture, Landscape Architecture and Urban Planning

PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO
COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR
PROGRAMA DE SUPORTE À PÓS-GRADUAÇÃO DE INSTS. DE ENSINO
PROGRAMA DE SUPORTE À PÓS-GRADUAÇÃO DE INSTITUIÇÕES COMUNITÁRIAS DE ENSINO PARTICULARES
O presente trabalho tem por objetivo elucidar o papel que a crítica cinematográfica carioca teve entre 1918 e 1932 no que concerne ao fomento de uma política estatal voltada para o cinema. São analisadas de forma mais aprofundada três das principais revistas da época: Cinearte, Scena Muda e O Fan, cada uma com as suas particularidades e nuances, mas que corroboraram com o processo de construção de um aparato estatal voltado para o cinema que vai ocorrer nos anos 30.
This paper aims to elucidate the role that the Rio de Janeiro cinematographic critique had between 1918 and 1932 regarding the promotion of a state policy focused on the cinema. Three major magazines of the time are analyzed in more depth: Cinearte, Scena Muda and O Fan, each one with its peculiarities and nuances, but which corroborated with the process of building a state-oriented cinema apparatus that will occur in the 1930s.

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Conselho Nacional de Pesquisa e Desenvolvimento Científico e Tecnológico - CNPq
Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
This dissertation examines the political and intellectual trajectory of Amélia Rezende Martins (1877-1948), in the spheres of education and culture, between 1918 and 1932. The justification for the proposed periodization adhered to the fact that at this period, Martins published her ideas, implemented her projects and acted in organizations related to school education and overall culture. The periodic press in Rio de Janeiro, the Associação Brasileira de Educação (ABE) and the Ação Social Brasileira (ASB) stand out in these areas. Involved with Catholic groups, Rezende Martins circulated within distinct "institutional places" and the present dissertation proposes to investigate her acting, based on theoretical and analytical references suggested by J. F. Sirinelli, such as generation, itinerary, networks of sociability and intellectual production. These sources allowed to investigate, from a historical perspective, her formation and collectives, her social networks and acting areas, her intellectual and political relations, as well as to verify the range of her intervention as intellectual. In the research, sources available in the archives of the Fundação Casa de Rui Barbosa (FCRB), the Associação Brasileira de Educação (ABE) and the Memory Center of University of Campinas (UNICAMP) were used. In the press, mentions of Rezende Martins in the newspapers A União, O Paiz, A Cruz, Correio da Manhã, Jornal do Brasil, O Jornal, A Noite and Diário de Notícias were analyzed, these sources are considered central in the scope of the present study
A presente pesquisa examina aspectos relacionados à trajetória política e intelectual de Amélia Rezende Martins (1877-1948), nos âmbitos da educação e da cultura, privilegiadamente entre os anos de 1918 a 1932. A justificativa da periodização proposta ateve-se ao fato de que foi nessa fase que Martins publicou suas ideias, veiculou seus projetos e atuou em organismos ligados à educação escolar e à cultura em geral. Destacam-se, nestes âmbitos, a imprensa periódica carioca, a Associação Brasileira de Educação (ABE) e a Ação Social Brasileira (ASB). Ligada a grupos católicos, Rezende Martins circulou em diferentes “lugares institucionais” e a investigação se propôs a mapear sua atuação, a partir de referenciais teórico-analíticos sugeridos por J. F. Sirinelli, tais como: geração, itinerário, redes de sociabilidade e produção intelectual. Estes permitiram investigar, em perspectiva histórica, a sua formação e seus coletivos, seus espaços e redes de relacionamento sociais, intelectuais e políticos, bem como verificar o alcance de sua intervenção como intelectual. Na pesquisa, foram utilizadas as fontes disponíveis nos Arquivos da Fundação Casa de Rui Barbosa (FCRB), da Associação Brasileira de Educação (ABE) e do Centro de Memória da Universidade de Campinas (UNICAMP). Na imprensa, foi objeto de análise a atuação de Rezende Martins nos jornais A União, O Paiz, A Cruz, Correio da Manhã, Jornal do Brasil, O Jornal, A Noite e Diário de Notícias, fontes consideradas centrais no escopo da presente investigação

In Brazil, as it happened in Europe, the turn of the 19th century to the 20th century can be characterized by the fascination of scientific discoveries. The science, considered the most elevated manifestation of the human intelligence, used to have the mission to tell the origin and the future of men and of the universe, as well as it used to have the responsibility to impose the rules for good behavior to all society. In the context of affirmation of urban place as a synthesisplace from the national modernity, there was an improvement of the written languages circulation, with the enlargement of the Brazilian publishing market and an increase of books, magazines and newspapers titles, such as: almanacs, magazines, campaigns pamphlets addressed to the childhood and to the feminine public. One of the printed matter that circulated in Brazil, in this period, was the magazine Eu Sei Tudo, published in Rio de Janeiro, from 1917 to 1958. This magazine, which was monthly published and circulated all over the country, has contributed not only with the dissemination of new habits and customs, but it also has participated on the formation of a social imaginary in the first decades of the 20th century. The medicine and the medical discourses about health were presented, in this magazine, as something wonderful, progressive, essential and beneficial to the society from that period. This research analyses the magazine Eu Sei Tudo in the period 1918 1932, focusing on the scientific divulgation about the hole of modern mothers on the care of their children. When we investigate how the magazine published certain knowledge and how it constituted new social holes, we have the intention to contribute to an understanding of the several dimensions of the pedagogical action and of the transformations of the familys action in the educational field.
No Brasil, tal como aconteceu na Europa, a virada do século XIX para o século XX pode ser caracterizada pelo fascínio pelas descobertas científicas. A ciência sendo considerada como a manifestação mais elevada da inteligência humana, apresentava a missão de informar a origem e o futuro dos homens e do universo, bem como era de sua responsabilidade ditar as regras de bom comportamento para toda a sociedade. Na afirmação do espaço urbano como espaçosíntese da modernidade nacional, houve um crescimento da circulação da língua escrita, com a ampliação do mercado editorial brasileiro e um aumento de títulos de livros, revistas e jornais, tais como almanaques, revistas, panfletos de campanhas endereçados à infância e o público feminino. Entre os impressos que circularam no Brasil, nesse período, a revista Eu Sei Tudo, editada no Rio de Janeiro, de 1917 a 1958, com periodicidade mensal e circulação em todo Brasil, contribuiu não somente com a difusão de novos hábitos e costumes, como também participou da formação de um imaginário social nas primeiras décadas do século XX. A medicina e os discursos médicos sobre a saúde eram apresentados, nesse impresso, como algo maravilhoso, progressivo, indispensável e benéfico à sociedade da época. Esta dissertação analisa a revista Eu Sei Tudo no período compreendido entre os anos de 1918 e 1932, focando na divulgação científica de noções sobre o papel da mãe moderna no cuidado com seus filhos. Ao indagar sobre como a revista divulgava certos conhecimentos e formava novos papeis sociais, procuramos contribuir para o entendimento das diversas dimensões do fazer pedagógico e das transformações das ações da família no campo educativo.

