Dissertations / Theses on the topic '1920-2013'

Magister Artium - MA<br>This mini-thesis explores the role of photography in the mainstream and dissident tradition of Afrikaner ethnology (volkekunde) from the time of its establishment at Stellenbosch University in the 1920s through to its development at Pretoria University in the 1950s to 1970s, to its period of decline in the era of dissidence from the 1970s to the 2010s. I use a biographical approach, tracing the career biographies and photographic portfolios of three volkekundiges: the German-trained government ethnologist Nicolaas J. van Warmelo; little known dissident volkekundige Frans Hendrik Boot (1939-2010) who founded the Volkekunde Department at the University of the Western Cape in 1972 and for whom fieldwork photography was an expression of his humanist digression from the racialised mainstream volkekunde tradition; and Cornelis Seakle “Kees” van der Waal (1949-) whose ‘Long Walk from Volkekunde to Anthropology’ has been textually demonstrated but also takes on visual expressions in his use of photography. My thesis seeks to demonstrate that photography and visuality was important in displaying the different traditions of volkekunde. The central argument in this thesis postulates that fieldwork photographs, read in relation to the ethnographers intellectual focus offers us insight into an individual’s orientation. Furthermore this thesis explores the degree of a photographers technicality and aesthetics skill

Advertisements are multimodal texts created to get attention from potential customers in order to sell products. Previous research has shown how advertisements’ visual and verbal features make up ideological codes that are used to affect readers. To interpret these codes and gain an understanding of advertisements as communicative artifacts, a linguistic approach needs to be merged with a multimodal approach. In this study systemic functional grammar and multimodal semiotics are applied to ten skin care advertisements by Elizabeth Arden from 1920-2013. The aim is to investigate how the relationship between skin care companies and their potential customers is constructed through the use of language and images in skin care advertisements. Furthermore, the study aims to analyze whether and how the relationship between skin care companies and customers change over time. The findings indicate that the reader is constructed as unequal to Elizabeth Arden. The results also show a longitudinal difference in that the reader and the writer are constructed as closer in earlier advertisements and more distant in later advertisements. The language is also less demanding in recent years. Furthermore, the findings show that later skin care advertisements, unlike earlier advertisements, refer to science. The change might be an indication that societal and consumer values are evolving. Hence, the result might reflect societal changes.

This dissertation examines the reception of the artist, Irma Stern, from 1920 until 2013. Irma Stern has, since her lifetime, been one of South Africa's most celebrated artists. She has received a great deal of scholarly attention, attention in the popular press and on-going recognition in the market place. Through an evaluation of press clippings, literature, archival material (photographs, the minutes of meetings and letters) and market results, this study questions how Stern has come to assume such a privileged position, why she is of such scholarly interest and how she is valued in the market. The impact of different variables on Stern's reception - including social, political and intellectual factors - is investigated. It is proposed that, initially, the artist actively promoted herself, thus playing an important role in establishing her fame. However, her reputation has been built over time and what emerges as important is that audiences have approached and interpreted Stern differently at different times. During the artist's lifetime she was admired for her perceived ability to capture the 'spirit of Africa', apparently evident in her paintings of those culturally different from her. These paintings - of black African, Indian, coloured and Arab subjects - have remained an integral aspect of the artist's reputation and they are at the centre of much of the scholarly debate on the artist in the 1990s and 2000s. Stern has provided rich material for writers at different times and of different ideological positions - from colonial to postcolonial discourse and feminist studies. Also relevant to Stern's sustained reputation is the international recognition the artist has received. Stern's links to German Expressionism and recognition from foreign scholars and institutions served to legitimate the artist to a South African audience in her lifetime and posthumously. Moreover, the market has had an impact on Stern's reputation. While she was commercially successful in her lifetime, in the early 2000s her market values exceeded those of earlier periods and surpassed those of other twentieth-century South African artists. As a result, Stern's reputation in the 2000s is linked to her high market values; this dissertation closely investigates some of the factors that have influenced this market value. In conclusion, this dissertation fills a gap in the literature because it 1) analyses the artist's market and 2) provides an in-depth investigation of the development of the artist's reputation. A study in reception, it does not add to the already plentiful appraisals of the artist's work but considers instead how this work has fared within the context of the academic, popular and commercial art world.

Im Rahmen des DFG-geförderten Projektes „Illustrierte Magazine der klassischen Moderne“ eröffnete die SLUB am 13. September eine Ausstellung zum Thema „Zeitgeist im Oktavformat – Illustrierte Magazine der 20er-Jahre“, begleitet von musikalischen Höhepunkten des Berliner und Pariser Kabaretts der 1920er Jahre.

