Dissertations / Theses: 'Census, 1898'

1

Panchón, Hidalgo Marian. "Traducción, censura y recepción de la literatura surrealista francesa en España (1959-1975)." Thesis, Toulouse 2, 2018. http://www.theses.fr/2018TOU20083.

Full text

Abstract:

Ce travail a pour objectif d’analyser la traduction, la censure et la réception de six œuvres des écrivains surréalistes Louis Aragon et André Breton en Espagne pendant le second franquisme (1959-1975). La traduction des livres d’Aragon et de Breton en Espagne peut être perçue comme un des signes de l’ouverture de la société espagnole qui s’amorce dans les années 60, vers la fin du franquisme, et qui annonce la fin de ce régime autoritaire et la transition démocratique du pays. À son échelle, elle prend place parmi d’autres manifestations de cette ouverture : l’essor du tourisme qui met la société espagnole en contact avec des cultures politiques et des styles de vie différents, une tolérance plus grande vis-à-vis de la religion, une plus grande liberté des mœurs, le pluralisme politique, l’influence du marxisme, etc.Les ouvrages de notre corpus, que le régime considère comme dangereux, ont été critiqués et censurés par l’appareil censorial de cette dernière étape de la dictature, même si finalement les publications ont pu voir le jour dans ce pays. Avant d’examiner les dossiers de censure de ces textes à l’Archivo General de la Administración (AGA) à Alcalá de Henares, nous avons d’abord cherché des informations sur les maisons d’édition et les traducteurs intéressés par la publication de ces auteurs, accusés d’être dissidents et marxistes par la dictature. Nous avons ensuite réalisé une minutieuse analyse des textes afin de comparer le texte original au texte cible en établissant si une autocensure préalable a eu lieu. Nous avons également consacré une partie de notre thèse à l’étude des erreurs
This doctoral thesis aims to analyze the translation, censorship and reception of six literary works of the surrealist writers Louis Aragon and André Breton in Spain during the period of Second Francoism (1959-1975). The translation of Aragon’s and Breton’s books in Spain can be perceived as one of the signs of the opening of Spanish society that begins in the ‘60s, around the end of Francoism, and announces the end of this authoritarian regime and the democratic transition of the country. In its own way, this translation occurs alongside other manifestations of this openness: the rise of tourism that puts Spanish society in contact with varied political cultures and with different lifestyles, greater tolerance regarding religion, greater freedom from traditional moral norms, political pluralism, the influence of Marxism, etc.The books of our corpus, that the regime considered dangerous, had been criticized and censored by the dictatorship’s entire censor apparatus during this late period even as these publications were finally being read in Spain. Before examining the censorship files of these texts at the Archivo General de la Administración (AGA) in Alcalá de Henares, we firstly looked for information about the publishing houses and translators interested in the publication of the authors accused of being dissidents and Marxists by the dictatorship.We then conducted a meticulous analysis of the texts in order to compare the original text to the target text and determine if any previous self-censorship was done by translators or publishing houses.We dedicated a part of our thesis to the study of translation mistakes: inadequacies that affect the source text’s comprehension (omission, false sense, inconsistency, nonsense, not the same sense, addition, suppression, poorly resolved extralinguistic/cultural reference), inadequacies that affect the target language expression (orthography and punctuation, grammar, lexical, textual aspects and writing) and pragmatic inadequacies (the chosen method and the textual genre and its conventions, etc.). We have also examined the reception of these works in the ABC conservative newspaper as well as in the Triunfo progressive literary magazine in order to observe the reception of these publications in Spain during this transitional period
Este trabajo de investigación tiene como objetivo analizar la traducción, censura y recepción de seis obras de los escritores surrealistas Louis Aragon y André Breton en España durante el segundo franquismo (1959-1975).Las traducciones de los libros de Aragon y de Breton en España pueden percibirse como uno de los signos de la apertura de la sociedad española que se inicia en los años sesenta, hacia el final del franquismo, y que anuncia el fin de este régimen autoritario y la transición democrática del país. La traducción de estos autores puede inscribirse dentro de otras manifestaciones características de dicha apertura: el auge del turismo, que pone en contacto a la sociedad española con otras culturas políticas y con estilos de vida diferentes, una mayor tolerancia relativa a la religión, una mayor libertad de costumbres, un pluralismo político, la influencia del marxismo, etc. Las publicaciones de nuestro corpus, que el régimen tildó de peligrosas, fueron criticadas y censuradas por el aparato censor, aunque finalmente estos textos pudieron ver la luz en España durante esta última etapa de la dictadura. Antes de examinar los expedientes de censura de estos libros en el Archivo General de la Administración (AGA) en Alcalá de Henares, hemos buscando primero información sobre las editoriales y los traductores interesados en publicar a estos escritores, acusados de ser disidentes y marxistas por la dictadura. Además, hemos realizado un minucioso análisis con el fin de comparar el texto original con el texto meta para así saber si existió una autocensura previa. También hemos dedicado una parte de nuestra tesis al estudio de los errores de traducción: las inadecuaciones que afectan a la comprensión del texto original (omisión, falso sentido, contrasentido, sin sentido, no el mismo sentido, adición, supresión, referencia extranlingüística/cultural mal resuelta e inadecuación de variación lingüística),las inadecuaciones que afectan la expresión en la lengua de llegada (ortografía y puntuación, gramática, léxico, aspectos textuales y redacción) y las inadecuaciones pragmáticas (el método elegido y el género textual y sus convenciones, etc.). Asimismo, hemos examinado la recepción de estas obras en el periódico conservador ABC y en la revista literaria progresista Triunfo con el objetivo de observar la recepción de estas publicaciones en España durante este período de cambio

APA, Harvard, Vancouver, ISO, and other styles

2

Vidal, Coy José Luis. "El círculo cerrado. Cobertura informativa de los conflictos internacionales de Estados Unidos en un siglo (1898-1991): Poder político y censura." Doctoral thesis, Universidad de Murcia, 2006. http://hdl.handle.net/10803/10902.

Full text

Abstract:

Las relaciones entre los poderes político-militares y los medios de comunicación en Estados Unidos han cambiado a la misma velocidad vertiginosa a la que, durante el siglo XX, evolucionaron las técnicas y las coberturas informativas. La censura militar se inició en la Guerra de Secesión de Estados Unidos (1861-1865), pero después el círculo de control se abrió desde la Guerra entre España y Estados Undos en Cuba y Puerto Rico (1895-1898), hasta la Guerra del Golfo contra Irak (1991) y los ataques terroristas del 11-S (2001). Lo que empezó como un asunto abierto en la Guerra de Cuba la práctica inexistencia de censura evolucionó sinuosamente a través de las relaciones del establishment político-militar de Estados Unidos y sus medios de comunicación. Más adelante en el siglo XX, pasó de la aparición de la propaganda en la Primera Guerra Mundial a la simbiosis casi total entre medios y estblishment político-militar en la Segunda conflagración mundial. Después, siguió la evolución con las primeras divisiones registrada al final de la II Guerra Mundial y en el conflicto de Corea, resultando en el enfrentamiento total entre los medios de comunicación y el establishment político-militar a raíz de la guerra de Vietnam, para terminar en el nuevo cierre del círculo con el control casi total de los medios impuesto por el Pentágono en la Guerra del Golfo contra Irak de 1991.
The relationship in between the political and military powers and the mass media in the United States has changed as quickly as during the 20th Century evolved the techniques and the press coverage of events. The military censorship began during the Secession War in the United States (1861-1865). Later on the control circle was well wide open since the Spanish-American War in Cuba and Puerto Rico(1895-1898) until it was steadely locked in the Gulf War (1991) and the aftermath of the terrorist attacks against the Trade World Center and the Pentagon (9/11/2001). What started as an open subject in the Spanish-American War, the non-existent censorship evolved sinuousely through the relations of the U.S.A. political and military powers with its own mass media. From that point, It went from the rise of propaganda in the first World War to the whole symbiosis registered in the Second World War. Further on the evolution followed whith the first recorded divisions at the end of that same World War and during the military conflict in Corea aswell, originating a permanent quarrel between the media and the military and political establishments due to the Vietnam War coverage, and ending in the new closure of the circle with the nearly total control imposed by the Pentagon on the media from the very begining of the 1991 Gulf War against Irak.

APA, Harvard, Vancouver, ISO, and other styles

3

Iglesias, Mira Antonio. "Ricard Salvat en Portugal: Brecht, Castelao e a sua época e censura." Doctoral thesis, Universitat de Barcelona, 2017. http://hdl.handle.net/10803/458764.

Full text

Abstract:

Durante o curso académico de 1968/69, o grupo de teatro universitario Circulo de Iniciação Teatral da Academia de Coimbra (CITAC) contrata como director artístico ao catalán Ricard Salvat. Este era unha figura destacada polo seu traballo coa Escola de Arte Dramàtica Adrià Gual (EADAG) e pola súa vertente como profesor e ensaísta, así como polo seu coñecemento das teses teatrais de Bertolt Brecht. Salvat é contratado para realizar un traballo pedagóxico, cun curso de libre inscrición de historia do teatro, e un traballo artístico, coa preparación de dous espectáculos co CITAC. O primeiro destes espectáculos, titulado Brecht + Brecht, aborda as teses brechtianas dun modo práctico ao tempo que reflexiona sobre acontecementos históricos como o crack da bolsa de 1929, sendo acollido polo público con grande interese. O segundo espectáculo estaba destinado a ser unha ambiciosa montaxe, relacionada co teatro épico e o teatro documento e con colaboradores estranxeiros do nome de Luís Seoane ou Isaac Díaz Pardo e a colaboración de músicos como José Niza. Este proxecto, titulado Castelao e a sua época (CSE), pretendía ser un diálogo entre culturas ibéricas centrado na figura de Alfonso Daniel Rodríguez Castelao, político e artista galego. O texto dramático do espectáculo estaba formado por máis de 140 textos autónomos. Eses textos son de autores, entre outros, como Rosalía de Castro, Joan Maragall, Federico García Lorca, Almada Negreiros ou André Bretón, pertencentes a diferentes campos culturais destacando a presenza portuguesa, galega e catalá. Infelizmente para o traballo de Salvat, o curso 1968/69 sería lembrado en Coímbra pola Crise Académica de 1969, onde os estudantes se enfrontaron ás autoridades universitarias nun dos desafíos máis famosos á ditadura portuguesa. A policía do Estado Novo, Policia Internacional e de Defesa do Estado (PIDE), nun ataque contra o movemento estudantil, prende e expulsa a Salvat do país o que, sumado á anterior negativa de autorización para a representación de CSE que fora levada polos servizos de censura, fixeron con que o traballo deste segundo espectáculo se perdese. Despois do acontecido, a memoria de CSE foise perdendo co tempo. Con esta investigación tentamos recuperar, case 50 anos despois da suposta estrea de CSE, o traballo de Salvat en Coimbra, polo que abordamos un estudo do seu curso de teatro, das principais teses teatrais que impulsaban a súa actividade artística en 1969 e presentamos unha edición crítica e comentada do texto dramático de CSE, até o de agora inédito, partindo dos materiais de traballo do grupo e da versión enviada á censura para a súa avaliación. Estudamos tamén as marcas que a censura deixou sobre ese texto así como outros materiais da PIDE sobre director e identificamos as consecuencias artísticas e culturais que dese proxecto falido naceron.
During the 1968/69 academic year, the university theatre group Circulo de Iniciação Teatral da Academia de Coimbra (CITAC) hired the Catalan playwright Ricard Salval as artistic director. He was well-known for his work at the Escola de Arte Dramática Adrià Gual (EADAG), and for his activities as a teacher and essayist. Salvat was hired to teach a free registration course on the history of theatre and coordinate two shows at CITAC. The first show, Brecht+Brecht, represented the most serious approach to Brechtian theses made in Portugal until then, and was therefore received by the public with great interest. The second show, Castelao e a súa época (CSE), was conceived as a grand performance combining epic theatre and documentary theatre, and encouraging an Iberian cultural dialogue on the figure of the Galician artist and politician, with the help of artists such as Luís Seoane, Isaac Díaz Pardo and Jose Niza. This drama was composed of 142 autonomous texts written by authors from various literary fields such as Rosalía de Castro, Federico García Lorca, Joan Maragall, Almada Negreiros and André Breton. Unfortunately, the preparation and premiere of this show coincided with a moment of special tension in Portugal known as the 1969 academic crisis. Thus, in an attack on the academic movement, the autorities of the Estado Novo (New State) banned the performance and Ricard Salvat was expelled from the country. Later, the memory of the project was gradually lost. Our research has recovered Salvat’s work in Coimbra, nearly fifty years after the intended premiere of CSE. We have studied his theatre course and the main characteristics of his artistic activity in 1969. Here, we provide a critical and commented edition of the dramatic text of CSE, unpublished until now, based on the materials of the group and on the version delivered to censors for evaluation. We have also examined the marks of censorship in the text and other materials collected by the Portuguese International and State Defense Police (PIDE) about the group director. Lastly, we have identified the artistic and cultural consequences arising from this unsuccessful project.

APA, Harvard, Vancouver, ISO, and other styles

4

Azevedo, Reis E. de. "The spatial demography of Portugal in the late nineteenth century : Evidences from the 1864 and 1878 censuses." Thesis, University of Southampton, 1987. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.378859.

Full text

APA, Harvard, Vancouver, ISO, and other styles

5

Silva, Silvia Cristina Martins de Souza e. "As noites do ginasio : teatro e tensões culturais na corte (1832-1868)." [s.n.], 2000. http://repositorio.unicamp.br/jspui/handle/REPOSIP/280978.

Full text

Abstract:

Orientador: Sidney Chalhoub
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
Made available in DSpace on 2018-07-27T03:10:20Z (GMT). No. of bitstreams: 1 Silva_SilviaCristinaMartinsdeSouzae_D.pdf: 9118245 bytes, checksum: 199979277e429fb43b0df2111e2ca2fc (MD5) Previous issue date: 2000
Resumo: Não informado
Abstract: Not informed
Doutorado
Doutor em História

APA, Harvard, Vancouver, ISO, and other styles

6

Allen, Mark Andrew. "A railway revolution? : a census-based analysis of the economic, social and topographical effects of the coming of the railway upon the city of Winchester c.1830-c.1890." Thesis, University of Southampton, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.550225.

Full text

Abstract:

The census enumerators' books (CEBs) of Winchester between 1841 and 1891 are the focus of this thesis. They are examined, in association with other records like trade directories, share contracts and visual evidence of photographs, maps and plans, to track aspects of the economic, social and topographical development of Winchester, with specific reference to the effect of the railways in the later nineteenth century. Surviving rail company records of passengers and freight for this period are scarce and so the census is used to indicate a tangible yet difficult to quantify effect: the impact of the railways upon a city that was neither a railway town nor an industrial centre. The census provides evidence of the structure of the de facto population on census night every ten years, and the CEBs show this detail at the level of the individual. It therefore provides a revealing picture of change and continuity in the city at a time when it experienced its most momentous demographic change since medieval times. As such, the analysis contained within is of relevance to people studying both nineteenth century history and the post-medieval history of Winchester. The methodology employed in this work, a sourceoriented KAE1CD database, is a product of the techniques employed by those working in historical computation. The study uses almost 2 million pieces of information in a database covering a continuous run of 50 years of censuses, allowing both a broad and detailed analysis of the data to take place. Using evidence from CEBs as well as concomitant local sources, this thesis questions the extent to which the railway did affect the city. It finds that despite the redistribution of a larger population throughout the city and many changes in the economic and topographical structure of the city, it is rarely possible to expose a quantifiable influence of rail transport.

APA, Harvard, Vancouver, ISO, and other styles

7

Villalta, Luiz Carlos. "Reformismo Ilustrado, censura e práticas de leitura: usos do livro na América Portuguesa." Universidade de São Paulo, 1999. http://www.teses.usp.br/teses/disponiveis/8/8138/tde-14122009-115825/.

Full text

Abstract:

Esta tese propõe-se a investigar os usos do livro na América Portuguesa, fazendo referências também a Portugal. Embora concentre-se nos anos compreendidos entre 1750 e 1822, para compreender as especificidades deste mesmo período, recua quando necessário ao século XVI. Primeiramente, apresenta um quadro das referências culturais e dos alvos de ataque da censura portuguesa e dos leitores no período do Reformismo Ilustrado: de um lado, as teorias corporativas de poder da Segunda Escolástica, os milenarismos e o anti-cientificismo e, de outro, a Ilustração e, ainda, as linhas gerais do Reformismo Ilustrado português, de Pombal ao Príncipe Regente D. João VI. Em segundo lugar, focaliza a atuação da censura e da Coroa em relação aos livros, isto é, os usos prescritos e interditados, avaliando os parâmetros censórios e suas modificações sob o Reformismo Ilustrado; acompanhando as práticas de controle e, inversamente, de difusão que afetaram a circulação e a posse de livros; e, ainda, examinando as concessões de licença para a leitura de livros proibidos. Por fim, aborda os usos do livro no mundo luso-brasileiro, através da análise da distribuição da posse de livros e da composição das bibliotecas; depois, da identificação das concepções de uso formuladas pelos próprios leitores; e, em seguida, examinando as práticas de leitura que acompanharam a formulação de proposições heréticas e, de forma mais particularizada, a Conjuração de Minas Gerais, avaliando os pesos respectivos da influência das Luzes e de outras referências culturais.
This thesis proposes a research about the uses of books in Portuguese-America with reference to Portugal also. Although it concentrates in the years between 1750 and 1822, it goes back to the sixteenth Century to understand particular characteristics of the later period. Firstly, it presents a series of cultural references and some practices of the Portuguese censorship with readers during the period of the Enlightened Reformism. On one hand, there were the corporate theories of power from the Second Scholastic, the millennium beliefs and the anti-scientificism, and, on the other hand, the Enlightenment and the main characteristics of the Portuguese Enlightened Reformism, since the rule of marquis of Pombal until that of the Regent Prince D. João VI. Secondly, it focuses on the practices censorship and the Crown in relation to books - that is, the prescribed and prohibited use which evaluated the parameters that established censorship and their modifications under the Enlightened Reformism. Also it accompanies the controlling practices and the diffusion practices that affected the circulation and the possession of books and examines the concession of licenses for the reading of prohibited books. Finally, it incorporates the uses of books in the Portuguese-Brazilian world through, the analysis, lastly, of the distribution of the possession of books and the composition of libraries and the conceptions identified and formulated by the readers themselves. Concluding, the practices that accompanied the formulation of heretic proposals and the Inconfidência Mineira are examined and specifically the different influences of the Enlightenment and other cultural influences.

APA, Harvard, Vancouver, ISO, and other styles

8

Bonfanti, Kátia. "Cenas do espaço escolar: um convite a reolhar as práticas e suas aprendencias na educação para a cidadania." Universidade do Vale do Rio do Sinos, 2006. http://www.repositorio.jesuita.org.br/handle/UNISINOS/1889.

Full text

Abstract:

Made available in DSpace on 2015-03-04T19:56:49Z (GMT). No. of bitstreams: 0 Previous issue date: 11
Universidade do Vale do Rio dos Sinos
Esta dissertação teve o propósito de efetuar estudos sobre cenas do espaço escolar, através da vivência junto aos gestores, educadores, alunos e comunidade da Escola Flôres da Cunha, no município de Esteio, Rio Grande do Sul. O projeto da Escola, nos seus espaços físicos e político-pedagógicos, constituiu a questão central investigada, bem como a relação destes, com a construção da cidadania. A averiguação se valeu de observação participante, questionários, entrevistas semi-estruturadas e documentos da escola, como o PPP e os registros feitos a partir dos conselhos participativos. Através do conjunto de cenas analisados nessa dissertação, convido o leitor interessado a discutir a relação das cenas do cotidiano escolar, em especial, as do espaço externo, contrapondo às diretrizes estabelecidas no Projeto Político Pedagógico que definiu as ações, concepção de educação e de cidadania na comunidade escolar
This dissertation had the purpose of making studies on scenes of the school space, through the existence close to the managers, educators, students and community of School Flôres da Cunha, in the municipal district of Shore, Rio Grande do Sul. The project of the School, in their physical and political-pedagogic spaces, constituted the investigated central subject, as well as the relationship of these, with the construction of the citizenship. The verification was been worth of participant observation, questionnaires, semi-structured interviews and documents of the school, as PPP and the registrations done starting from the pieces of advice participant. Through the group of scenes analyzed in that dissertation, invited the interested reader to discuss the relationship of the scenes of the daily school, especially, the one of the external space, opposing to the established guidelines in the Pedagogic Political Project that it defined the actions, education conception and of citizenship in the school community

APA, Harvard, Vancouver, ISO, and other styles

9

Myconiou-Drybetas, Anna. "Paul Eluard - Odysséas Elytis : étude comparative, le passage d'une adolescence poétique aventureuse à une maturité plus censée et plus sage." Paris 4, 1990. http://www.theses.fr/1990PA040062.