Der Autor beschreibt die Entthronung Friedrich Augusts III. im November 1918. Welche Protagonisten waren daran beteiligt? Welche Legenden ranken sich um diesen Akt? Welche diversen subjektiven Spiegelungen der beteiligten Personen gibt es am Geschehen?

La peinture animée, entre peinture et cinéma, est l’oeuvre d’un peintre qui prévoit dès l’origine d’animer sa peinture, peignant sur le support de son choix (pellicule, celluloïd, table lumineuse, verre, toile, papier, murs) de nombreux tableaux destinés à rendre le mouvement, avant de les enregistrer à la suite sur un support filmique ou numérique (cette étape est inutile pour la peinture sur pellicule). Le format final d’une peinture animée est un film dont la projection rend le mouvement par défilement des peintures. Cette thèse présente Émile Reynaud (1844-1918) comme l’inventeur de la peinture animée trois ans avant le cinéma et détermine cinq critères cumulatifs permettant de qualifier une oeuvre de peinture animée. 1) La présence majeure de la texture peinture appliquée directement par l’artiste (sont exclus les films peints dans un but de colorisation ou de gouachage et les films d’animation où la peinture est numérique). 2) Le mouvement indissociable de l’espace-temps (le défilement). 3) La matière peinture prime sur le cerne à la grande différence du dessin animé. 4) Une narration picturale différente de celle du film. 5) Le processus de création intègre la réflexion de l’artiste sur la mise en espace de son oeuvre laquelle comprend la projection de la peinture animée et éventuellement l’exposition des traces mnésiques de fabrication de l’oeuvre. La peinture animée est mal adaptée aux circuits de distribution de l’industrie du cinéma d’animation ce qui affecte son degré de visibilité. Les oeuvres de peinture animée alliant, cinéma, peinture et installation, auraient une légitimité à intégrer le champ de l’art contemporain caractérisé par l’hybridation des techniques
Motion painting, between painting and cinema, is the work of painters who set out to create motion in painting by producing many pictures on a support of their choosing (film, celluloid, light table, glass, canvas, paper or walls), pictures intended to produce the feeling of movement after these have been saved in successive frames digitally or on film (this last step being rendered unnecessary when painting directly on film). The resulting format of a motion painting is that of a movie which when shown is animated by the rapid scrolling of the pictures. In this thesis in which Émile Reynaud (1844-1918) is presented as the inventor of motion painting, three years before the creation of cinema, a definition of motion painting is arrived at based on five necessary criteria which have been found to be : 1) The overall presence of texture in the paint applied directly to the support by the artist himself (thereby excluding films painted for colouring effects or digital colorization in animation films) 2) Movement inseparable from time and space (scrolling) 3) Shapes and contours painted not delineated by drawn lines as in cartoons 4) A painterly narrative different from that in a cinema film 5) The evidence of the artist's creative process in the spatial presentation of his work including its projection and the potential exhibition of various elements of his preparatory work Motion painting is unsuited to the usual distribution circuits of the animation film industry and therefore given little exposure. Motion painting which combines cinema, painting and installation readily finds a place in venues presenting contemporary art and its mixed media techniques

The subject of my thesis is the work of the cinematographer Sven Nykvist. The center of the work is the subject of light, its analysis, its meaning and use in a film`s story. In the conclusion of my work I mention his worldwide success. Based on his biographical data I attempt to look into his personal life, and on a more general level, I consider the theme of creative work versus personal and family life.