This is an onomasiological study with a diachronic perspective. Its purpose is to examine the use of the four most frequent names for migrants in Sweden in Swedish newspapers 1923-2013. The four names are invandrare (roughly ’immigrant’), immigrant (‘immigrant’), migrant (‘migrant’) and utlänning (‘foreigner’). The results from 37 Swedish corpora show that invandrare is the most frequent word used by the media. The word is often used in contexts that discuss something problematic and sometimes even rather negative in regards to migrants, using that very word – invandrare. It often marks a thought of us-and-them. Utlänning is frequently used as a synonym for invandrare, although it carries a different meaning. Immigrant and migrant are seldom used and when they are, they generally refer to migrants in other countries than Sweden. All the words are used in order to convey a distance between migrants and what is considered ethnic Swedes. Language planning is a good tool in this case, but the ultimate key lies in the attitudes of the speakers. No matter how many times the names for migrants are changed, they will always end up negative if that is the speakers’ intention.

Tese (doutorado)—Universidade de Brasília, Faculdade de Direito, Programa de Pós-Graduação em Direito, 2015.<br>Submitted by Guimaraes Jacqueline (jacqueline.guimaraes@bce.unb.br) on 2015-10-27T13:28:50Z No. of bitstreams: 1 2015_RenatoBigliazzi.pdf: 674398 bytes, checksum: eb0516c6f4ea7f71ce048a122ab10886 (MD5)<br>Approved for entry into archive by Raquel Viana(raquelviana@bce.unb.br) on 2016-01-11T17:49:28Z (GMT) No. of bitstreams: 1 2015_RenatoBigliazzi.pdf: 674398 bytes, checksum: eb0516c6f4ea7f71ce048a122ab10886 (MD5)<br>Made available in DSpace on 2016-01-11T17:49:28Z (GMT). No. of bitstreams: 1 2015_RenatoBigliazzi.pdf: 674398 bytes, checksum: eb0516c6f4ea7f71ce048a122ab10886 (MD5)<br>A tese tem como eixo central a reconstrução da história do habeas corpus preventivo do governador de Goiás, Mauro Borges Teixeira, julgado pelo Supremo Tribunal Federal (STF) em novembro de 1964. O julgamento, no qual se reconheceu que o governador não poderia ser preso por ordem da justiça militar, serve como ponto de partida para uma análise das contingências locais e nacionais que podem ter influenciado na formação da opinião expressa no acórdão. Naquele momento, estavam em jogo, de maneira destacada, concepções diversas a respeito do esgotamento do prazo para as punições previstas no Ato Institucional de 9 de abril de 1964. Inserido naquele contexto tumultuado, o julgamento do habeas corpus de Mauro Borges permite observar o papel desempenhado pelo STF no processo político da época, bem como ajuda a compreender leituras e concepções jurídicas relacionadas à interpretação da Constituição de 1946. Mais do que simples argumento extraído da jurisprudência da corte, a tese propõe que a leitura da função política do governador realizada no caso Mauro Borges foi marcada pela ameaça latente de uma nova medida excepcional, ao final adotada em outubro de 1965, por meio do Ato Institucional nº 2.<br>The doctoral thesis focuses on the ruling of the Supreme Court of Brazil on a writ of habeas corpus brought before that court by the governor of the state of Goiás, Mauro Borges. Issued in November, 1964, the opinion of the Brazilian Supreme Court asserted that a state governor could not be brought to trial before a federal military court. At that moment there were different and sometimes opposing views at stake, specially concerning the deadline for political sanctions established in Institutional Act of April 9th, 1964. Viewed in the light of that tumultous historical context, the ruling on Mauro Borges' case illustrates the political importance of the Brazilian Supreme Court and provides insight on the purposes which guided that court in the interpretation of the Constitution of 1946. Thus, the doctrine of the political function of the office of state governor expounded in the case can been seen not only as an interpretation of the precedent, but also as a direct effect of the threat of sanctions posed by groups of civilians and the military advocating for a second Institutional Act, a measure which was adopted in October, 1965, less than a year after the habeas corpus was decided by the Supreme Court.