Full text

Abstract:

Les oeuvres poétiques de Paul Eluard et d'Odysséas Elytis présentent des ressemblances remarquables surtout au niveau de la stylistique. La poésie éluardienne a fortement impressionné le poète grec tout en l'aidant à prendre conscience des tensions qui préexistaient en lui et à former sa propre parole poétique. ELuard et Elytis,ayant débuté tous les deux dans le surréalisme et ayant été influencés par les mêmes événements traumatisants de la Deuxième Guerre mondiale,passent à leur maturité après 1945 et trouvent l'expression de leur voie chacune basée sur des principes particuliers. L'analyse des thèmes fondamentaux (la lumière,la nature,la femme) autour desquels s'organisent les univers poétiques d'Eluard et d'Elytis nous a permis de mettre en évidence les points communs ainsi que les différences des principaux axes de leurs conceptions cosmiques
The poetries of Paul Eluard and Odysseas Elytis present remarkable ressemblances mainly in the level of stylistics. .

APA, Harvard, Vancouver, ISO, and other styles

10

Corriou, Morgan. "Un nouveau loisir en situation coloniale : le cinéma dans la Tunisie du protectorat (1896-1956)." Paris 7, 2011. http://www.theses.fr/2011PA070069.

Full text

Abstract:

Cette étude porte tant sur l'économie de la distribution et de l’exploitation que sur les pratiques des spectateurs tunisiens, français et italiens en situation coloniale. Dans une première partie nous analysons 1 implantation du cinématographe en Tunisie. Un public tunisien musulman émerge dès le début du XXe siècle et participe d'une culture urbaine moderne en plein essor Mais cette nouvelle forme de loisir trouve également sa place dans des pratiques religieuses et traditionnelles A partir de 1922, les cinémas se multiplient dans les quartiers « européens » comme dans les médinas. Nous insistons plus particulièrement sur la place des Italiens et des Tunisiens juifs dans secteur de l'exploitation. Dans une deuxième partie, nous abordons les décennies 1930 et 1940 période caractérisée par l'immixtion du politique. La résidence générale tourne son regard vers un loisir qui attire toujours plus de spectateurs et engage des intérêts économiques de plus en plus considérables. L'arrivée du parlant provoque une rupture car les films tendent de plus en plus à être identifiés comme des produits nationaux. Nous décrivons ici la salle comme un nouvel espace public. Les enjeux sociaux caractérisent davantage la dernière période qui va de 1946 (date de naissance du Centre cinématographique tunisien) à l'Indépendance. Lieu de la contestation politique dans les années 1930 et 1940, la salle de cinéma agit dans l'après-guerre comme un catalyseur des bouleversements sociaux à l'œuvre : conflit des générations ; évolution des rapports hommes/ femmes ; et, surtout, émergence d'une jeunesse éduquée appelée à devenir un acteur majeur dans la construction du futur état
My aim has been to explore both the economies of cinema in Tunisia during the colonial era and the social experience of films by Tunisian, French and Italian audiences. The first part of my dissertation deals with the early beginnings of cinema in Tunisia. I argue that a Tunisian audience existed as early as the beginning of the 20 century. These filmgoers took part in a burgeoning urban life. But this new form of entertainment also found its way into religious and traditional practices. From 1922 onwards, cinemas expanded in the "European" areas as well as in the medinas. I notice the involvement of Italians and Tunisian Jews in the cinema industry. In a second part, I investigate the 1930s and the 1940s, a period characterized by the intrusion of politics in the film business and the cinemas. The arrival of sound film implied a break as films became more and more identified as a national product. I describe cinemas as a new public space. Social issues characterize the last period that runs from the post-war years until Independence in 1956. In the aftermath of World War II, the cinemas stood out as an important venue for social evolutions rather than for direct political protests. Film going revealed slow changes in gender relationships, a growing generation gap and, above all, the rise of an educated Tunisian youth

APA, Harvard, Vancouver, ISO, and other styles

11

Chtcherbakova, Olga. ""Voyage au bout de la nuit" de L. -F. Céline : traduction et réception en Russie." Paris 4, 2009. http://www.theses.fr/2009PA040065.

Full text

Abstract:

Toute traduction est datée : elle reflète son époque et nous renseigne sur le profil des lecteurs pour lesquels elle est réalisée. Le système de codes esthétiques dans lequel apparaît l’œuvre change, la réputation de l’auteur est faite, le contexte politique n’est plus le même : une retraduction s’impose. Le destin réservé au premier roman de Louis-Ferdinand Céline en Union soviétique est révélateur à cet égard. En 60 ans, trois traductions russes de Voyage au bout de la nuit virent le jour : la première fut réalisée par Elsa Triolet (1934), la deuxième est signée Jurij Korneev (1994) et la plus récente est le fruit d’une collaboration entre Alexandra Junko et Jurij Gladilin (1995). Parmi ces trois versions russes du Voyage, nous avons accordé une importance particulière à la traduction d’Elsa Triolet, contemporaine et compatriote de Céline. C’est grâce à elle que le Voyage a pu paraître juste à temps : en 1936, après la sortie de Mea culpa, sa publication en Russie n’aurait plus été possible. Remue-ménage du prix Goncourt et ironie des chroniqueurs avaient constitué l’arrière-plan de la sortie tapageuse du Voyage. Sa réception risquait d’être aussi tumultueuse en U. R. S. S. Mais les conditions étaient très différentes et, dans un pays dominé par l’idéologie, il n’y avait pour la traduction de Triolet qu’une seule issue possible : tenter de s’inscrire dans la production littéraire de ce nouveau monde soviétique. Korneev, Junko et Gladilin ignorent ce contexte de pesanteur. Venues trop tard pour le lecteur russe, leurs traductions n’avaient plus la même portée que le Voyage lors de sa parution 60 ans auparavant
A translation is rooted in its time: it reflects its birth date and gives us insight on its intended readers. When the aesthetic code changes, when the author’s reputation is made, when the political context is different, a new translation is needed. The case of Louis-Ferdinand Celine’s first novel, making its way into the Soviet Union, is significant. Three translations into Russian of the Journey to the end of the night have been published in the course of 60 years: the first by Elsa Triolet (1934), the second by Jurij Korneev (1994) and the third through the collaboration between Alexandra Junko and Jurij Gladilin (1995). We have laid emphasis on Elsa Triolet’s translation as she was Celine’s contemporary and compatriot. Thanks to her, the Journey could be published just-in-time: in 1936, after the publication of Mea Culpa, it could not longer have been authorized in Russia. Background to the tumultuous publication in France of the Journey was the Goncourt Prize and the irony displayed by the chroniclers. In the USSR, its reception was likely to be as stormy. But the situation was quite different: in a country where ideology was the key word, Elsa Triolet’s translation had to insert itself in the literary production of the new Soviet environment. Korneev, Junko and Gladilin had not to experience the same burden. But as they came too late for the Russian reader, their translations couldn’t have the same scope as the Journey when it was first published 60 years before

APA, Harvard, Vancouver, ISO, and other styles

12

Catéora-Lemonnier, Delphine. "Le baiser selon Alfred Hitchcock." Paris 8, 2014. http://www.theses.fr/2014PA084096.

Full text

Abstract:

Alfred Hitchcock, le réalisateur des plus grands films à suspense de l’histoire du cinéma, s’avère être aussi le réalisateur de grands films d’amour. De film en film, revient chez lui l’idée qu’il est vital pour chaque héros, homme ou femme, de faire couple. C’est grâce à cette union que le héros solitaire, immature et égocentrique, menacé de mort, accusé le plus souvent d’un crime qu’il n’a pas commis, sera en mesure d’affronter toutes les épreuves de la vie. Cette idée est si présente que nous la qualifions d’obsédante. Chez Hitchcock, comme dans les contes de fées, c’est grâce à son union avec l’autre que le héros, qui n’a pas encore atteint une maturité suffisante, pourra devenir adulte. De plus, la sécurité affective qu’il pourra trouver dans son couple sera seule en mesure d’apaiser véritablement ses angoisses. Tout au long de sa carrière, Alfred Hitchcock resta fidèle à son idée de l’amour montrant que l’homme et la femme, en s’unissant, parviennent à se sauver d’une existence vide de sens. C’est dans ses très nombreuses scènes de baiser qu’Alfred Hitchcock a su le mieux exprimer son idée du couple. Ces scènes célèbrent l’union tant espérée entre son héros et son héroïne, mais racontent aussi toutes les difficultés qu’ils peuvent avoir à vivre leur amour. A Hollywood, Hitchcock réalisa davantage de films d’amour et respecta les règles esthétiques implicitement instaurées depuis les années 1920 pour ces scènes, mais le cinéaste créa rapidement son propre style. En ce qui concerne le code Hays, nous avons constaté que les choses sont plus complexes que ce qui est habituellement raconté, notamment à propos de la célèbre scène de baiser dans "Notorious" ("Les enchaînés")
Alfred Hitchcock, the director of the biggest thrillers of the cinema history, turns out to be also the director of big romances. It is vital for every hero, man or woman, to make couple; it’s the recurring idea of his movies. It is thanks to this union that the lonely hero, immature and egocentric, threatened with death, in most of cases accused of a murder which he did not commit, will be able to face every trial of life. This idea is so current in Hitchcock’s that we describe it as obsessive. In Hitchcock’s, as in fairy tales, it is thanks to his union with the other that the hero, who has not reached a sufficient maturity yet, can become an adult. Furthermore, only the emotional security which he can find in his couple will be really able to calm his fears. Throughout his career, Alfred Hitchcock stood by his idea of love showing that the man and the woman by bringing together succeed in saving each other from a meaningless existence. In his very numerous kiss scenes, Alfred Hitchcock clearly expresses his idea of the couple. These scenes celebrate the so hoped union between his hero and his heroine, and tell how they have difficulty living their love. In Hollywood, Hitchcock directed more romances and complied with the esthetic rules implicitly laid down since the 1920’s for these scenes, but quickly the filmmaker created his own style. Concerning the Hays code, we observed that things are more complicated than what is usually told, especially about the famous kiss scene in "Notorious"

APA, Harvard, Vancouver, ISO, and other styles

13

Lefils-Boscq, Marie-Claire. "La librairie parisienne sous surveillance (1814-1848) : imprimeurs en lettres et libraires sous les monarchies constitutionnelles." Versailles-St Quentin en Yvelines, 2013. https://janus.bis-sorbonne.fr/login?url=https://doi.org/10.15122/isbn.978-2-406-07312-3.