Cette thèse interroge le sens du mythe orphique dans la poésie de six auteurs européens du début du XXe siècle (Valéry, Rilke, Trakl, Apollinaire, Campana, Goll), et le sens de la poésie orphique dans la modernité. En partant du double constat d’une crise de la Weltanschauung signant la désertion de la transcendance et du sens, et d’une crise du langage héritée de Mallarmé, cette thèse définit la poésie orphique comme une tentative de ré-enchantement visant à refonder la place de l’être dans le monde, le sens de la mort et la profondeur ontologique de la poésie. La thèse pose la question de l’unité ou de l’éclatement d’un lyrisme orphique moderne. Elle propose une mise au point historique sur les sources de l’orphisme jusqu’au début du XXe siècle, puis un parcours analysant le passage de la mythologie à des poétiques orphiques parfois opposées dans leur aboutissement (réharmonisation de soi et du monde, catabase sans fin, démembrement du sujet, incarnation par l’orphisme de l’idée d’une poésie parfaitement composée). Cette thèse s’attache aussi à définir l’orphisme dans ses dimensions musicales et picturales, interroge les liens entre orphisme et union des arts, et étudie la langue musicalisée et picturalisée des poètes, ainsi que plusieurs œuvres vocales et plastiques (Honegger, Poulenc, Webern, Weill, Delaunay, Dufy, Klee, De Chirico). Enfin, considérant le mythe selon sa dimension fondatrice d’une manière d’être au monde, cette thèse envisage la poésie orphique du début du XXe siècle comme le signe et le moyen d’un désir de retour à une forme de rapport mythique au monde où l’être, dans le chant, coïnciderait avec le sacré et avec le dicible
This thesis examines the meaning of the myth of Orpheus in the poetical works of six early twentieth century European poets, and the meaning of Orphic poetry within a context of modernity. Having taken into account a twofold crisis, both of the Weltanschauung – revealing that any sense, or transcendent reference, is missing – and of language (Mallarmé’s legacy), this thesis defines Orphic poetry as an attempt to re-enchant the world, in order to give new roots to the being, a new meaning to death, and a new ground to settle poetry’s ontological depth. The thesis tries to determine if such a lyricism is unique or manifold. It makes a historical mise au point from the sources of Orphism up to the twentieth century; then, it tries to describe the transformation of mythological elements into poetical principles – from which may even have issued contradictory achievements (setting back harmonious links between the world and the self; endless katabasis; dismemberment of the I; Orphic embodiment of a perfect poetry). Our thesis also tries to describe how Orphism is conveyed through music and painting: it questions the link between Orphism and the union of the arts, and studies the poet’s music-like and picture-like language, as well as some vocal or painted works (Honegger, Poulenc, Webern, Weill, Delaunay, Dufy, Klee, De Chirico). At last, as it considers myth as the settling of a new way of being-in-the-world, this thesis pictures early 20th century Orphic poetry both as the symptom and the way of a desire to get back some kind of mythical relationship to the world, in which the being, the sacred and the sayable, through the poetical song, would prove coextensive

This thesis considers how attitudes shaped British, French, and American policy regarding the rebirth of Poland. From the outbreak of war in 1914 to the plebiscite in Upper Silesia in 1921, Allied and American policy-makers first considered whether Poland should be an independent state and then where its borders should be. As they did this, they developed attitudes about these questions, for instance about Poles and the right or ability of the Polish nation to administer a modern state. Such considerations assumed that national character exists and is important in the success or failure of a country. My research draws on literature from social psychology in defining the development of such understandings as consistent with stereotyping, in other words using generalisations about social groups to understand those groups or individuals. Allied and American policy-makers considered Poles to be, for instance, quarrelsome, aggressive, anti-Semitic, pitiable, passionate, or loyal. The thesis begins by examining pre-war attitudes to Poland and the impact of the war on these and on the diplomacy of the Polish question. It then discusses the re-emergence of an independent Poland in 1918 and the impact on policies and attitudes of the Polish delegation’s claims at the Paris Peace Conference, of events on the ground, and of the Russo-Polish War. Allied and American decision-making on the rebirth of Poland was central for European diplomacy not only because the attitudes they expressed left lingering grudges on both sides, but also because Poland’s frontiers were an irritant throughout the interwar period until Germany and Russia invaded Poland in September 1939. Moreover, the conclusion that attitudes were a factor in decision-making contributes to a growing recognition among international historians and international relations theorists that it is necessary to look beyond individuals' 'rational' motivations.

Le but de cette thèse est de mettre en évidence les liens entre les aspects économiques et les aspects diplomatiques des relations franco-allemandes. Les relations économiques et financières ont-elles freiné ou favorisé la marche à la guerre? Inscrits dans un crise de type planétaire, les échanges entre la France et l'Allemagne ont sans cesse été marqués par un recul pendant la période évoquée par cette étude. Les relations économiques et financières ont des lors un impact limité sur le jeu diplomatique. La première partie de la thèse montre comment les deux pays doivent entre 1932 et 1934 trouver une nouvelle règle du jeu. La seconde explique pourquoi, à partir de l'accord de clearing de 1934, la compensation profite surtout à l'Allemagne. A partir de 1936, les questions politiques imposent une marque décisive aux relations économiques et financières entre les deux pays. C'est ce que décrit la troisième partie. La dernière période, objet de la quatrième partie, est enfin dominée, à partir de 1938, par la question de "l'economic appeasement". Le "Munich economique" prend fin avec l'invasion de la Tchécoslovaquie en mars 1939, suffit à prouver que les relations économiques et financières ont peu pesé sur les relations diplomatiques. Pour l'Allemagne les échanges ont pour fonction de mieux préparer l'économie de guerre ; pour Paris, ils devaient permettre de mieux faire face à la crise et éviter, à la veille de la guerre, un affaiblissement français
The aim of this thesis is to bring to the fore the links between the economic and diplomatic aspects of relations between France and Germany. Did economic and financial relations delay the onset of war, or did they encourage it? Within the context of a world-wide crisis, exchanges between France and Germany were continually marked by a decline during the period evoked by this study. Henceforth, economic and financial relations had a limited impact on the field of diplomacy. The first section of this thesis shows how, between 1932 and 1934, the two countries are forced to alter the rules of the game. The second explains why, from the 1934 clearing agreement onwafds, Germany benefitted the most from compensation. From 1936 onwards, political questions are to have a decisive influence on economic and financial relations between the two countries. This is the subject of the third section. The final period, dealt with in section four, is dominated from 1938 onwards by the question of "economic appeasement". The notion of "economic munich" ends with the invasion of Czechoslovakia in march 1939. The oubreak of war, on the first of september, 1939, is sufficient proof that economic and financial relations had little impact on diplomatic relations. For Germany, the role of these exchanges was that of preparing the war economy more efficiently ; for paris, it was a way of facing the crisis and of avoiding, on the eve of war, a weakening of France