Dans le cadre d'une linguistique appliquee a l'acquisition du langage, cette these cherche dans un premier temps a rendre compte des processus interactionnels au sein desquels l'enfant s'approprie les constructions syntaxiques de la langue. Dans un deuxieme temps, nous les mettons en rapport avec l'ancrage des enonces de l'enfant dans la situation d'enonciation. Dans cette perspective, la narration est envisagee comme un genre de discours pouvant favoriser le developpement du langage de l'enfant. Un support de cette narration, le livre illustre, peut permettre la maitrise par l'enfant de variantes enonciatives presentant des caracteres d'explicite et de completude, telles qu'il sera amene a en rencontrer lors de son apprentissage de l'ecrit. Nous avons procede a l'analyse de trois corpus longitudinaux de narrations recueillis au cours de dialogues entre un adulte et un enfant, a partir de livres illustres lus par l'adulte a l'enfant avant sa narration. L'etude montre que les enfants s'appuient sur les textes des livres et les enonces de l'adulte pour elaborer, en fonction de leurs capacites du moment, des narrations qui comportent de plus en plus d'articulations syntaxiques complexes. En tenant compte de differences individuelles entre les differents mouvements d'evolution dans le langage des enfants, et en particulier du degre d'autonomie syntaxique de leurs enonces par rapport a ceux de l'adulte, nous verifions alors l'hypothese d'une coincidence entre la complexification des productions narratives de l'enfant et un desancrage enonciatif. Les resultats de cette these apportent un eclairage complementaire aux processus d'apprentissage de certains aspects de la cohesion discursive.

Cette étude porte sur le fait littéraire afro-antillais de l’ère coloniale (1920-1960). Il s’agit d’examiner les stratégies des agents à partir des cas de René Maran, Léopold Sédar Senghor, Aimé Césaire, Édouard Glissant et Mongo Beti et de percevoir comment ils se définissent leur identité littéraire et sociale.<p>Pour ce faire, notre démarche s’articule en deux temps :(1) examiner les conditions de possibilité d’un champ littéraire afro-antillais à Paris (colonisation française et ses effets, configuration d’un champ littéraire pré-institutionnalisé, etc.) ;(2) analyser les processus de consolidation du champ, ainsi que les luttes internes qui opposent deux tendances émergentes représentées d’abord par Senghor et Césaire, ensuite par Beti et Glissant, dont les prises de position littéraires mettent en œuvre des « modèles empiriques » ;ceux-ci régulent et unifient leurs rapports au monde et à l’Afrique.<p><p>This study relates to afro-carribean literature in colonial period (1920-1960). We want to examine the strategies of agents like René Maran, Léopold Sédar Senghor, Aimé Césaire, Édouard Glissant and Mongo Beti ;and we want to understand how they invente literary and social identity.<p>Our approach is structured in two steps: we shall analyse (1) the conditions for an afro-carribean literary field to appear in Paris (french colonialism and its consequences, configuration of literay field.) ;(2) the consolidation of this field and the internal struggles between two tendances represented by Senghor and Césaire, by Glissant and Beti whose literary practice shows the “empirical model” that regularizes and consolidates their relation with the world and Africa.<br>Doctorat en philosophie et lettres, Orientation langue et littérature<br>info:eu-repo/semantics/nonPublished

Si l’œuvre littéraire de Maurice Maeterlinck suscite nombre de recherches, ses activités dans le domaine du cinéma sont moins connues et moins étudiées. La présente thèse, qui s’appuie sur les concepts de la sociologie de Pierre Bourdieu, entend combler une lacune en analysant la trajectoire de l’auteur dans le champ cinématographique pendant les années 1910 et 1920, c’est-à-dire la période où il manifeste le plus d’intérêt pour le cinéma. L’étude comprend trois analyses. La première concerne le point de vue de Maurice Maeterlinck, son entrée et son déplacement dans le champ cinématographique. L’auteur consacré dans son champ d’origine développe, dans le nouveau champ investi, des produits dérivés orientés vers le public élargi et diversifié. La deuxième analyse concerne les transformations du champ cinématographique et le point de vue des autres agents, en particulier celui des maisons de production et de distribution. Celles-ci insèrent les adaptations de l’auteur dans une série de produits plus ou moins standardisés, qui leur permettent de se situer dans le champ. La troisième analyse concerne quelques films et projets de films datant des années 1910 et 1920, liés aux œuvres littéraires de Maurice Maeterlinck, comme The Blue Bird (Maurice Tourneur, 1918). Aussi bien les composantes externes (par exemple, la mise en place du projet, la production ou l’exploitation) que les composantes internes (par exemple, la mise en scène ou l’éclairage) sont les indicateurs de la position de l’auteur et les indicateurs du fonctionnement du champ dans son ensemble. / The researches on the literary works of Maurice Maeterlinck are numerous but his activity in the cinema is less known and less studied. The PhD thesis is based on the concepts of the sociology of Pierre Bourdieu ;its purpose is to bring new information by analyzing the trajectory of the author in the cinematic field during the 1910s and the 1920s, when he is the most interested in the cinema. The study includes three analyses. The first one concerns Maurice Maeterlinck's point of view, his entrance and his movement in the cinematic field. The author who is recognized in his first field develops in the new invested field several products who are directed to the widened and diversified public. The second analysis concerns the transformations of the cinematic field and the point of view of the other agents, e.g. the houses of production and distribution. These houses insert the adaptations of the author into a series of more or less standardized products, which allow them to be situated in the field. The third analysis concerns some films and projects of films of the 1910s and the 1920s, adapted from the literary works of Maurice Maeterlinck (e.g. The Blue Bird, Maurice Tourneur, 1918). The external components (the organization of the project, the production or the exploitation) and the internal components (the direction or the lighting) indicate how the author is situated and how the field is organized.<br>Doctorat en Information et communication<br>info:eu-repo/semantics/nonPublished