Full text

Abstract:

Au temps des dernières monarchies françaises, la surveillance de la librairie s’appuie sur les textes fondateurs que sont le décret napoléonien du 5 février 1810 et la loi promulguée par Louis XVIII le 21 octobre 1814. Dans la capitale, centre des pouvoirs politiques et culturels de la France, imprimeurs et libraires parisiens font l’objet d’un contrôle particulièrement serré, orchestré par l’administration de la Librairie. Un imprimeur en lettres ou un libraire n’est autorisé à exercer qu’à condition de détenir un brevet, titre professionnel personnel, délivré par le roi sur proposition du ministre de tutelle de la Librairie. Le brevet constitue un instrument-clé dont se sert la Librairie pour asseoir son autorité. Par celui-ci, elle contrôle l’ « entrée en librairie » et elle peut brandir la menace de son retrait vis-à-vis des professionnels en exercice. Les inspecteurs de la Librairie ainsi que les commissaires de police se rendent dans les ateliers d’imprimerie et les boutiques, librairies et cabinets de lecture, pour contrôler le respect des procédures légales et la nature des ouvrages proposés au public. Au cours des différents règnes, de nouvelles lois complètent l’arsenal juridique en définissant les crimes et délits qui, en matière de publications, sont passibles de sanctions ainsi que le « tarif » des peines – amendes et emprisonnement – afférentes. L’étude de la surveillance de la librairie de 1814 à 1848 souligne les inflexions politiques d’un pouvoir monarchique hésitant entre liberté de la presse et censure inavouée
In the days of France’s latest monarchies, the surveillance of bookselling relied on two founding laws: the napoleon decree of February 5th, 1810 and the law enforced by King Louis 18th on October 21st, 1814. In the capital, which was the heart of France’s political and cultural powers, Parisian printers and booksellers were being imposed a very strict control organized by the bookselling authority. A printer as well as a bookseller could only work provided they should be in possession of a patent, “brevet”, a professional license delivered individually by the king upon the suggestion of the ministry in charge of bookselling government. Therefore, a “brevet” became the key-instrument to strengthen the power of the bookselling management. By this means, they controlled the access to “bookselling” along with the threat of a potential withdrawal. Bookselling inspectors as well as police superintendents would go to printing workshops, booksellers and reading rooms to check whether legal procedures were being respected and which books were being proposed to the public. In the course of the different reigns, new laws completed the judicial arsenal by defining crime which, as far as publishing is concerned, was subject to fines or imprisonment. The study of the bookselling surveillance from 1814 to 1848 emphasizes the political changes of monarchies hesitating between freedom of the press and unspoken censorship

APA, Harvard, Vancouver, ISO, and other styles

14

Soler, i. Alomà M. Encarnació. "La sarsuela en el cinema com a imatge del quotidià : 1896-1940." Doctoral thesis, Universitat de Barcelona, 2005. http://hdl.handle.net/10803/403462.

Full text

Abstract:

Un dels més reeixits descobriments nascut a les acaballes del segle XIX, el cinema, marcà definitivament la societat aportant noves formes de comunicació i de relació social. Aquest nou art esdevindria no sols una font de distracció i coneixement sinó que, com qualsevol producció artística de l’ésser humà, deixaria una empremta que amb el temps mostraria la seva magnitud com objecte patrimonial. Néta i filla de músics vaig aprendre a estimar la música, sense distinció. Per aquest motiu, lamentava el rebuig vers el conjunt d’un gènere centenari, la sarsuela, que tants esforços i lluita va comportar als seus autors, músics tan lloables com els que més, músics que s’hagueren de sentir-se titllats en to despectiu de “sarsueleros”. Hom pot comprovar que hi ha música de sarsuela de tan bona qualitat com la de les òperes; hi ha arguments de sarsuela absolutament refusables o excel·lents, com també n’hi ha d’òperes. Per aquests motius, el meu objectiu bàsic va ser l’intent de dignificar el gènere, reivindicar-lo com a espectacle popular, transformat i manipulat segons arbitri del poder dominant, com intentaré demostrar al llarg de la meva exposició. Per què una societat que encara avui conserva aspectes que provenen de l’assimilació interna generada a través de molts anys rebutjava aquest espectacle? Per què aquest sentiment que la música feta a l’estranger és millor? Quins havien estat els mecanismes que havien arribat a generar en el subconscient col·lectiu aquesta afirmació? Pel que fa al cinema, l’enorme interès desvetllat vers aquest camp d’investigació, de la que aquesta Facultat és un exemple, iniciat pel Dr. Miquel Porter i admirablement seguit per un important nombre de distingits professors i professores, alumnes ensems del doctor Porter, es presentava més planera. Però el problema es presentà en el moment en què vaig voler aprofondir a l’apartat de les sarsueles cinematogràfiques: en primer lloc –apart d’algun estudi posterior sobre una obra concreta – a la majoria de llibres d’història del cinema espanyol se solventava l’apartat dedicat a les sarsueles amb unes quantes línies. Hi havia una confusió enorme en relació a algunes obres que eren sarsueles, tipificades com a sainets, comèdies, musicals... Algunes d’elles, que provenien de sarsueles, ni tan sols hi figurava aquest origen. De moltes obres hi havia poques dades, només el títol i l’any de rodatge o estrena, amb unes línies sobre el contingut, però la majoria de vegades, res... En resum: la sarsuela hi era de pas. Vist l’estat de la qüestió, calia emprendre la tasca en vàries vessants: la investigació de la sarsuela en si, dels seus orígens i producció, i dels films que es feren d’elles, amb els mateixos objectius i la interrelació entre ambdós gèneres populars. La primera part de la investigació, la recerca dels llibrets originals, suposà una gran inversió de temps, donada la dispersió dels materials. Per a la segona part, calia cercar les realitzacions cinematogràfiques que es feren de les sarsueles, buscant-les a diverses filmoteques de l’Estat espanyol, feina gens fàcil, o cercar-les en col·leccions del mercat. La realitat fou molt colpidora: les obres dels primers anys del cinema s’havien perdut en la seva immensa majoria, ja no existien. Segons les dades que es donen a totes les estadístiques del cinema espanyol, de la primera etapa, corresponent al cinema primitiu, s’ha perdut prop del 98 % de la producció, dades susceptibles de desencoratjar vers l’obtenció d’una recerca acurada. Era necessari, doncs, fer un cens del que quedava a les filmoteques de l’Estat espanyol. Va ser enviada la demanda d’informació a totes elles i a les distribuïdores de cinema. Conseqüència d’aquesta tesi ha estat l’estudi de totes les productores i directors que es dedicaren a filmar sarsueles a l’Estat espanyol, així com també a l’estranger. La tesi albira proporcionar una relació de la gran quantitat de films que les productores dedicaren a aquest camp, analitzar les sarsueles produïdes, quina fou la versió escollida per a la seva versió cinematogràfica i esclarir els films que són en realitat sarsueles, no comèdies, ni sainets, ni musicals, qualificatius genèrics emprats habitualment a les filmografies de cinema espanyol. Una altra aportació de la tesi pretén destacar la primordial importància del teatre líric en la primera etapa del cinema primitiu espanyol deixant palès quines són les favorables interrelacions de dos gèneres populars, amb recursos a l’hora tan diversos, com són el teatre líric i el cinema que, no cal oblidar-ho, en els seus orígens no tenia so imprès al suport i per tant, depenia del so afegit, en directe o enregistrat.

APA, Harvard, Vancouver, ISO, and other styles

15

Laurent, Natacha. "Le travail des censeurs en union soviétique dans les années 1940 : eles relations entre les professionnels du cinéma et le comité central du parti communiste, 1939-1948." Paris, EHESS, 1998. http://www.theses.fr/1998EHESA009.

Full text

Abstract:

Durant l'été 1946, les autorités soviétiques déclenchèrent une offensive idéologique qui permit au parti communiste d'établir un contrôle strict sur l'ensemble de la production intellectuelle, et ce jusqu'à la mort de Staline. C'est à l'étude des origines et du déroulement de cette campagne, plus connue sous le nom de + Jdanovchtchina, qu'est consacrée cette thèse. Les mécanismes du dispositif mis en place par le pouvoir sont analyses à travers l'exemple précis de la production cinématographique : juge comme un instrument privilégie du conditionnement des esprits, le cinéma toujours occupe une place centrale dans l'appareil de propagande bolchevique. Cette démarche aboutit à l'analyse de la nature et du fonctionnement de la censure durant une période assez mal connue du stalinisme : les années 1940. L’étude des structures de contrôle, de la stratégie du comité central et des réactions des professionnels du cinéma révèle toute la complexité des relations entre pouvoir des créateurs et créateurs face au pouvoir. À la fin des années 1930, le parti entreprend de reformer le fonctionnement de la censure cinématographique. L’interdiction du film, la loi de la vie (1940) est le point de départ d'une campagne qui vise aussi à restructurer l'industrie du cinéma. Interrompues par le déclenchement de la guerre contre l’Allemagne en juin 1941, ces réformes sont en partie reprises par la direction de l'agit-prop du comité central à partir de 1943. La campagne idéologique de l'été 1946, dont le film une grande vie est présente comme la principale victime pour le cinéma, met fin à ces tentatives d'associer les professionnels du cinéma au processus de censure. Elle marque le début d'un renforcement général des contrôles. Mais ce sont les différentes mesures prises par le parti au cours des années 1947 et 1948
In the summer of 1946, the soviet authorities launched an ideological offensive which allowed the communist party to establish and maintain until Stalin’s death a strict control over all intellectual production in the U. S. S. R. . The study of the origins and of the unfolding of that campaign, better known as the + Jdanovschina , is the subject of this thesis. Since cinema - deemed an ideal tool for thought-control - always held a crucial position in the bolchevist propaganda apparatus, the thesis concentrates on the machinery established by the soviet power to control the cinematographical industry. Such a study leads to an analysis of the nature and working process of censorship during a not very well known period of the Stalinist era : the 1940's. The study of the controlling structures, of the central committee's strategy, of the way cinema professionals reacted, shows how complex the relationship between the film creators and the authorities was. At the end of the 1930's the party set out to reform the machinery of cinematographical censorship. The banning of the film the law of life was the starting point of a campaign that also had as its goal a reorganization of the whole cinema industry. This reforming process was suspended when the war broke out with Nazi Germany, but it was partly resumed by the agit-prop department of the central committee in and after 1943. The ideological campaign launched in the summer of 1946 - of which the film a great life is usually considered the main victim - ended these attempts to get cinema professionals to participate in the workings of censorship. It was the beginning of a tightening up of all controls. But the completion of the control over cinematographical production was achieved through action taken by the party II 1947 and 1948

APA, Harvard, Vancouver, ISO, and other styles

16

Lipenský, Ondřej. "Výtvarná koncepce filmového zpracování románů: Jules Verne: Les cinq cents millions de la Begum, Ocelové město - filmové zpracování románů Julese Verna na příkladech české a světové kinematografie." Master's thesis, Akademie múzických umění v Praze.Divadelní fakulta. Knihovna, 2014. http://www.nusl.cz/ntk/nusl-202459.