O poema icônico de T. S. Eliot The Waste Land, publicado em 1922, é indiscutivelmente o texto principal de poesia moderna em inglês. Eliot residia em Londres no momento da sua composição, e embora o poema contenha numerosas citações literárias e culturais, The Waste Land não é considerado como tendo sido influenciado por nenhum dos poetas ingleses que foram contemporâneos de Eliot. Pelo contrário, o poema é tido como um afastamento radical e uma reação contra, a poesia inglesa escrita antes e durante a Primeira Guerra Mundial (1914-1918). Neste artigo, eu argumento que The Waste Land contém ecos da obra dos poetas ingleses Harold Monro e Herbert Read, ambos os quais conheciam Eliot bem. Olhando retrospectivamente a partir de 1922, tendo The Waste Land como meu texto modernista base e ponto de partida crítico, eu conduzo uma reavaliação da cena poética inglesa do período 1910- 1922, a partir dos Georgian Poets do pré-guerra até o aparecimento, no pós-guerra, da obraprima de Eliot. Ambos Monro e Read foram influenciados pelo movimento radical 'Imagism' de Ezra Pound, que formou um elemento central na cena da poesia progressiva de Londres nos anos que antecederam a guerra. Portanto, utilizo ambos The Waste Land e os experimentos 'Imagist' de Pound como modelos de prática modernista através dos quais comparar e contrastar a obra dos Georgian Poets (especificamente Wilfrid Gibson), a poesia produzida durante a Primeira Guerra Mundial, e a obra de Monro e Read. Os princípios orientadores da minha abordagem analítica são dois: em termos de prática poética, eu avalio o trabalho de Eliot e seus contemporâneos, comparando as suas abordagens quanto à forma, a fim de demonstrar como a forma poética não apenas define o conteúdo, mas também revela mudanças nos valores culturais. Em segundo lugar, minha abordagem teórica é baseada nos conceitos mutantes da função estética da poesia, buscando demonstrar como valores estéticos estão historicamente relacionados a, e determinam, a produção e a recepção da poesia, expondo como os experimentos modernistas de Eliot e Pound estão historicamente relacionados com princípios estéticos românticos.
T. S. Eliot’s iconic poem The Waste Land, published in 1922, is indisputably the key Modernist poetry text in English. Eliot was living in London at the time of its composition, and although the poem contains numerous literary references, The Waste Land is not thought to have been influenced by the poetry of Eliot’s English contemporaries. On the contrary, the poem is regarded as a radical departure from, and reaction against, the English poetry being written before and throughout the Great War (1914-1918). In this paper, I argue that The Waste Land contains echoes of the work of English poets Harold Monro and Herbert Read, both of whom knew Eliot well. Looking back retrospectively from 1922, with The Waste Land as my exemplary Modernist text and critical starting point, I carry out a reassessment of the English poetry scene from 1910 to 1922, from the pre-war Georgians to the post-war appearance of Eliot’s masterpiece. Both Monro and Read were influenced by Ezra Pound’s radical ‘Imagism’ movement, which formed a central plank in the progressive London poetry scene in the years leading up to the war. I therefore employ both The Waste Land and Pound’s ‘Imagist’ experiments as models of Modernist practice by which to compare and contrast the work of the Georgians (particularly Wilfrid Gibson), the poetry produced during the Great War, and the work of Monro and Read. The guiding principles of my analytical approach are twofold: firstly, in terms of poetic practice, I evaluate the work of Eliot and his contemporaries by comparing their approaches to form, assessing how poetic technique both defines content and offers insight into shifts in cultural values; secondly, my theoretical approach is based on changing concepts of the aesthetic function of poetry, revealing how aesthetic values are historically relative to, and determine, the production and reception of poetry, ultimately exposing how Eliot and Pound’s Modernist experiments are historically related to Romantic aesthetic principles.

Fondés en 1848 par un ecclésiastique afin de défendre les libertés religieuses, les Katholikentage - littéralement " Congrès des catholiques " - jouèrent un rôle central dans la mobilisation politique des croyants en rassemblant les représentants des principales associations catholiques et des personnalités en vue. Vers 1900, ils devinrent des assemblées de masse, qui démontraient la solidarité des fidèles de l'Eglise de Rome à la fois avec la hiérarchie ecclésiastique et avec les dirigeants du Zentrum. Après une interruption de huit ans, Francfort-sur-le-Main accueillit en 1921 le premier Katholikentag d'après-guerre et inaugura la reprise des Congrès, organisés ensuite annuellement jusqu'en 1933. Pendant les années vingt, l'épiscopat et le prince Alois zu Löwenstein, à la tête des Katholikentage, contribuèrent contre leur gré à la consolidation du système républicain car ils cherchèrent à préserver l'image de l'unité de la minorité catholique et à étendre ses acquis. Au début des années trente, pour préserver cette unité, la plupart des intervenants aux Katholikentage adoptèrent une attitude de repli, arc-boutés sur la défense des valeurs chrétiennes. En un sens, cette attitude les protégea de la séduction exercée sur beaucoup par les nationaux-socialistes. Toutefois, elle les empêcha de s'allier durablement à d'autres forces politiques, en particulier aux socialistes, pour lutter efficacement contre les nationaux-socialistes