L’objectif général de cette thèse est de contribuer à l’enrichissement des connaissances sur la vie culturelle et musicale des années 1920. En s’appuyant sur l’œuvre de Roméo Beaudry, il s’avère qu’un corpus typiquement associé à la culture anglophone états-unienne peut constituer un jalon déterminant de l’histoire de la chanson populaire canadienne-française. Pour rendre possible une telle équation, les deux premiers chapitres dressent le portrait des lieux de productions et de réception en insistant sur la place octroyée à la diffusion de la chanson. Certaines habitudes et conventions, bousculées au début du XXe siècle, allaient avoir un impact significatif sur le développement des rapports entre les auditeurs, les œuvres, les lieux de réception et les médias. Le chapitre 1 décrit la façon dont ces rapports ont ébranlé les frontières géographiques, langagières et génériques tout en multipliant la diversité musicale et en offrant une plus grande diffusion. Le chapitre 2 suggère que des facteurs dynamiques et complexes tels que les temps de loisirs et les modalités de l’écoute ont pu modifier la réception des œuvres. La pluralité des lieux et des médias contribuait alors à la constitution d’un public hétérogène du point de vue de sa condition sociale et de son mode d’écoute de la chanson. En prenant acte de l’abondance de la musique états-unienne et des chansons traduites en français, la deuxième partie de la thèse démontre que cet imposant répertoire peut signifier autre chose qu’une américanisation, autre chose qu’une forme d’assimilation. Au chapitre 3, j’emprunte à la traductologie, à la littérature et à la musicologie des modèles d’analyse qui permettent l’identification des processus de transformation menant à la traduction d’une chanson. L’adaptation ciblée de la transtextualité de Gérard Genette montre que la transposition d’un texte et la transcription d’une mélodie peuvent maintenir ou modifier radicalement le sens d’une chanson. L’élaboration du modèle et l’analyse spécifique de trois œuvres de Beaudry au chapitre 4 présentent un acteur important du monde de la chanson populaire canadienne-française et font voir comment la traduction et l’imitation peuvent mener à l’appropriation créative d’une œuvre reflétant à la fois une culture locale et continentale.<br>The overall objective of this thesis is to contribute to the development of knowledge on cultural and musical life in the 1920s. Based on the work of Roméo Beaudry, a repertoire of songs typically associated with the culture of the United States can serve as a milestone in the history of the French-Canadian popular song. In this regard, the first two chapters describe the locations of song production and reception with a focus on the role of music distribution. Habit changes at the beginning of the twentieth century would have a significant impact on the development of relations between auditors, works, reception venues and media. Chapter 1 describes how these relations have shaken geographical, language and generic boundaries while increasing musical diversity and offering a wider music circulation. Chapter 2 suggests that dynamic and complex factors such as leisure time and listening habits may have altered the reception of popular songs. The plurality of locations and medias also contributed to the formation of a heterogeneous public. Noting the abundance of popular music in the United States and the numerous songs translated into French, the second part of the thesis shows that this imposing repertoire can mean something other than Americanization, something other than a form of assimilation. In Chapter 3, translation, literature and musicology studies provide analysis models that allow the identification of the transformation process leading to a song’s translation. The adaptation of Gérard Genette’s transtextuality shows that the transposition of a text and the transcription of a melody may maintain or radically change the meaning of a song. In Chapter 4, the model is applied on three specific songs. At the outcome, Beaudry is defined as an important player in the world of French-Canadian popular songs and it is shown how translation and imitation can lead to a creative appropriation of a work reflecting both local and continental cultures.