Full text

Abstract:

Theoretical part of this thesis examines the most significant adaptations of Jules Verne´s novels into feature films. From the beginning of cinematography until present days the author describes different artistical approaches during the 20th century around the whole world. The main part of this thesis is an artistic concept of the movie based on Verne´s novel "Ocelové město" (Les Cinq Cents Millions de la Begum). It contains description of the whole idea and author´s proposal for a design introduced in form of paintings based on specific scenes from the novel.

APA, Harvard, Vancouver, ISO, and other styles

17

Mouradian, Élisabeth. "Survivre en poésie dans un régime totalitaire : Yéghiché Tcharents, 1933-1937 (pour une tentative de traduction)." Thesis, Sorbonne Paris Cité, 2015. http://www.theses.fr/2015USPC0013/document.

Full text

Abstract:

Le poète arménien Yéghiché Tcharents (1897-1937) devient victime des répressions staliniennes des années 30. Tcharents est déjà un poète connu lorsque la révolution éclate en Russie. Il voit dans la révolution le sauveur de son peuple au destin tragique. Il croit aux idéaux humanistes de Lénine comme beaucoup de ses contemporains. Cependant, le pouvoir totalitaire de Staline change son regard politique. Sa poésie reflète ses inquiétudes. En 1933, le recueil de poèmes Livre du chemin, un compte-rendu de sa vision poétique de la construction de la nouvelle société, ainsi que de l’éducation de l’homme soviétique, est censuré. Il est publié à nouveau avec des modifications. Tcharents, le poète de tous les combats, ne parvient pas à cacher son désaccord, sa désillusion vis-à-vis du pouvoir politique. Il témoigne à travers sa poésie. Le système répressif ne le laisse plus en paix. Il est inculpé comme contre-révolutionnaire, trotskiste, nationaliste, terroriste. En juillet 1936, il est assigné à résidence. La poésie demeure l’unique espace où il pense et écrit librement. Malade et conscient de l’imminence de sa mort, il survit grâce à sa poésie, dans son univers de visions. L’argumentation de la thèse est construite sur l’analyse littéraire des textes du corpus : le Livre du chemin et les textes poétiques de 1935 à 1937 de Tcharents. Une étude concise du contexte historico-politique de sa poésie et une analyse littéraire de son œuvre avant 1933 sont aussi proposées, permettant de mieux percevoir la complexité des relations entre le poète-individu et son époque, et enfin, de réunir tous les éléments nécessaires de traduction faisant partie de l’objectif de cette étude doctorale
The Armenian poet Yeghishe Charents (1897-1937) becomes victim of Stalin’s repressions in the Thirties. Charents is already known as a poet when the revolution bursts in Russia. He sees in the revolution the saver of his people with the tragic destiny. Like many of his contemporaries he believes in the humanistic ideals of Lenin. However, the totalitarian power of Stalin changes his political views. His poetry reflects his concerns. In 1933, the collection of poems Book of the way, a report of his poetic vision of the new society, as well as the education of the Soviet man, is censored. It is published with changes. Charents, the poet actively involved in a number of social issues, cannot hide his dissension and disillusion with respect to the political power. He bespeaks through his poetry. The repressive system does not leave him any more in peace. He is accused of being a contra-revolutionist, trotskyist, nationalist, terrorist. In July 1936, he is put under house arrest. Poetry remains the sole space where he thinks and writes freely. Ill and aware of the imminence of his death, he survives in his universe of visions thanks to his poetry.The argumentation of this doctoral thesis is built on the literary analysis of the texts in the corpus: the Book of the way and the poetic texts of 1935 to 1937. A concise study of the historical-political context of his poetry and a literary analysis of his work before 1933 are also proposed. This allows to better perceive the complexity of the relations between the poet-individual and his time and, finally joins all the elements necessary for the translation, which is an objective of this doctoral study

APA, Harvard, Vancouver, ISO, and other styles

18

Quera, Carré Alfons. "Josep Pla i la defensa de la literatura catalana en la postguerra (1946-1956)." Doctoral thesis, Universitat de Girona, 2018. http://hdl.handle.net/10803/482099.

Full text

Abstract:

At the end of the World War II, following the Allies victory and the beginning of the Cold War, the Franco regime allowed to publish, with restrictions, books in Catalan. At this point, Josep Pla taking advantage of this opportunity, published his book “Viatge a Catalunya” in 1946. From that moment, the writer began to review, reform and expand all the work done prior to the Civil War, including unpublished material. The re-writing process was non-stop during all those years. His literary production is not limited to chronicles of his time, but it can also be seen as an example of high literature. In fact, Pla’s literary work integrates and overflows with different genres at the same time. In addition, a detailed historical analysis of the Franco dictatorship helps us to understand the great contribution made by Josep Pla into the Catalan literature.
Acabada la Segona Guerra Mundial, amb la victòria dels aliats i l’inici de la guerra freda, el règim franquista permet publicar, amb restriccions, llibres en català. Josep Pla, en el moment en què s’obre aquesta escletxa, treu immediatament al mercat "Viatge a Catalunya" (1946). A partir d’aquell moment, l’escriptor inicia un procés de revisió, reordenació i ampliació dels llibres anteriors a la Guerra Civil, alhora que n’incorpora d’inèdits. El procés de reescriptura va ser constant en tots aquells anys. La seva producció literària no es limita només a una crònica del seu temps, sinó que també pot ser vista com un exemple d’alta literatura. De fet, Pla elabora una obra literària que integra i desborda al mateix temps diferents gèneres literaris. D’altra banda, una anàlisi històrica exigent de la dictadura franquista ens ajuda a entendre la gran aportació de Josep Pla a la literatura catalana.

APA, Harvard, Vancouver, ISO, and other styles

19

Rodrigues, Márcia Regina [UNESP]. "Traços épico-brechtianos na dramaturgia portuguesa: O render dos heróis de Cardoso Pires e Felizmente há luar! de Sttau Monteiro." Universidade Estadual Paulista (UNESP), 2010. http://hdl.handle.net/11449/99178.

Full text

Abstract:

Made available in DSpace on 2014-06-11T19:29:50Z (GMT). No. of bitstreams: 0 Previous issue date: 2010-03-02Bitstream added on 2014-06-13T20:20:15Z : No. of bitstreams: 1 rodrigues_mr_me_arafcl.pdf: 518225 bytes, checksum: 8c92966968bbdf528a522e9deadd4293 (MD5)
Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
Em Portugal, durante o Estado Novo, apesar de a comissão de censura proibir a obra do dramaturgo alemão Bertolt Brecht (1889-1956), os dramaturgos, atores e diretores conseguiram, de alguma forma, adquirir conhecimento sobre os pressupostos do teatro épico brechtiano e praticá-los nas suas criações dramatúrgicas e encenações. Assim, algumas das peças produzidas pela dramaturgia portuguesa na segunda metade do século XX, além de explorarem freqüentemente temas históricos – a fim de tratar do passado com vistas a analisar o momento presente –, anunciavam a estética do teatro épico de Brecht como uma inovação das formas dramáticas praticadas até então. Frutos da perspectiva brechtiana de teatro épico, O render dos heróis (1960), de José Cardoso Pires (1925-1998) e Felizmente há luar! (1961), de Luís de Sttau Monteiro (1926-1993) constituem o corpus desta Dissertação de Mestrado. Essas peças apresentam no seu enredo fatos remanescentes ou antecedentes da Revolução Liberal de 1820, com o objetivo de – por meio da alegoria – levar o leitor / espectador a uma análise crítica da situação político-social de Portugal sob o regime ditatorial de António de Oliveira Salazar. Analisamos as formas de apropriação do efeito de distanciamento – elemento caracterizador do teatro épico brechtiano – nessas peças, bem como a relação delas com o período político marcado pela censura salazarista. Para isso, a nossa base teórica é constituída principalmente pelas teorias acerca do teatro épico de Brecht, considerando-as no contexto do teatro português da década de 1960.
In Portugal, during the Estado Novo period, although the censorship committee prohibited the work by German dramatist Bertolt Brecht (1889-1959), dramatists, actors, and directors were able to, somehow, acquire knowledge concerning the assumptions of Brechtian epic theater and put them into practice in their dramaturgical creations and staging. This way, some of the plays produced by Portuguese dramaturgy in the second half of the 20th century, besides frequently approaching historical themes (in order to discuss the past aiming at analyzing the present), articulated the aesthetics of Brecht’s epic theater as an innovation of drama performed up to that point. Results of Brechtian perspective on epic theater, O render dos heróis (1960), by José Cardoso Pires (1925-1998) and Felizmente há luar! (1961), by Luís de Sttau Monteiro (1926-1993) are the corpus of this Master Degree’s dissertation. These plays have, in their plots, facts which are reminiscent or antecedent of the Liberal Revolution in 1820, with the objective of – through its allegory – leading the reader to a critical analysis of Portugal’s social-political situation under António de Oliveira Salazar’s dictatorship regime. Analyze appropriation forms and the elaboration of the distancing effect – characteristic elements in Brechtian theater – in these plays, as well as the relation between these plays and the political period marked by the Salazarian dictatorship. For that matter, our theoretical foundation is mainly made up by theories regarding Brecht’s epic theater, considering them in the Portuguese theater context in the 1960s.

APA, Harvard, Vancouver, ISO, and other styles

20

Mattiato, Emmanuel Lino Claude. "Les écrivains-journalistes du Corriere della sera durant la seconde guerre mondiale : Curzio Malaparte, Dino Buzzati, Orio Vergani, Virgilio Lilli et Indro Montanelli." Paris 10, 2003. http://www.theses.fr/2003PA100081.