The Great War (1914-1918) caused important changes in space and the sensory-motor apparatus of men. Technological advances and experiences of transformation of perception added to the war and cinema space articulate extremely rich interpretative possibilities. We understand these modifications as an aesthetic problem. From this, we make movies about the war of 1914-1918, object of our analysis. To this, approach the thought of Jacques Rancière, the concept of aesthetic regime of art and the visibilities brought by Paul Virilio, with the concept of dromologia .
A Grande Guerra (1914-1918) provocou alterações importantes no espaço e no aparelho sensório-motor do homem. Os avanços tecnológicos e as experiências de transformação da percepção somadas ao espaço da guerra e do cinema articulam possibilidades interpretativas extremamente ricas. Entendemos essas modificações como um problema estético. A partir disso, fazemos dos filmes sobre a guerra de 1914-1918, objeto de nossa análise. Para tal, nos aproximamos do pensamento de Jacques Rancière, no conceito de regime estético das artes e das visibilidades interpostas por Paul Virilio, com o conceito de dromologia .
Mestre em História

Notre étude a pour objet d’examiner comment le genre et les relations de pouvoir et d’affinité sont construits à travers le discours dans deux pièces de théâtre françaises et deux pièces de théâtre américaines écrites durant l’époque moderne (1890-1914), Margaret Fleming (1890) de James A. Herne, He and She (1911) de Rachel Crothers, Les avariés (1902) de Eugène Brieux et La triomphatrice (1914) de Marie Lenéru. Le but de l’étude est de combler l’écart entre le champ d’étude du langage et du genre ainsi que dans le champ de l’analyse linguistique des textes de théâtre dans les mondes francophones et anglophones. Pour combler cette lacune, nous avons choisi de développer un modèle d’analyse ancré dans l’évolution récente du champ de langage et de genre tout en prenant en considération l’analyse linguistique des textes de théâtres. Le modèle joint les théories anglophones de l’analyse critique du discours ainsi que les théories de l’analyse du discours françaises et les théories d’énonciation. Notre analyse nous a démontré que dans les pièces françaises et américaines, les systèmes linguistiques français et anglais utilisent les mêmes stratégies et procès linguistiques pour représenter le genre et les relations. Nous avons également constaté que dans les textes dramatiques, le genre est situationnel, dépendant du contexte, et intersectionnel, se croisant avec d’autres catégories tels la classe, l’âge et l’ethnicité, et dans le cas des textes dramatiques, les genres dramatiques et les rôles des personnages. Nos résultats présentent de nouvelles façons d’étudier et de lire le genre dans les discours dramatiques et montrent aussi l’importance de joindre des approches multiculturelles
The purpose of this study was to investigate how gender, and power and affinity relationships areconstructed via discourse in two French and two American plays composed during the modern period (1890-1914): James A. Herne’s Margaret Fleming (1890), Rachel Crothers’s He and She (1911), Eugène Brieux’sLes Avariés (1902), and Marie Lenéru’s La Triomphatrice (1914). The study sought to fill the gap between,on the one hand, research in the field of language and gender that unsystematically analyzed literary anddramatic texts, and, on the other hand, studies in the field of the linguistic analysis of drama that analyzedlanguage and gender in plays without recourse to the theoretical underpinnings in language and genderstudies. To address this gap, a three-partite model analyzing the dramatic text, the situation of enunciation,and gendered discourses was developed, building on Critical Discourse Analysis and French DiscourseAnalysis, as well as research from the fields of language and gender, and the linguistic analysis of drama. Aclose examination of gendered representations and gendered usage using the model revealed that in Frenchand American drama, similar linguistic features are mostly deployed to construct gender and relationships.Results also showed that in dramatic texts, gender is situational, depending on context, and intersectional,often intersecting with other categories like class, age, and ethnicity, and in the case of dramatic texts,dramatic genres and roles. These findings present new ways of researching and reading gender in dramaticdiscourse. They also highlight the importance of combining multi-cultural approaches to analyze gender indramatic texts

L'objectif de cette thèse est d'évaluer l'influence de la pensée scientifique sur l’œuvre narrative de l'Amérique latine de la période comprise entre 1940 et 1965, à travers l'exemple de cinq écrivains mexicains et argentins : Adolfo Bioy Casares, Ernesto Sábato, Jorge Luis Borges, Salvador Elizondo et Juan José Arreola. La position de ces écrivains face aux courants artistiques et intellectuels d'origines diverses a fait de leurs travaux un riche laboratoire d'appropriation et de réinterprétation d'idées. La connaissance scientifique y apparaît souvent avec un statut ambigu ou contradictoire. Ce travail propose une lecture qui place le sujet au centre de la transposition de l'esprit scientifique dans le discours littéraire. Le sujet scientifique est ainsi compris comme une fiction dont la présence au sein du discours littéraire ne nécessite pas la division entre contenu et forme exigée par le discours des sciences. À travers la présence de ce sujet scientifique dans les récits il est possible de dégager la notion de connaissance scientifique qui y est proposée. Cette dernière est pensée ici non plus comme un savoir communiqué, mais comme une production du sujet scientifique intérieur au texte. Ce processus de production est étudié en trois étapes. La première trace la présence du sujet scientifique dans le discours, identifie les stratégies de sa mise en texte et éclaire le rôle qu'il joue à travers l'exécution d'un programme cognitif bien défini. La deuxième s'intéresse au rôle joué dans la configuration actantielle des récits par les personnages scientifiques, compris comme les acteurs au sein desquels se manifeste l'action du sujet scientifique. Le sujet connaissant n'ayant d'autre justification que la production d'une connaissance, la dernière étape de notre étude porte sur le rôle joué par les savoirs produits par les textes dans l'architecture fictionnelle et dans la création de sens
The objective of this dissertation is to evaluate the influence of scientific thought in the narrative works of five Mexican and Argentinean writers published in the mid twentieth century: Adolfo Bioy Casares, Ernesto Sábato, Jorge Luis Borges, Salvador Elizondo and Juan José Arreola. As they relate to various artistic and intellectual currents, the literary projects of writers from this period produced a rich laboratory of appropriation and reinterpretation of ideas, with scientific knowledge often appearing within a contradictory and ambiguous framework. The present investigation attempts to read these works by analyzing that which we consider to be transposable from scientific thought to literary discourse: a cognitive scientific subjectivity. Understood as a fiction within psychological parameters, this subjectivity —the articulating voice of each narration— is constructed with a certain philosophical attitude and a specific methodology. I argue that through the analysis of the presence of this scientific subjectivity in the narrations it is possible to extract an idea of scientific knowledge. The latter is conceptualized here not as a transmitted knowledge, but as a product of the scientific subjectivity found within the text. This process of production is studied in three parts. The first traces the presence of the scientific subjectivity in discourse, identifying its textual strategies and determining the role that this subjectivity plays in the unfolding of a well-defined cognitive program. In the second part of the investigation I focus on the role played, within the actant configuration of the narrations, by the scientific characters involved in each narration, these understood as the actors through whom scientific subjectivity is made manifest. In the third stage I study the role played by various sets of knowledge produced by the texts within the fictional architecture and within the construction of meaning