Cette thèse est composée de quatre articles qui analysent l’évolution de l’analyse économique au sein de la Réserve fédérale et le développement des modèles macroéconométriques aux Etats Unis pendant les années cinquante et soixante. Le premier article, « Roosa et Samuelson sur l'efficacité de la politique monétaire », porte sur les différents types d'arguments utilisés par Robert Roosa (Banque de la Réserve Fédérale de New York) et Paul Samuelson (Massachussetts Institute of Technology) au sujet du rôle des banques dans l'efficacité de la politique monétaire au début des années cinquante. Roosa souligne l'importance de prendre en compte les caractéristiques du système financier des États­-Unis et son évolution. Son argumentation se fond sur l'intuition acquise dans son activité quotidienne sur le marché monétaire à New York. Samuelson, quant à lui, transforme le débat et le réduit à la question de l'existence d'un équilibre avec rationnement sur le marché du crédit. Bien que Samuelson n’ait pas proposé de modèle mathématique, il a ainsi orienté le débat dans une direction plus proche du langage des économistes, reposant sur les concepts d'équilibre et comportement rationnel. Dans le deuxième article, « La modélisation macroéconométrique et le comité sur la stabilité économique (CES) du SSRC, 19591963 », Erich Pinzón­Fuchs et moi­ même discutons l’élaboration d'un modèle qui a jeté les bases de la macroéconométrie des années soixante. Nous analysons, à l’aide de l’étude du travail individuel des chercheurs impliqués et des retranscriptions de leurs réunions annuels, comment le modèle a été construit par un groupe d’une vingtaine de chercheurs. Nous signalons l'importance des liens que ce projet a institué entre les économistes, différentes agences gouvernementales, et des think­tanks comme la Brookings Institution. Dans le troisième article, « Le comportement des banques dans les modèles macroéconométriques des années soixante », Goulven Rubin et moi­ même étudions l’intégration du choix de portefeuille pour les banques et le traitement du rationnement du crédit dans ces modèles. Nous démontrons que le modèle de la Réserve fédérale est plus transparent que les modèles précédents dans la mesure où la structure du marché monétaire est plus claire. Un effort a été réalisé pour clarifier le rapport entre les équations fonctionnaires de la Réserve fédérale pour explorer ces méthodes et leurs possibles usages pour guider la politique monétaire. estimées et les choix microéconomiques des banques. Par rapport au rationnement du crédit, nous soulignons l’effort des modélisateurs pour l'inclure dans les modèles malgré la difficulté à observer ce rationnement directement. Leurs efforts pour favoriser la mesure a permis d’inclure ce rationnement dans le modèle, mais avec des résultats limités en termes d’implication analytique du rationnement sur la politique monétaire. Dans le quatrième article, « La transformation de l'analyse économique à la Réserve fédérale pendant les années soixante », Béatrice Cherrier et moi ­même utilisons les données biographiques des fonctionnaires de la Réserve Fédérale, des témoignages, et des archives, pour montrer comment la modélisation économétrique et les prévisions ont trouvé une place au sein de la Réserve Fédérale. Nous montrons, en particulier, que l’arrivée de ces méthodes a été la conséquence des pressions externes mais aussi de la volonté des fonctionnaires de la Réserve fédérale pour explorer ces méthodes et leurs possibles usages pour guider la politique monétaire<br>This dissertation contains four papers that discuss the transformation of economic analysis at the Federal Reserve and the development of large-scale macroeconometric models during the 1950s and 1960s in the United States. The first paper is titled “Roosa and Samuelson on the effectiveness of monetary policy.” I discuss the different types of arguments used by Robert Roosa (Federal Reserve Bank of New York) and Paul Samuelson (MIT) in their discussion about the effectiveness of monetary policy in the early 1950s. Roosa emphasized the importance of lenders’ willingness to lend and, in general, of taking into account the details of the evolution of the American financial system. He presented an argument based on the intuition acquired in his participation—as an official of the New York Federal Reserve— in the New York money market. Samuelson, for his part, transformed the debate by reducing it to a discussion about the existence of an equilibrium with rationing in the credit market. Although Samuelson did not provide a mathematical model, he did transform the debate into a discussion palatable for economists, based on concepts like equilibrium and rational behavior. The second paper is titled “Macroeconometric modeling and the SSRC’s Committee on Economic Stability, 1959-1963.” Erich Pinzón-Fuchs and I discuss the construction of a macroeconometric model (1960-1963) that laid the bases for subsequent large-scale macroeconometric models of the 1960s. We discuss how, using an approach based on individual work together with two long annual conferences, the model was built by a team of more than 20 researchers. We also point out the important connections that the project helped establish between economists in academia, the government, and the Federal Reserve. The third paper is titled “Bank behavior in large-scale macroeconometric models of the 1960s.” Goulven Rubin and I discuss the implementation of a portfolio choice framework and the inclusion of credit rationing by banks in these models. We found that the Fed-MIT-Penn model has a more transparent structure: the structure of the money market is clearer, as is the relationship of its equations with the microeconomic choices of banks. Regarding credit rationing, we found that modelers made important efforts to include it despite its non-observable nature and to develop a measure of it. Once a measure was found, and despite constant negative results, modelers kept trying to find a place for credit rationing in their model. These results invite a deeper reflection on the idea of microfoundations in large-scale macroeconometric models and on the role of beliefs in macroeconometric modeling. The fourth paper is “The transformation of economic analysis at the Federal Reserve during the 1960s.” Béatrice Cherrier and I use biographical data, reminiscences, and archival sources to show how econometric modeling and forecasting found a place at the Federal Reserve. We show, in particular, that the arrival of these methods was in part the consequence of external pressures, but also of the will of Fed officials interested in exploring the possible uses of these methods for monetary policymaking. There was no simple takeover by econometricians at the Federal Reserve but, instead, an equilibrium between judgmental and econometric forms of analysis emerged by the early 1970s