Full text

Abstract:

Les écrivains-journalistes constituent une figure originale dans la littérature italienne du XXe siècle. Dino Buzzati, Curzio Malaparte, Orio Vergani, Indro Montanelli et Virgilio Lillis sont les plus célèbres des repoters du corriere della sera, le plus important quotidien d'Italie. De 1939 à 1943 sillonnent les champs de bataille d'Europe, d'Afrique et de Russie. Basé sur des articles et des lettres le plus souvent inédits, ce travail examine tout d'abord le profil de ces reporters, leurs rapports avec le régime fasciste et les difficultés imposées par la censure et la concurrence. Le problème de l'objectivité journalistique, menacée par l'idéologie totalitaire, est alors résolu à travers une approche littéraire de la réalité. La représentation ordinaire de la guerre s'en trouve modifiée. La seconde partie de la thèse est consacrée à une esquisse bibliographique des écrivains-journalistes du Corriere et à une étude chronologique de leurs déplacements sur les fronts internationaux. Enfin, la troisième partie se focalise sur les reportages de guerre de C. Malaparte. Dans ses articles, C. Malaparte s'emploie à élaborer une véritable poétique du reportage, riche d'échos intertextuels. Ses réflexions sur la technique, les sciences politiques ou la place de l'humanisme dans un monde déchiré par un conflit armé sans précédent se mêlent à sa quête littéraire d'un nouveau genre tragique dont le roman Kaputt, best-seller de l'après-guerre, sera le manifeste.

APA, Harvard, Vancouver, ISO, and other styles

21

Deschamps, Damien. "La République aux Colonies : le citoyen, l'indigène [et] le fonctionnaire : citoyenneté, cens civique et représentation des personnes, le cas des établissements français de l'Inde et la genèse de la politique d'association (vers 1848-vers 1900)." Grenoble 2, 1998. http://www.theses.fr/1998GRE21009.

Full text

Abstract:

A partir du cas des Indiens des établissements français de l'Inde, admis à l'électorat politique en 1848 bien que régis par un statut juridique distinct de l'état civil français, la thèse réfléchie sur les conditions mises à l'accès et à l'exercice des droits de citoyen sous la IIIe république. Elle dégage ainsi un modèle républicain du citoyen, fondé non pas sur le droit inaliénable des individus à être représentés dans l'espace politique, mais sur l'adhésion aux valeurs de l'état républicain. Cette adhésion les Indiens doivent la prouver, non seulement en renonçant à leur statut personnel pour l'état civil français, mais en satisfaisant encore à des critères de capacité censés établir la sincérité de leur renonciation : les renonçants doivent encore être diplômés de l'université ou des grandes écoles, ou bien avoir servis l'état comme magistrats ou fonctionnaires, être décorés ou avoir exercé un mandat électoral et, toujours lire et écrire le français. Ces critères fondent un véritable sens civique. Son imposition permet à la république aux colonies de ne pas fonder l'accès à la citoyenneté sur le seul critère de l'origine. Mais de fait elle ferme aux colonisés la possibilité d'accéder jamais à une représentation politique. Alors qu'avec la proclamation du suffrage universel l'ordre social apparaissait subordonné à sa constitution politique comme ordre légitime, désormais il conditionne la production de ce dernier. L'ordre social ainsi réifié dans l'ordre politique, c'est toute une construction nouvelle qui se déploie progressivement dans l'espace colonial. A la politique d'assimilation se substitue la politique d'association, plaçant en son centre non plus le citoyen, mais le fonctionnaire colonial, pensé et présenté comme l'incarnation même de l'état républicain et de ses valeurs. Au droit se substitue le devoir, au politique, la morale, à la liberté politique, la nécessité naturelle. (Doc Thèses)
The present thesis takes, as a starting point, the case of the natives in the French settlements of India who were granted the right to vote in 1848 although their juridical status was different from the French civil status. From this case a reflexion is led on requirements for acquiring and exercising the rights of citizen under the case republic from which emerge the outlines of the republican model of the citizen, based on adherence to the values of the republican state and not on the inalienable right of the individuals to be represented politically. Indeed the Indians had to display their adherence not just by surrendering their personal status in favour of the French civil status, but also by fulfilling capacity criteria supposed to establish how sincere their relinquishment was. Furthermore the surrenders had either to be college or university graduates, or to have served the state at magistrates or civil servants, or to have been decorated or to have held an electoral mandate and in all cases to be able to read and write French. Those criteria are the basic of the civic census. The implementation of the latter enables the republic in the colonies not to base access to citizenship on the sole criterion of the origin, but at the same time it bars the colonized peoples from ever acceding the political representation. While the proclamation of the universal suffrage seemed to mean that the social order was subordinate to its political constitution as legitimate order, it now conditions the production of the latter. The social order having therefore been reified in the political order, a whole construction progressively unfolds over the colonial space. The policy of assimilation is substitued for that of association, no longer centered on the citizen, but on the colonial civil servant, conceived and presented as the very incarnation of the republican state and of its values. Right is substituted for duty, ethic superseded politics, and natural necessity takes the place of political liberty

APA, Harvard, Vancouver, ISO, and other styles

22

Jean-Baptiste, Fabienne. "Feuilletons et Histoire. Idées et opinions des élites de Bourbon et de Maurice dans la presse de 1817 à 1848." Phd thesis, Université de la Réunion, 2010. http://tel.archives-ouvertes.fr/tel-00634385.

Full text

Abstract:

Cette thèse propose d'étudier une source littéraire négligée : les poèmes et les feuilletons publiés dans les journaux de Bourbon et de Maurice de 1817 à 1848. Après le dépouillement des deux presses, après la sélection des œuvres et leur rassemblement dans deux annexes littéraires, l'auteur en propose ses commentaires historiques et littéraires. Les Bourbonnais et les Mauriciens cultivés réagissent aux changements politiques qui les secouent en composant des poèmes subtils. Or, la réforme majeure de ces décennies 1817-1848 demeure l'abolition de l'esclavage, progressive pour Maurice (1835 et 1839) et brutale pour La Réunion (1848). Ces riches documents dessinent une Histoire culturelle et littéraire, une Histoire de la Presse, une Histoire des élites ainsi qu'une Histoire politique des Îles-Sœurs. Ces poèmes permettent surtout une nouvelle Histoire de l'Abolition de l'esclavage dans ces colonies. Si certaines œuvres expriment les peurs et les rejets par les colons de l'abolition, d'autres textes livrent des opinions créoles, étonnantes de philanthropie. L'image de l'élite créole en est rénovée : ces colons de la première moitié du XIXe siècle se révèlent être cultivés, amoureux des métaphores et comparaisons, intéressés par l'Histoire.

APA, Harvard, Vancouver, ISO, and other styles

23

Maklouf, Moudar. "Leo Strauss, art d'écrire : entre rhétorique et herméneutique." Thesis, Paris Est, 2018. http://www.theses.fr/2018PESC0104.

Full text

Abstract:

Leo Strauss affirme avoir redécouvert l’art d’écrire oublié des philosophes du passé. Il s’agit d’une technique littéraire consistant en un discours de prime abord orthodoxe - c'est le niveau ou l'enseignement exotérique d'un texte -, mais qui communique « entre les lignes » la pensée véritable de l’écrivain, de nature hétérodoxe - c'est le niveau ou l'enseignement ésotérique. La lecture de tels auteurs requiert donc une herméneutique adaptée, permettant de saisir l’écart entre l’évidence de ce qu’affichent les écrits de l’auteur, et la vérité secrètement distillée derrière la lettre de ses écrits. Cette méthode de lecture est le point d’orgue de travaux entrepris par Strauss dès les années 1920. Elle est formalisée à la fin des années 30, et accompagne une mutation de l’écriture de l’auteur. Les travaux traitant de cette partie de l’œuvre du philosophe consistent généralement d’une part à critiquer sa clé herméneutique, en confirmant ou en infirmant sa pertinence, ou d’autre part à envisager la portée politique et philosophique de l’exo/ésotérisme. Les études s’attachant à comprendre la construction de ce prisme de lecture à travers le parcours intellectuel de Strauss demeurent sauf exception relativement parcellaires, et s’attachent à éclairer l’art d’écrire en le rattachant à certaines références. Les examens se focalisant sur la façon dont l’exo/ésotérisme se forme au fil du corpus straussien affleurent depuis quelques années, et c’est notamment au sein de ce champ de recherche que se situe la thèse. Au-delà, il s’agit de porter l’attention sur le propre style de Strauss, en se concentrant précisément sur la façon dont il conçoit et fait usage des catégories de l’exotérique et de l’ésotérique. La façon dont l’auteur s’en empare et le rôle qu’elles jouent dans l’économie de sa pensée peut renseigner quant à la façon de le lire et de le comprendre. Revenir aux sources de l’art d’écrire, examiner sa formation et observer son emploi par Strauss lui-même permet ainsi de donner un éclairage nouveau sur la thèse controversée de l’écriture entre les lignes des philosophes
Leo Strauss asserts having rediscovered the lost art of writing of philosophers of past. It is a literary technique consisting of a speech at first sight orthodox - it is the exoteric teaching or level of a text -, but which communicates "between lines" the real thought of the writer, heterodox in nature - it is the esoteric teaching or level of the speech. The reading of such authors thus requires an adapted hermeneutics, allowing to seize the gap enter the obvious fact of what show obviously the text of the author, and the truth secretly distilled behind the letter of its papers. This method of reading is the climax of works begun by Strauss from the 1920s. It is formalized at the end of the 30s, and appears with some modifications of the style of writing of the author.The studies dealing with this part of the work of the philosopher consist generally on one hand in criticizing his hermeneutic key, by confirming or by countering its relevance, or on the other hand to envisage the political and philosophic impact of the exo/esotericism. The studies attempting to understand the construction of this prism of reading through the intellectual course of Strauss remain allowing exception relatively fragmented, and attempt to highlight the art of writing by connecting it with certain references. The examinations focusing on the way the exo/esotericism forms in the course of the straussian corpus appear since a few years, and it is in particular within this field of research that is situated this thesis. Beyond, it pays attention on the own style of Strauss, by concentrating exactly on the way he conceives and makes use of categories of the exoteric and of the esoteric. The way the author seizes it and the role which they play in the economy of its thought can inform as for the way of reading it and understand his thought. Returning to the sources of the art of writing, examining its formation and observe its use by Strauss himself can give a new lighting onto the controversial theory of the writing between lines of philosophers

APA, Harvard, Vancouver, ISO, and other styles

24

Najmi, Fahimeh. "L'identite nationale et le théâtre en Iran (sous le règne des Pahlavi)." Thesis, Paris 3, 2014. http://www.theses.fr/2014PA030053.