À son retour en France en 1946, André Breton reçoit avec enthousiasme des pièces de théâtre qui parviennent à renouveler les pratiques dramatiques de l'époque. Ionesco, Schehadé, Gracq, mais aussi Adamov, Arrabal, Audiberti, Limbour, Obaldia, Vian et Weingarten, créent entre 1945 et la fin des années soixante des pièces audacieuses qui ont tout pour séduire le chef de file du surréalisme.Même si la plupart des auteurs n'entretiennent qu'un lien tenu voire inexistant avec le mouvement surréaliste, ils héritent de certaines préoccupations du premier surréalisme par le truchement de dramaturges et théoriciens de théâtre (tels que Artaud et Jarry), de penseurs (philosophes ou psychanalystes) mais aussi de metteurs en scènes. Les vingt pièces étudiées ici questionnent l'existence humaine en analysant tantôt la perception de l'absurdité du monde, l'incapacité à communiquer, tantôt la perte des valeurs et de repères, poussant les personnages à s'interroger sur leur identité, leurs souvenirs et leurs désirs.Au-delà de ces réflexions caractéristiques de la production dramatique de l'après-guerre, les dramaturges de notre corpus explorent de nouvelles voies dramatiques. Les uns proposent un travail linguistique qui vise à retrouver la poésie au sein des conversations quotidiennes. D'autres interrogent les certitudes établies par le biais de l'humour et de l'ironie. Enfin, d'autres encore se tournent vers l'exploration de l'inconscient, des rêves et de la folie. Ces trois démarches nées d'initiatives individuelles des dramaturges s'inscrivent dans une esthétique surréaliste, mais il n'est pas sûr qu'elles suffisent à résumer la diversité des entreprises dramatiques ni à définir a posteriori une nouvelle conception du théâtre surréaliste
When André Breton comes back to France in 1946, he's thrilled with theatre plays which manage to renew the dramatic practices of the time. Between 1945 and the late sixties, Ionesco, Schehadé, Gracq, and also Adamov, Arrabal, Audiberti, Limbour, Obaldia, Vian and Weingarten create daring plays which have everything to allure the leader of surrealism.Even if most authors only have a tenuous or even non-existent link with the surrealist movement, they inherit certain notions of first surrealism through playwrights and theatre theorists - such as Artaud and Jarry-, thinkers -philosophers or psychoanalysts- but also stage directors.The twenty plays studied here question human existence by either analyzing the perception of the nonsense of the world and the incapacity to communicate, or the loss of values and reference markers, leading the characters to wonder about their identities, their memories and their desires. Beyond these reflections characteristic of the dramatic production of the post-war period, the playwrights of our corpus explore new dramatic paths. Some propose a linguistic work which aims at finding poetry within daily conversations. Others question what we take for granted through humour and irony. Finally, others turn to the exploration of one’s unconscious, dreams and madness.These three approaches born of individual initiatives of the playwrights get close to a surrealist aesthetics, but they may not by themselves summarize the diversity of dramatic attempts nor define a posteriori a new idea of surrealist theatre