The Bielsko-Żywiec Diocese started an ecumenical dialogue with other locally existing Christian denominations, including the most numerous Evangelical-Augsburg Church, in 1992. This dialogue has been conducted on three main fields: prayer, doctrinal and practical. This initiative sets an example of fullfilling our Lord’s last will:”(…)that they may be one” ( J 17, 22) for other regions of Poland. Analising the different fields of ecumenical dialogue one may say that an authentic ecumenical laboratory has been established on the area of the Bielsko-Żywiec Diosese.

Cette thèse, dont l'objectif est de faire prévaloir l'importance de la macro-économétrie dans l'histoire de la macro-économie, s'articule autour de deux questions centrales : (1) Quelles ont été les forces et les objectif qui ont motivé le développement de la modélisation macro-économétrique et quelle est la nature des outils et des institutions que les macro-économistes ont construit pour observer, comprendre et contrôler l'économie d'après-guerre aux États-Unis , (2) Quels ont été les effets de la construction et de l'utilisation de tels outils dans la production du savoir macro-économique ? En considérant Lawrence R. Klein comme une figure centrale, je parcours la discipline économique des années 1940-1950 en me focalisant sur l'intersection entre l'histoire de la macro-économie et celle de l'économétrie, et ainsi, je propose une nouvelle vision de 'économie du vingtième siècle en tant que discipline "saisie par les outils", dans laquelle la théorie (économique et statistique), l'application, l'expertise et la politique s'incorporent dans un même outil scientifique : un model macro-économétrique. j'expose donc l'histoire de la macro-économie non pas comme le produit des questions idéologiques monolithiques ou purement théoriques, mais plutôt comme le produit des visions épistémologiques et de stratégies de modélisation divergentes qui remontent aux débats entre les approches empiriques de la macro-économie étatunienne et les méthodologies Walrasienne et Marshallienne. Ainsi, je soutiens la thèse que Klein a été le personnage principal dans la création d'une nouvelle manière de produire le savoir macro-économique qui, à travers la construction et l'utilisation d'outils complexes (modèles macro-économétriques) mis en place au sein d'une configuration institutionnelle spécifique (laboratoires économétriques), poursuivait des objectifs explicites de politique économique, et par laquelle les rôles bien définis des experts (équipes scientifiques) étaient intégrées à une nouvelle pratique scientifique : la modélisation macro-économique<br>In this disseration, I place macroeconometric modeling at the center of the history of twentieth century macroeconomics, i. e. as e history of macroeconometrics, and ask two central questions : (1) What exactly were the objectives and the forces driving the development of macroeconometric modeling, and what kind of tools and institutions did macroeconomists build to observe, understand, and control the US postwar economy ? (2) What were the effects that the construction and use of these tools had on the production of macroeconomic knowledge ? Taking Lawrence R. Klein as a vehicle, I travel accross the economics discipline of the 1940s and 1950s, and study the intersection between the history of macroeconomics and the history of econometrics, providing a new understanding of twentieth century economics as a "tooled" discipline, in which theory (economy and statistical), application, expertise, and policy become embedded within one scientific tool : a macroeconometric model. Consequently, I present the history of macroeconomics not as the product of monolithic ideological and purely theoretical issues, but rather of divergent epistemological views and modeling strategies that go back to the debates between US-Walrasian and US-Marshallian approaches to empirical macroeconomics in which macroeconometric modeling from the heart of macroeconometrics. My thesis is that Klein what the most important figure in the creation of a new way to produce scientific knowledge that consisted in the construction and use of compex tools (macroeconometric models) within specific institutional configurations (econometric labotories) and for explicit policy and scientific objectives, in which well-defined roles of experts (scientific teams) were embodied within a new scientific practice (macroeconometric modeling)

Dissertação de Mestrado Integrado em Arquitectura, apresentada ao Departamento de Arquitectura da Faculdade de Ciências e Tecnologia da Universidade de Coimbra.<br>A presente dissertação tem como principal objectivo estudar e explorar três arquitectos ligados à arte/pintura, segundo uma conotação de “amor/ódio”. No entanto não é suposto estudar exaustivamente as suas vidas e obras, mas sim perceber onde é que a pintura se introduz no trabalho do arquitecto e que importância manifestou para o desenvolvimento do mesmo. Os presentes arquitectos foram Pancho Guedes1, Nadir Afonso e Le Corbusier. Guedes é claramente um arquitecto pintor, incapaz de trabalhar a pintura e a arquitectura separadamente. Apresenta uma obra baseada nas formas orgânicas da natureza, apropriando-se das linhas irregulares em constante metamorfose. O organicismo e o surrealismo são correntes que se manifestam unicamente no seu labor, o que provoca uma invocação a um contexto onírico. Nadir Afonso, arquitecto que abandona a sua profissão para se tornar pintor, define a sua obra pictórica através de uma busca fugaz pelas leis matemáticas e geométricas com a finalidade de alcançar a tão desejada harmonia. Produz pinturas durante toda a sua vida, encontrando no meio pictórico a liberdade, que segundo ele, não existia na arquitectura. Le Corbusier, detentor de uma personalidade complexa, produz a arquitectura não deixando de parte as suas outras paixões artísticas, nomeadamente a pintura. É um dos personagens mais importantes ligado à arquitectura de vanguarda do século XX, tendo desenvolvido uma infinidade de projectos arquitectónicos, pinturas e esculturas combinadas a um racionalismo constante, onde os traços reguladores, parte de um estudo intitulado Modulor, seriam determinantes para as suas produções.<br>The current thesis has its main focus on the study and understanding of three architects linked to art/painting, according to a connotation of “love/hate”. Nevertheless, it is not supposed to study exhaustively their lives and work, instead it’s important to understand in which ways painting is introduced in the architect work and its relevance on their self development. The architects are Pancho Guedes, Nadir Afonso and Le Corbusier. It is clear that Guedes is a painter architect, incapable of working painting and architecture separately. He presents a work based on organic shapes from nature, appropriating its irregular lines in permanent metamorphosis. The organicism and surrealism are currents that are exclusively manifested in his labour invoking a dream dimension. Nadir Afonso, an architect that abandoned his profession to become a painter, defines his pictorial work by an intense pursuit of the geometrical and mathematical laws in order to achieve the much desired harmony. He paints throughout his life, finding in the pictorial discipline the freedom that according to him, didn’t exist in architecture. Le Corbusier, holder of a complex personality, has an active work in the architecture discipline without leaving behind his other artistic passions, in particular painting. He is one of the most important characters linked with the vanguard architecture of the XX century, who developed an infinity of architectonic projects, paintings and sculptures combined to a continuous rationalism, where regulator traits, part of a study entitled Modulor, would be determinant for his work.

Dissertação de Mestrado em Estudos do Património apresentada à Universidade Aberta<br>Nadir Afonso (1920), personalidade multidisciplinar, pintor, ensaísta e arquitecto, constitui o objecto da presente investigação. A sua obra é, em grande parte, mal conhecida, pouco divulgada e deficientemente estudada. O objectivo deste trabalho visa contribuir para um melhor conhecimento e difusão da sua obra e, numa perspectiva alargada, estabelecer as relações entre a prática da pintura e a estética, debruçando-nos sobretudo, sobre a sua obra pictórica que surge relacionada com a temática da cidade. Ao longo do nosso trabalho, constatamos considerações infundadas que são tecidas em torno da obra plástica e estética devido à ilusão de conhecimento dos seus autores. Em contrapartida, esboçamos e transcrevemos fragmentos de textos estéticos de Nadir Afonso para rebater tais alegações. Apesar de se tratar de uma obra demasiado extensa, adquirimos um conhecimento alargado da maioria da sua produção artística, o que nos permite reconhecer o pioneirismo e a originalidade das soluções criativas e teóricas, e a consequente demonstração da importância da obra. Para o artista, todo o processo de criação artística obedece a um rigoroso trabalho de contemplação e meditação que culmina na procura da essência da arte, que considera ser, de origem matemática. A cidade constitui um tema constante na história da pintura do mundo ocidental e também na obra de Nadir Afonso. Revelaremos como as cidades reais ou imaginadas marcam a sua obra e são fruto de um aturado e perseverante trabalho. Mencionamos os fundamentos gerais da sua teoria estética, em que a representação do objecto não confere especificidade à obra de Arte.<br>Nadir Afonso (b. 1920), a multidisciplinary personality, painter, writer and architect, is the object of this research project. In the main, the body of this work is imperfectly known, scarcely disclosed and hardly studied. The aim of this undertaking is to contribute to a better understanding and dissemination of his work and from an enlarged perspective establish the relations between painting and aesthetics, concentrating above all on his pictorial output that appears in connection with the city as its theme. In our research we came across unfounded reflections fabricated about his plastic and aesthetic work, due to their authors’ delusions of knowledge. In response to this we have outlined and transcribed fragments of aesthetic texts by Nadir Afonso to refute such allegations. Although this is an excessively lengthy work, through it we have become comprehensively acquainted with most of his artistic production. This has allowed us to recognise his pioneering spirit and the originality of his creative and theoretical solutions and the consequent demonstration of the importance of his work. To the artist each process of artistic creation is done with meticulous attention to contemplation and meditation, which culminates in the search for the essence of art, which he believes is mathematical in origin. The city is an ever-present theme in the history of painting in the Western world and also in the work of Nadir Afonso. We will reveal how real or imaginary cities mark his work and are the result of a time-consuming and persevering task. We also provide an overview of his aesthetic theory, in which the representation of the object does not give specificity to the work of art.

Despite what the title suggests, Saskatchewan had a booming sex trade in its early years. The area attracted hundreds of women sex workers before Saskatchewan had even become a province in 1905. They were drawn to the area by the demands of bachelors who dominated Canada's prairie west. According to Saskatchewan's moral reformers, however, the sex trade was a hindrance to the province's Christian potential. They called for its abolishment and headed white slavery campaigns that characterized prostitution as a form of slavery. Their approach stood in contrast with law enforcement's stance on the trade. The police took a tolerant approach, allowing its operation as long as sex workers and their clients remained circumspect. Law enforcement's approach reflected their own propensity to use the services of sex workers as well as community attitudes toward the trade. Some communities were more welcoming of sex workers, while others demanded that police suppress the trade. Saskatchewan's newspapers also reflected differing attitudes toward the trade. While Regina's Leader purveyed a no tolerance view of the sex trade, Saskatoon's Phoenix and Star held more tolerant views. Saskatchewan's newspapers reveal that as the province's population increased and notions of moral reform gained popularity, police were challenged to take a less tolerant approach. However, reformers' efforts to end the sex trade dwindled with the onset of the First World War and attitudes toward sex workers shifted drastically as responsibility for venereal disease was placed largely on women who sold sex. Using government and police records, moral reform and public health documents, and media sources such as newspapers, as well as intersectional analysis of gender, race, class, and ethnicity, this examination of Saskatchewan’s sex trade investigates the histories and social responses to the buying and selling of sex, revealing the complex and, at times, contradictory place of sex workers and the sex trade in Saskatchewan’s early history.

This study explores the forms and understandings of family that prevailed among British professionals who migrated to Australasia in the late-nineteenth and early-twentieth centuries. As children of the mid-Victorian age, their attempts to establish and define family in a colonial suburban environment contribute to our understanding of how the public and private dichotomy posed in the notion of separate spheres was modified in practice. The term 'experiment' employed in the title is borrowed from William Pember Reeves's influential State Experiments in Australia and New Zealand (1902). It is used here to suggest that, in different ways, the five families of this study sought to establish, in colonial circumstances, the conditions that would promote social progress more speedily than the old world seemed capable of doing. The attitudes and assumptions that shaped these family experiments, this study argues, may be placed on a continuum that extends from John Ruskin's concept of evangelical motherhood to John Stuart Mill's rational secularism, which sought a pooling of talent in the quest for the reproduction of the useful and cultured citizen. Central to the thinking of all families was a belief in the power of education to produce civilised and humane individuals, who would individually and in concert nurture a better society. A defining characteristic of this shared conviction was an emphasis upon the education of daughters. This preoccupation produced changes in maternal and paternal roles within the family. Contemporaneous with the emergence of what colonial newspaper editorialists dubbed 'the woman question', the middle-class pursuit of higher education for daughters merged with and, in some respects, defined first-wave colonial feminism. As pioneering families in the quest for university education for women, they became the first generation of colonial middle-class parents to grapple with the problem of what graduate daughters might do next. This dilemma highlighted the ambiguities and hesitations of their class and generation: how might the conception of the family as an instrument of social progress embrace occupational relationships within marriage? The quest for the civilised and cultured individual produced, in the education of their sons, the phenomenon of the colonial student at a British university. Variously seen by historians as part of a process of recolonisation or evidence of a persistent colonial cringe, within the professional middle-class examined here it emerged as part of a natural evolution of an educational ideal. In pursuit of this ideal, the colonials drew upon the resources of such an extended British family as remained available to them. In this, as in much else, they were venturing into experimental territory largely uncharted, unpredictable in its outcome and as much a part of the embryonic history of the transnational family as it is of colonialism.