Full text

Abstract:

A l’opposé des spectacles traditionnels iraniens qui sont un sujet exploré depuis des années par la recherche théâtrale notamment à l’extérieur des frontières iraniennes, l’étude du« théâtre en Iran » est encore à ses balbutiements. La présente étude se concentre sur une période cruciale de l’histoire contemporaine iranienne où dans un contexte très agité les efforts sincères de trois initiés : Mir Seyfeddin Kermanshahi, Abdolhossein Noushin et Shahin Sarkissian parviennent au lancement d’un théâtre qui se réclamant de l’art, dépasse le cadre du simple divertissement ou de la pure propagande et est capable de méditer sur les interrogations fondamentales du peuple iranien notamment la question de l’identité.Le facteur déterminant à prendre en considération dans leur parcours est sans doute leur formation on Occident, en Russie et en France, et leur rencontre avec le mouvement européen du Théâtre d’Art
While the traditional Iranian performances have been, in the late years, an object for theatre studies, notably outside of Iran, research on « Theatre in Iran » is still to be developed.This study zooms on a crucial period in contemporary Iranian history, when in a verycomplex context the earnest endeavours of three specialists, Mir Seyfeddin Kermanshahi, Abdolhossein Noushin and Shahin Sarkissian, succeeded in launching a theatre that, claiming the status of art, out passed the boundaries of plain entertainment or pure propaganda and wasable to consider the fundamental questionings of the Iranian people and notably the question of identity.The determining factor to be considered in their enterprise is doubtlessly their Occidental formation, in Russia and in France, and their confrontation with the European movement of Art Theatre

APA, Harvard, Vancouver, ISO, and other styles

25

Jervis, Michael. "'Finding' the Irish in British Columbia using the 1881 Census of Canada." Thesis, 2010. http://hdl.handle.net/1828/2943.

Full text

Abstract:

Until the mid 1970s, the image of the Irish Diaspora in Canada in the nineteenth century was that of a dichotomous group consisting of Irish Protestants, who worked their way up the economic ladder into mainstream society, and Irish Catholics, who never found their way out of poverty. However, with the emergence of quantitative analysis, this perception of the Irish came to be regarded as simplistic and anachronistic. New research found that the Irish in nineteenth century Canada were more diverse and complex than previously thought. In order to unravel this diversity and complexity, comprehensive analysis needed to be done at a regional level. In the late nineteenth century prior to the coming of the railway, British Columbia was a 'distinct society': a geographically isolated province anchored not by agriculture but rather resource extraction industries that attracted a largely adult male settler population. As such it provided a unique opportunity in which to study the Irish. My quantitative analysis of the Irish in British Columbia through the Canadian Census of 1881 suggests that within this 'distinct' settler society, Irish Catholics were 'ghettoized' in the workplace, in large part due to their religious affiliation.

APA, Harvard, Vancouver, ISO, and other styles

26

Wakefield, Christina L. "Talking on their fingers: a study of the Ontario deaf according to the 1891 Canadian Census." Thesis, 2009. http://hdl.handle.net/1828/1606.

Full text

Abstract:

This thesis examines the lives of the deaf in late nineteenth century Ontario through a statistical analysis of a dataset from the 1891 Canadian Census. I examine the characteristics of the deaf as compared to the hearing population of Ontario in terms of age, sex, marital status, occupation and geographical distribution. Though there are many statistical differences between the deaf and hearing populations, I am able to show how the availability of a formal education for the deaf in the form of the Ontario Institution for the Deaf and Dumb in Belleville, Ont, had begun to minimize the effects of these differences. Education also allowed for the creation of a socially active Ontario deaf community, held together by the Ontario Deaf-Mute Association and the Ontario Mission for the Deaf.

APA, Harvard, Vancouver, ISO, and other styles

27

"El círculo cerrado. Cobertura informativa de los conflictos internacionales de Estados Unidos en un siglo (1898-1991): Poder político y censura." Universidad de Murcia, 2006. http://www.tesisenred.net/TDR-0627106-133650/.

Full text

APA, Harvard, Vancouver, ISO, and other styles

28

Vidigal, Rogério. "A gestão do espaço público e da opinião pública em situação de censura e controlo político dos média." Master's thesis, 2008. http://hdl.handle.net/10071/1895.

Full text

Abstract:

O controlo da opinião pública por um aparelho de censura prévia foi uma das primeiras medidas anunciadas logo após o golpe de Estado de 28 de Maio de 1926. Instaurava-se assim o exame antecipado da matéria para publicação e a produção de textos de noticiário e ideológicos que chamassem a nação às fileiras do salazarismo. Um gabinete especializado de propaganda completou o programa preventivo e repressivo. O objectivo central destas decisões nunca seria totalmente cumprido, com avanços e recuos nos procedimentos preconizados e concretizados, até porque os gurus do regime tinham de lidar com imprecisões, indecisões e carência de princípios teóricos de orientação e enquadramento. Alguns dos principais eventos do período entre 1926 e 1974 acabaram por furar as barreiras do controlo, apesar de sempre este dispositivo de censura ser completado com medidas duras de repressão física, como prisões, espancamentos e assassínios. O regime nunca conseguiria converter a opinião pública. Havia uma comunicação que lhe escaparia, que disseminava a informação ocultada, verdadeira ou não. E, por hábito, o que era passado em segredo tinha algum fundo de correspondência com a realidade. O que lhe dava credibilidade. Um caso registado no Alentejo, nos anos 50, ajuda a compreender a actuação do poder no controlo da opinião pública e o seu fracasso, em circunstâncias especiais, é certo, mas que demonstram a importância da opinião pública plebeia. Uma estrutura comunicacional autónoma que manteve as populações minimamente informadas. Foi uma forma de resiliência, mais do que de resistência.
The control of public opinion by establishing an unit of prior censorship was one of the first decisions of Salazar, soon after the coup d'état that installed the regime on May 26, 1926. The aim was not only the monitoring in advance of the matter for publication, but also the production of news and ideological texts that helped to draw the nation to the Salazarism side. An office dedicated to propaganda dominated thus the prevention and enforcement program. The central objective of this set of measures would not, however, be fully accomplished, leading to breakthroughs and setbacks in the measures that had been recommended and implemented, even more so because the gurus of the regime had to deal with inaccuracies, indecisions and even lack of theoretical principles that guided and regulated the practices. Some major events of the period under review, 1926-1974, eventually break the barriers of the control, and in some cases these have not prevented massive mobilizations. And we must point out this system of censorship has been reinforced by tough measures of physical punishment which led to arrests, beatings and even deaths. The regime never managed to convert the public opinion. There was a communication that escaped to it, which disseminated hidden information, true or not. And, by habit, what was passed in secret had a base of correspondence with reality. And that gave credibility to it. A case recorded in the Alentejo, in the 1950s, helps to understand the behaviour of power in controlling public opinion and its failure, in special circumstances, to be true, but which demonstrates the importance of plebeian public opinion. An autonomous communication structure that kept the people minimally informed. It was a form of resilience rather than resistance.

APA, Harvard, Vancouver, ISO, and other styles

29

Caeiro, Domingos. "E aos centos, em multidão... com os olhos postos numa felicidade : a visibilidade da emigração na imprensa, 1890-1920." Doctoral thesis, 2002. http://hdl.handle.net/10400.2/2419.

Full text

Abstract:

Tese de Doutoramento em História apresentada à Universidade Aberta
Abrangendo todo o século XIX e primeiro terço do XX, a pesquisa abarcou um período que levanta particulares dificuldades a uma visão de conjunto e a um conhecimento rigoroso da massa dos nossos jornais e em que, ao mesmo tempo, estes passam a desempenhar uma relevante função social, constituindo uma fonte histórica de primeira importância. Desta forma, representando a imprensa, neste período, uma função crucial de ligação entre a tribuna e a rua, de informação e de comunicação, afigurou-se-nos, não é de mais repeti-lo, que a intelecção do tema da “visibilidade da emigração portuguesa na imprensa periódica”, no período atrás definido, passava irremediavelmente, por um levantamento, tão exaustivo quanto possível, da imprensa periódica com dimensão nacional, porque todo esse universo de notícias desvenda um panorama do fenómeno migratório e da forma como este foi vivenciado e debatido em certos sectores. Portugal esteve longe de ser um caso isolado na engrenagem dos fluxos migratórios europeus, e parece-nos que nem tão pouco se pode afirmar que Portugal teve um comportamento migratório distinto ou individualizado, excepção, talvez, no que diz respeito à invariabilidade do país de destino da emigração – o Brasil. Por tudo isto, tornou-se imprescindível situar o caso de Portugal no seu conjunto, à luz da historiografia internacional, e fazer um esforço de avaliação e aferição de hipóteses explícitas. A análise das características mais marcantes do movimento emigratório permitiu constatar que Portugal apresentou um comportamento emigratório semelhante ao de outros países europeus, em particular os da Europa do Sul, como a Espanha e a Itália. Destacando-se duas particularidades: • a sua quase exclusiva e constante orientação em direcção ao Brasil; • e a sua maior concentração a partir dos finais da década de oitenta de oitocentos até ao início da Primeira Grande Guerra. O Brasil, foi sem dúvida o destino preferencial da corrente emigratória portuguesa neste período. A existência de contactos frequentes a nível económico e a manutenção dos laços históricos e culturais desde a época colonial, foram importantes para a manutenção desta preferência. No que respeita à composição por sexos e idades, a emigração portuguesa participou das características básicas e essencialmente selectivas de todos os movimentos emigratórios: forte presença masculina e revelando uma maior concentração nas faixas etárias mais produtivas. Por sua vez, dada a estrutura da economia portuguesa neste período, a maioria dos emigrantes eram agricultores e jornaleiros; embora à medida que cronologicamente avançamos e se regista também um aumenta do fluxo emigratório, constata-se a presença de outros grupos socio-profissionais distintos dos de agricultor. Outra das características da emigração portuguesa na sua comparação com outros países europeus – Espanha e Itália – é a grande concentração nos anos 1911 a 1913. Outro aspecto significativo a destacar foi o facto de ter existido em Portugal uma verdadeira preocupação pela emigração, primeiro por parte de intelectuais e depois a partir de meados da primeira década de novecentos, quando a emigração começa a atingir magnitudes que chamaram a atenção dos contemporâneos, foi, então, a imprensa o espaço privilegiado para o debate. Todavia, a emigração, com excepção de uns poucos, foi considerada por intelectuais e políticos, como um mal e, sobretudo, como um sinal de decadência para Portugal. A maior intensidade do movimento emigratório teve início, precisamente, num período em que se questionavam os grandes temas da sociedade portuguesa, coincidindo também com o descrédito do regime monárquico e posteriormente com a fase de implantação do regime republicano. A Lei de 1907 (Lei dos Passaportes) não resolveu nada, a não ser mais alguns proventos para o Estado. A Lei de 1919 foi muito tardia, comparada com a legislação nesta matéria por parte de outros países europeus, e o seu carácter tutelar não fez mais do que reflectir a preocupação restritiva que esteve sempre presente em toda a legislação portuguesa até aí publicada, isto é, tentar evitar as saídas clandestinas e os abusos. Com o objectivo de pretender analisar o comportamento específico da emigração portuguesa na sua vertente cronológica, tentou-se explorar as possíveis conexões entre determinadas variáveis macro-económicas e a emigração. Neste âmbito, prestou-se alguma atenção ao fenómeno da crise agrária “finisecular”, bem como o seu impacto na sociedade rural. Da análise realizada pode-se concluir que a relação entre a emigração e os indicadores da economia portuguesa neste período, em particular os indicadores do crescimento do produto agrícola e os níveis de produtividade agrícola nalgumas culturas, assim como os níveis de produtividade de mão-de-obra, mostra-se ambígua, nomeadamente em relação às suas flutuações, em especial nas últimas décadas do século XIX. No século XX, até à Primeira Grande Guerra, a aceleração da emigração portuguesa é paralela à dos indicadores da actividade económica. No entanto, a variável que demonstra ter uma maior incidência nas flutuações da emigração é a protecção á agricultura portuguesa (proteccionismo cerealífero) desde os finais do século XIX, revelando-se um poderoso travão a um maior crescimento da emigração. Como não podia deixar de ser, tentou-se mostrar que a conjunção dos factores internos e externos marcaram também o curso da emigração. Pode-se afirmar que os indicadores gerais da economia portuguesa em certos períodos tiveram um papel quase secundário face à procura e às solicitações, bem como á agressividade da política imigratória brasileira, que pareceram ser mais poderosas e desempenharam neste âmbito um papel importante. Em suma, os factores de atracção mostraram também uma grande influência, a par das características específicas da economia portuguesa, porém, dentro destas últimas, provavelmente, poder-se-á afirmar que se não tivesse existido, nesta época, semelhante nível de protecção à agricultura, a emigração portuguesa teria sido ainda maior. No fundo, pode-se arriscar a dizer que, nessa altura, tinham emigrado os antepassados daqueles que acabariam por fazê-lo nos anos sessenta do século XX.