According to Józef Piłsudski’s supporters, the Promethean concept, as the main Polish program of the interwar period aimed at dismemberment of the Soviet Union into individual countries, was one of the ways to neutralize Russian imperialism and to strengthen Poland’s role in the region. The Promethean concept was based on collaboration with the emigration elite of the nations conquered by the Soviets in 1918-1921. As assumed by Piłsudski’s circles, Turkey fitted the Promethean policy well not only due to the fact that a lot of anti-Soviet emigrants took refuge in Constantinople (Istanbul) but also because both Poland and Turkey had a mutual geopolitical interest in weakening Russia. The purpose of my research is to establish the role of Turkey as a state (Ottoman Empire and the Republic of Turkey) as well as a geographical area in the Polish Promethean activity in 1918-1932. The purpose of this research also aims at investigating the specifics of the relationship between Warsaw and anti-Soviet emigration, and the situation within the Promethean movement as a whole, and each separate national emigrant movement (Azerbaijani, Georgian, North Caucasian, Crimean Tatar, Ukrainian, Turkestan and Idel-Ural) presented in Turkey. The research is mostly based on the archive materials from Warsaw, Moscow and Ankara as well as published documents of the anti-Soviet emigrants, Polish, Soviet, Turkish, British, French authorities and intelligence services. The thesis consists of five chapters. The first chapter presents overview of the historiography and sources that are presented in the research. The second chapter shows that due to the rapprochement between Ankara and Moscow in 1919 and Allies intervention in Turkey, neither Poles nor political elite of the proclaimed states within the former Russian Empire could expect any support from Turkey in terms of anti- Soviet action in 1918-1921. The third chapter shows that due to the Treaty of Riga (1921) and Western Powers’ reluctance to intervene into Russian affairs, Eastern Department of the Ministry of Foreign Affairs and the General Staff, a strong base of Józef Piłsudski’s supporters, had to continue their anti-Soviet activity strictly unofficially. The chapter describes the first contacts between the Poles and the anti-Soviet emigration in Turkey and Europe. The fourth part illustrates general activation of the Polish Promethean policy in Turkey and Europe impacted by the Treaty of Lausanne (1923). On the other hand, Polish activity coincided with a much stronger interest of national emigrations in Turkey towards establishing contacts with other foreign states interested in any anti-Soviet activities. The chapter underlines the importance of the 1924 anti- Soviet Georgian revolt for deliberation of the Polish concept aimed at dividing Soviet Union. The fifth part depicts activation of the Polish Prometheans following Józef Piłsudski’s return to power in 1926 after outside of politics for 3 years. The chapter describes Warsaw’s attempts to consolidate political refugees from Caucasus in Caucasian Independence Committee and all anti- Soviet emigrants in overall Promethean movement. It was very difficult to achieve these goals because of internal disputes and political demoralization within the emigration, Polish economic problems as well as Soviet pressure on Turkey to ban any anti-Soviet activity in the country. Due to the lack of confidence in Western Powers and Moscow, the main idea of the Turkish policy was to use friendship with the Soviet Union against the West and use the possibility of breaking this friendship against the Soviet Union. In order to conduct such a policy Turkey could not have strong ties with both sides. The two-track policy of Ankara was also clearly reflected in its stand towards the anti-Soviet emigration. On the one hand, Ankara allowed them to stay, form organizations on a certain scale and used them for counterintelligence tasks on the Soviet- Turkish border. On the other hand, Turks used emigrants as a bargaining chip in relations with the Soviets. Given its inability to get any concrete guarantees of safety and financial support on the larger international arena, Ankara signed a treaty of friendship and neutrality with Moscow in 1925, which was further confirmed through the conclusion of many agreements of both economic and political nature. Turkish-Soviet political and financial rapprochement and Polish- Soviet Non-Aggression Pact in 1932 influenced not only on restriction of emigrants’ activity in Turkey but also its transfer to Warsaw, Berlin, and Paris.
Zgodnie z poglądami prezentowanymi przez obóz, na którego czele stał Józef Piłsudski, jedną z możliwości neutralizacji rosyjskiego imperializmu i zarazem sposobem wzmocnienia roli Polski w regionie była realizacja koncepcji prometejskiej. Był to główny polski program w okresie międzywojennym ukierunkowany na rozsadzenie Związku Radzieckiego. Koncepcja prometejska gruntowała się na współprace Polski z elitą powstałych na terenie byłego Imperium Rosyjskiego narodów, która to elita po podboju jej krajów przez Sowietów w latach 1918-1921 schroniła się na emigracji. Turcja uwzględniana była we wszystkich kalkulacjach prometejskich nie tylko ze względu na jej przekształcenie się w jedno z głównych skupisk emigracji antyradzieckiej. Podstawą programu było założenie, że państwo to, tak jak Polska graniczące z radziecką Rosją, posiadało zasadniczo wspólne z Polską interesy w osłabieniu Rosji. Rozprawa ma na celu ustalenie roli Turcji jako państwa (Imperium Ottomańskiego i Republiki Tureckiej) oraz terenu geograficznego w polskich posunięciach prometejskich w latach 1918-1932. Celem rozprawy jest również przedstawienie specyfiki relacji pomiędzy Warszawą a emigracją antyradziecką w Turcji. Oprócz tego przedmiotem zainteresowania jest przedstawienie wewnętrznych dziejów ruchu prometejskiego, spojrzenie na sytuację na odcinkach emigracji narodowościowej (azerbejdżańskiej, gruzińskiej, północnokaukaskiej, ukraińskiej, Tatarów Krymskich i Nadwołżańskich, turkiestańskiej) w Turcji oraz na współpracę emigrantów w ramach ruchu prometejskiego. Podstawą rozprawy jest materiał z archiwów w Warszawie, Moskwie i Ankarze, a także opublikowane dokumenty emigracji antyradzieckiej, władz i wywiadów Polski, Związku Radzieckiego, Turcji, Wielkiej Brytanii, Francji. Rozprawa składa się z 5 rozdziałów. Rozdział pierwszy zawiera analizę historiografii i bazy źródłowej wykorzystanych w rozprawie. Rozdział drugi demonstruje, iż w warunkach zbliżenia Ankary i Moskwy w 1919 r. oraz interwencji aliantów w Turcję, Polacy i elita polityczna powstałych na terenie byłego Imperium Rosyjskiego narodów nie mogli oczekiwać na jakąkolwiek pomoc ze strony Turcji w akcji antyradzieckiej w latach 1918-1921. Rozdział trzeci demonstuje, że z chwilą zawarcia traktatu pokojowego w Rydze oraz niezainteresowaniu mocarstw zachodnich w dalszej interwencji w kwestię rosyjską, Wydział Wschodni MSZ Polski i Sztab Generalny (Główny) Wojska Polskiego, główne ośrodki stronnictwa piłsudczyków, musiały kontynuować działalność antyradziecką nieoficjalnie. Rozdział zawiera analizę nawiązania pierwszych kontaktów pomiędzy stroną polską a emigracją antyradziecką w Turcji i Europie. W rozdziale czwartym zwrócono uwagę na ogólne uaktywnienie polskiej działalności prometejskiej w Turcji i Europie spowodowane podpisaniem traktatu w Lozannie w 1923 r. Z drugiej strony, uaktywnienie Polaków zbiegło się w czasie z coraz bardziej większym zainteresowaniem emigracji co do nawiązania tej współpracy w kwestii antyradzieckiej. Podkreślono ważność wpływu nieudanego antyradzieckiego powstania w Gruzji w 1924 r. dla ewolucji polskiej koncepcji prometejskiej. Rozdział piąty dotyczy uaktywnienia polskich prometeistów po powrocie Józefa Piłsudskiego do władzy w 1926 r. Przyjrzano się bacznie próbom zjednoczenia przez Polaków przedstawicieli emigracji kaukaskiej w ramach stworzonego w Turcji Komitetu Niepodległości Kaukazu oraz powołania ogólnego ruchu prometejskiego pod egidą Polski. Osiągnięcie tego celu było dość skomplikowanym z powodu konfliktów wewnętrznych i demoralizacji politycznej wśród emigrantów, problemów finansowych Polski oraz presji Sowietów na Turcję w kierunku zakazania działalności antyradzieckiej na jej terenie. Z powodu podejrzeń Turków odnośnie zamierzeń Zachodu i Moskwy, główna idea tureckiej polityki polegała na wykorzystywaniu przyjaźni z Moskwą przeciwko agresywnym zapędom Zachodu, a z drugiej strony możliwościach zerwania tej przyjaźni przeciwko ZSRR. Prowadzenie przez Ankarę dwutorowej polityki na arenie międzynarodowej odzwierciedliło się na jej stosunku do emigracji antyradzieckiej. Z jednej strony, Ankara zgodziła się na pozostawanie emigrantów w Turcji, prowadzenie przez nich działalności konspiracyjnej, a także wykorzystywała ich w celach kontrwywiadowczych na granice ze ZSRR. Z drugiej strony, Turcy traktowali emigrantów jako kartę przetargową w stosunkach z Sowietami. Brak poważnych osiągnięć w próbach uzyskania przez Ankarę gwarancji bezpieczeństwa i pomocy finansowej w pertraktacjach z Zachodem zmuszał władze tureckie do coraz większego zacieśnienia sojuszu z Moskwą. Wyrazem tego było podpisanie radziecko-tureckiego traktatu o przyjaźni i neutralności (1925 r.), który później został potwierdzony przez zawarcie licznych umow o charakterze politycznym i gospodarczym. Coraz mocniejszy związek polityczny Ankary z Moskwą oraz zawarcie polsko-radzieckiego paktu o nieagresji w 1932 r. doprowadziły do ograniczenia działalności emigrantów w Turcji i przeniesienia ich posunięć z Turcji do Warszawy, Paryża i Berlina.

This dissertation consists of a model of the monetary policy process, and an application of the model to the post-World War I financial and macroeconomic policy system. Orthodox money multiplier models mis-specify the transmission mechanism of the monetary policy. An alternative model is constructed from the micro-foundations of the credit supply process. The model locates the transmission channel of monetary policy in the impact of policy initiatives on the expectations of portfolio holders in the financial markets. If monetary policy initiatives have a negligible impact on expectations, they will not have a significant impact on the course of real economic activity in a capitalist economy with sophisticated financial markets and more than nominal business cycles. The expectations formation process is analyzed to derive the institutional configuration and policy stance that contribute to a tight connection between monetary policy initiatives and the expected profitability of credit creation. The analysis concludes that monetary policy, while potentially powerful, is an inherently unstable platform for macroeconomic control. The monetary authority's control of expectations can fluctuate dramatically in a short space of time. If the monetary authority is viewed as technically weak vis a vis market forces or politically vulnerable to competing macroeconomic policy centers, it will face rapid and severe declines in monetary policy effectiveness. The motivation for the construction of the postwar financial order was a great fear by the elites of the social and political consequences of modest amounts of inflation. The central bank was elevated to the status of a macroecomonic planner, and given the task of keeping the economy inflation free, and provided with a monopoly on macroeconomic policy. An asymmetrical, pro-cyclical policy stance promised to cap booms and promote "liquidations," that is, to enforce a severe recession following an expansion. Robust central bank independence protected unpopular policies. The system was effective, but chronically inflexible, being deliberately designed to be inhospitable to expansionary policy, and incapable of conforming to policy pressures from the electorate. During 1929 - 1933 the system worked as design, and paralyzed expansionary macroeconomic policy initiatives. The disastrous results discredited the system and its supporters.

碩士
淡江大學
國際事務與戰略研究所碩士班
100
Japan invaded China is one of big events in recent international history, and the transformation of Japan’s foreign policy on China during 1918 to 1932 was the core of the period of time. Regarding the domestic research documents lacking a systematic research based on international relationship theories, the author studies the topic about “The Evolution of Japan''s Mainland Policy” during 1918 to 1932 with the viewpoint of social constructionism. The concrete purpose of this dissertation are two: 1. Arrangement of international ideals, events and Japan’s ideals and mainland policy during 1918 to 1932. 2. Analysis of the interaction between foreign affairs and Japan in the viewpoint of social constructionism. The structure of this dissertation is divided into four chapters: Chapter One: Arrangement the before and after of international ideal with effect of international events and Japan ideal and mainland policy during the time of Paris Peace Conference. Chapter Two: Arrangement the before and after of international ideal with effect of international events and Japan ideal and mainland policy during the time of Washington Naval Conference. Chapter Three: Arrangement the before and after of international ideal with effect of international events and Japan ideal and mainland policy during the time of Great Depression and Mukden Incident. Chapter Four: Analysis with the viewpoint of social constructionism.