APA, Harvard, Vancouver, ISO, and other styles

30

Moss, Andrew. "Transforming contemporary criminal sentencing: introducing a composite-aims restorative justice model." Thesis, 2010. http://hdl.handle.net/1828/3186.

Full text

Abstract:

One of the most important questions facing legal philosophers concerns the legitimacy of state institutions of legal punishment which visit citizens who have broken the law with condemnation and hard treatment. The purpose of this thesis is to attempt to answer the question of how we ought to respond to criminal offenders whose guilt has been established. The Canadian approach to criminal sentencing is evaluated, as are prominent restorative justice sentencing models. A novel composite-aims restorative justice model of responding to convicted offenders is introduced and the model’s aims and limits are specified. The thesis attempts to establish that a composite-aims model which encompasses certain restorative justice values and processes can provide a desirable framework for responding to convicted offenders. The implication for Canadian criminal justice policy is that the practice of applying punitive sanctions that are proportional to the moral gravity of the criminal offence should be abandoned in favour of a model based on securing censure, amends, crime control and reformation.

APA, Harvard, Vancouver, ISO, and other styles

31

Hellégouarch, Solenn. "De la Bretagne au Québec : le succès de Théodore Botrel (1868-1925), chansonnier breton." Thèse, 2009. http://hdl.handle.net/1866/4674.

Full text

Abstract:

La version intégrale de ce mémoire est disponible uniquement pour consultation individuelle à la Bibliothèque de musique de l’Université de Montréal (www.bib.umontreal.ca/MU).
Le chansonnier breton Théodore Botrel est connu pour être le père du mouvement de propagande de la Bonne Chanson. Ce mouvement naît dans le contexte montmartrois, alors qu’en 1900, les chansonniers se réunissent en Congrès pour discuter de l’avenir de leur art, malmené par le flot infatigable des chansons de café-concert. Ce combat pour la « saine » culture, c’est aussi celui de la IIIe République au nom de la moralité. C’est dans ce contexte que Botrel, débutant dans les cabarets artistiques parisiens, choisit de ne chanter que sa Bretagne dans un répertoire exempt de grivoiseries. Il s’inscrit alors dans un courant qui embrasse la Belle Époque : le régionalisme. Soucieuse de préserver le particularisme des « petites patries » et face au pouvoir centralisateur parisien, l’élite culturelle régionale entreprend un vaste travail de valorisation des régions. La Bretagne occupe une place particulière dans ce courant en tant que conservatoire de la tradition et principale victime des réformes d’Émile Combes qui s’attaquent aux ferments de son identité : sa langue et sa religion. Ce mouvement trouve écho au Canada français où l’idéologie dominante brandit l’étendard du nationalisme politico-culturel. Parce qu’ils défendent l’idée de la « vocation française » en Amérique et le maintien des « bonnes mœurs », l’élite traditionnelle et les journaux saluent les venues de Botrel au Québec en 1903 et 1922. Patriotique, catholique et conservateur, le chansonnier bénéficie de la conjoncture historico-culturelle québéco-bretonne. De Paris à la Bretagne, puis au Canada, Botrel connaît un succès sans égal.
The Breton cabaret singer Théodore Botrel is known as the father of the propagandist movement of La Bonne Chanson. In the context of Montmartre's culture, the year 1900 sees the creation of this movement during a Congress uniting cabaret artists to discuss the future of their art, scoffed by the tireless torrent of café-concert songs. This fight for “sane” culture is also the one of the Third Republic in the name of morality. It is in this context that Botrel, who makes his debut in the Parisian artistic cabarets, chooses to sing only about Brittany and without bawdy talk. Therefore, he is part of a trend which embraces the Belle Époque : regionalism. Concerned about protecting the distinctive identity of “small homelands” and in the face of Parisian centralizing power, the regional cultural elite begins greatly promoting regions. Brittany occupies a particular place in this trend as conservatory of traditions and as the main victim of the reforms of Émiles Combes which attack the ferments of its identity : language and religion. This movement finds echo in French Canada where the dominant ideology brandishes the banner of politico-cultural nationalism. Because they defend the idea of the “French vocation” in America and seek to preserve “good customs”, the traditional elite and newspapers welcome Botrels’ visits in Quebec in 1903 and 1922. Patriotic, catholic and conservative, the cabaret singer benefits from the historico-cultural circumstances in Quebec and in Brittany. From Paris to Brittany, then in Canada, Botrel knows an unequalled success.

APA, Harvard, Vancouver, ISO, and other styles

32

Venturini, Élisabeth. "Survivre en poésie dans un régime totalitaire : Yéghiché Tcharents, 1933-1937 (pour une tentative de traduction)." Thesis, 2015. http://www.theses.fr/2015INAL0013/document.

Full text

Abstract:

Le poète arménien Yéghiché Tcharents (1897-1937) devient victime des répressions staliniennes des années 30. Tcharents est déjà un poète connu lorsque la révolution éclate en Russie. Il voit dans la révolution le sauveur de son peuple au destin tragique. Il croit aux idéaux humanistes de Lénine comme beaucoup de ses contemporains. Cependant, le pouvoir totalitaire de Staline change son regard politique. Sa poésie reflète ses inquiétudes. En 1933, le recueil de poèmes Livre du chemin, un compte-rendu de sa vision poétique de la construction de la nouvelle société, ainsi que de l’éducation de l’homme soviétique, est censuré. Il est publié à nouveau avec des modifications. Tcharents, le poète de tous les combats, ne parvient pas à cacher son désaccord, sa désillusion vis-à-vis du pouvoir politique. Il témoigne à travers sa poésie. Le système répressif ne le laisse plus en paix. Il est inculpé comme contre-révolutionnaire, trotskiste, nationaliste, terroriste. En juillet 1936, il est assigné à résidence. La poésie demeure l’unique espace où il pense et écrit librement. Malade et conscient de l’imminence de sa mort, il survit grâce à sa poésie, dans son univers de visions. L’argumentation de la thèse est construite sur l’analyse littéraire des textes du corpus : le Livre du chemin et les textes poétiques de 1935 à 1937 de Tcharents. Une étude concise du contexte historico-politique de sa poésie et une analyse littéraire de son œuvre avant 1933 sont aussi proposées, permettant de mieux percevoir la complexité des relations entre le poète-individu et son époque, et enfin, de réunir tous les éléments nécessaires de traduction faisant partie de l’objectif de cette étude doctorale
The Armenian poet Yeghishe Charents (1897-1937) becomes victim of Stalin’s repressions in the Thirties. Charents is already known as a poet when the revolution bursts in Russia. He sees in the revolution the saver of his people with the tragic destiny. Like many of his contemporaries he believes in the humanistic ideals of Lenin. However, the totalitarian power of Stalin changes his political views. His poetry reflects his concerns. In 1933, the collection of poems Book of the way, a report of his poetic vision of the new society, as well as the education of the Soviet man, is censored. It is published with changes. Charents, the poet actively involved in a number of social issues, cannot hide his dissension and disillusion with respect to the political power. He bespeaks through his poetry. The repressive system does not leave him any more in peace. He is accused of being a contra-revolutionist, trotskyist, nationalist, terrorist. In July 1936, he is put under house arrest. Poetry remains the sole space where he thinks and writes freely. Ill and aware of the imminence of his death, he survives in his universe of visions thanks to his poetry.The argumentation of this doctoral thesis is built on the literary analysis of the texts in the corpus: the Book of the way and the poetic texts of 1935 to 1937. A concise study of the historical-political context of his poetry and a literary analysis of his work before 1933 are also proposed. This allows to better perceive the complexity of the relations between the poet-individual and his time and, finally joins all the elements necessary for the translation, which is an objective of this doctoral study

APA, Harvard, Vancouver, ISO, and other styles

Dissertations / Theses on the topic 'Census, 1898'

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles