Thèses sur le sujet « 21st centuries »

Craig Hella Johnson (b. 1963) has emerged as a leader in choral music over the last 20 years. As the conductor of the Austin, TX based chorus Conspirare Johnson implemented the European model of bringing singers together from all over the country to assemble for concerts and recordings over a short period of time. He is known for his collage programs which bring together many styles of music bound by a central theme. Through these programs he has written and arranged many pieces which are now published and being performed by choirs across the globe. Johnson's most significant work to date is a 90 minute passion oratorio which details the story of Matthew Shepard, a college student murdered in a hate crime in 1998. Considering Matthew Shepard (2016) is a wonderful example of Johnson's composition and programming style. Though not a traditional passion story, it is part of the evolution of the genre in the 20th and 21st centuries. The passion oratorio has seen a resurgence in the past 50 years and has undergone a transformation in that time. These new works pay homage to the history of the genre but have begun to stretch it in terms of form and content. This study will highlight the evolution of the passion oratorio focusing on Johnson's Considering Matthew Shepard and offer some insight into the composers style and how this work represents a modern treatment of the passion oratorio.

Historical narratives and anecdotes concerning Captain John Smith have been told and retold throughout the entire history the United States of America, and they have proved to be sacred, influential, and contested elements in the construction of the individual, sectional, regional, and national identity of many. In this thesis, I first outline some of the history of how narratives and discourses surrounding Captain John Smith were directly connected with the identity of many Americans during the 18th and 19th century, especially Virginians and Southerners. Then I outline how these narratives and discourses from the 18th and 19th centuries have continued and evolved in the 20th and 21st centuries in American scholarship and popular culture. I demonstrate how Captain John Smith went from being used as a symbol for regional and sectional identity to a symbol for broader national American identity, and how he has anachronistically come to be considered an American. I then show how Captain John Smith has continued to be constructed, to a seemingly larger degree than previous centuries, as a hero of almost mythic proportions. Finally I demonstrate how this constructed American hero is used as a posterchild for various interest groups and ideologies in order to legitimize the places of certain discourses and behavior within constructed and contested American identities.<br>M.A.<br>Masters<br>History<br>Arts and Humanities<br>History; Public History

Includes abstract.<br>Includes bibliographical references (leaves 235-252).<br>This research involved studying the childhood play of three generations within one family based in the Venda region, Limpopo Province, South Africa. Two main questions were asked: 1. What is the nature of intergenerational shifts or continuities in children?s play within one Venda family? 2. What are the factors that bring about the shifts or continuities? The Gudani family was studied as a single case. The case study was approached with an understanding proposed by Stake (1998, 2008) and supported by others like Flyvbjerg (2006), who regard it not always a research method, but also the object of study. Handling the family as a bounded system, information was gathered from multiple sources, situating the case within its context. Interviews were conducted with a grandparent, the parents and children in order to gain an understanding of their childhood play, foregrounding participants' own view of what constitutes play. In addition, an ethnographic lens was used to investigate the third generation's everyday culture, with specific attention to their play.

For most of the twentieth century, opera singers were not beholden to the ideal physical standard of women dictated by popular culture, but rather focused on serving the music and perfecting their artistry. Unprecedented sociocultural changes throughout the twentieth century exposed the shifting ideals of each generation and how they were promoted through mass media and advertising. This thesis surveys the time period of the 1890s to the present day for the purpose of analyzing cultural trends, philosophies and technologies that shaped the century. Societal pressure to make the body a project and the focus of one's own intense attention now reflects back onto the opera stage where audience members expect to see what society has dictated to be an acceptable female form. Artistic and stage directors are influenced by society's decree that only thin is beautiful, imbedding into the mindset of the art form notions that now affect how female professional opera singers are depicted and even employed.

Cette thèse s’articule autour de trois champs littéraires : études environnementales, études arctiques, et littérature de voyage. Elle s’attache essentiellement à traiter des responsabilités éthiques d’un étranger(e) arrivant dans une région isolée comme l’Alaska, avec ses démographies diverses et ses biomes uniques. Dans cette perspective, la discussion des questions environnementales se retrouve très souvent en première ligne de la conversation dans la littérature de voyage “moderne”.Le terme “moderne” est ici mis entre guillemets car il est fondamentalement subjectif. L’ère de l’Alaska moderne peut être délimitée par divers marqueurs chronologiques, notamment ce millénaire, avec son basculement par le changement climatique et les discussions autour des droits d’animaux. Cependant, deux autres dates sont plus incisives : 1977 lorsque le pétrole a commencé à s’écouler de Prudhoe Bay sur la côte arctique vers Valdez, traversant l’état dans le Trans-Alaska Pipeline System ; et 1959 quand l’Alaska est devenu officiellement le 49ème Etat des Etats-Unis. C’est finalement cette dernière date qui a été retenue, la précédente symbolisant plutôt la culmination d’un long processus qui avait déjà bouleversé l’identité de l’Etat de lui-même, y compris par l’ouverture de vannes financières pour remplir la caisse du gouvernement.Six oeuvres primaires ont été sélectionnées, de 1959 à nos jours, avec une approche de la diversité : des intérêts, des démographies, de la chronologie, de la géographie, et du style. Les oeuvres sont Oomingmak: The Expedition to Musk Ox Island in the Bering Sea (1967) de Peter Matthiessen ; Coming into the Country: Travels in Alaska (1977) de John McPhee ; Arctic Dreams: Imagination and Desire in a Northern Landscape (1986) de Barry Lopez ; Ancient Land, Sacred Whale: The Inuit Hunt and its Rituals (1993) de Tom Lowenstein ; Passage to Juneau: A Sea and its Meanings (1999) de Jonathan Raban ; et Beluga Days: Tracking a White Whale’s Truths (2003) de Nancy Lord. Ces oeuvres explorent des gammes géographiques et démographiques de la côte arctique du nord- ouest et sa culture Iñupiat, l’Alaska du sud-ouest des Yup’ik, le Cook Inlet et le bol d’Anchorage et ses autochtones urbains ainsi que ses Dena’ina, l’intérieur de l’Alaska et ses Athabaskan, et les Tlingits et Haidas du sud-est.La thèse est structurée en trois parties : une historiographie qui cadre la politique et la culture de l’Alaska moderne ; une analyse littéraire directe des oeuvres primaires, déclinée sur différents thèmes ; et une application prescriptive éclairée par la méta-discussion actuelle dans les études environnementales<br>This thesis is centered around three primary literary focuses: environmental studies, Arctic studies, and travel writing. Essentially, the subject to be treated is the ethical responsibilities of an outsider when entering into an isolated region such as Alaska, with its extraordinary demographic diversity and unique biomes, particularly when discussing environmental issues, which are very often at the forefront of conversation in “modern” travel writing.As for parameters, “modern” is in quotations as the term is inherently subjective. The modern Alaska timeframe could be set up in numerous ways, including this millennium, with its shift into climate change and animal rights discussions, but two other dates are more trenchant: 1977 when the first oil flowed from Prudhoe Bay on the Arctic Coast latitudinally southward to Valdez on the Trans-Alaska Pipeline System, and 1959 when Alaska officially became the 49th US state. The latter date was chosen, as the former was merely the culmination of a long process that had already upended the state’s identity of itself, including the arrival of ostensibly endless flows of money into government coffers.Furthermore, six primary works were chosen, from 1959 to the present moment, with an eye toward diversity: of interests, of demographics, of chronology, of geography, and of style. The works are Peter Matthiessen’s Oomingmak: The Expedition to Musk Ox Island in the Bering Sea (1967); John McPhee’s Coming into the Country: Travels in Alaska (1977); Barry Lopez’ Arctic Dreams: Imagination and Desire in a Northern Landscape (1986); Tom Lowenstein’s Ancient Land, Sacred Whale: The Inuit Hunt and its Rituals (1993); Jonathan Raban’s Passage to Juneau: A Sea and its Meanings (1999); and Nancy Lord’s Beluga Days: Tracking a White Whale’s Truths (2003). These six works explore geographic and demographic ranges from the Northwest Arctic coast of Iñupiat culture, Southwest Alaska of the Yup’ik, Cook Inlet and Anchorage Bowl Urban Native and Dena’ina culture, Interior Alaska Athabaskan culture, and Southeast Alaska Tlingit and Haida culture.The thesis is ordered into three parts: a historiography framing the current political and cultural moment in the state; a direct literary analysis of the primary works, broken up into themes discussed therein; and a prescriptive application informed by the current meta-discussion taking place in environmental studies

This thesis evaluates whether the increasing socioeconomic resources of women and men and the distribution of work within the couple have an effect on union instability. On the one hand, it assesses each spouse’s satisfaction with the union, testing the differences between partners in their perceptions of the quality of the marriage. On the other hand, it studies the stability of the relationship, focusing on the risk of dissolution over time and differentiating between cohabiting and married unions. The focus is on the factors that account for this stability and whether their effects differ by type of couple, both from the perspective of the individual (distinguishing between men and women) and of the couple. The findings suggest that the nature of marriage is different from that of cohabitation and that cohabiting partners are more susceptible to the internal and external negative conditions that unions have to deal with. Finally, the thesis demonstrates that it is important to take into account, if possible, the responses of both partners.<br>Esta tesis evalúa si el incremento en los recursos socioeconómicos de mujeres y hombres y la distribución del trabajo dentro de la pareja afectan a la estabilidad de la unión. Por un lado, investiga la satisfacción individual con la pareja, investigando las diferencias en las percepciones de la calidad de la relación. Por otro lado, estudia la estabilidad de la relación, centrándose en el riesgo de separación en el tiempo y diferenciando entre parejas que cohabitan y parejas que se casan. En concreto, analiza los factores que pueden incidir en la estabilidad y comprueba si sus efectos difieren por tipo de pareja desde una perspectiva individual (diferenciando entre hombres y mujeres) y desde una perspectiva de pareja. Los resultados de los análisis parecen indicar que la naturaleza del matrimonio es diferente de la naturaleza de la cohabitación y que los cohabitantes son más vulnerables a las condiciones negativas, tanto internas como externas, a las que tienen que hacer frente las parejas. Por último, esta tesis demuestra que es importante, si es posible, tener en cuenta la información de los dos miembros de la pareja.

Made available in DSpace on 2014-07-29T16:17:44Z (GMT). No. of bitstreams: 1 Dissertacao Leo Carrer historia.pdf: 783870 bytes, checksum: 1f48e1f44ce8cac67a38e789060c933d (MD5) Previous issue date: 2009-05-05<br>As a hybrid religion, Umbanda has elements of different sources in its daily practices. Thus, it doesn t have, necessarily, a single and centralized doctrine, in spite of several leaders had tried to impose a unified doctrine to it. That was one of the roles of several Umbanda Federations during the 20th century. Another role was to protect the shrines against the persecutions and repressions made by the State, Catholicism and the press. Therefore, the federations tried to protect the shrines and, on the other hand, they tried to control and centralize the religion, in its doctrines and socially. In the state of Goiás such control was held by the Umbanda and Candomblé Federation of Goiás, established in 1969 in Goiânia City. This dissertation, therefore, has as main objective to analyze the path of the religion in Goiânia, focusing its origins; the action of the Federation; as well as the conflicts and tensions created between it, the State repressive apparels and the shrines, from 1948 until 2003, when Goiânia was the scenario of a public repudiation of Umbanda, by some neo-Pentecostal churches against the exposition of seven sculptures depicting Orixás in a park of the city, which is known as Vaca-Brava Episode<br>Como religião híbrida, a Umbanda agrega elementos de diferentes matrizes religiosas em sua prática diária. Isto faz com que ela não tenha, necessariamente, uma doutrina única e centralizada, apesar de vários líderes já terem tentado impor a ela uma doutrina unificada. Este foi um dos papéis das várias Federações de Umbanda surgidas no Brasil ao longo do século XX. A outra função seria a de proteger os terreiros contra as perseguições e repressões por eles sofridas, por parte do Estado, do catolicismo e da imprensa. Assim, enquanto de um lado as federações tentavam proteger aos terreiros, de outro elas mesmas exerciam um controle e buscavam centralizar a religião, tanto social quanto doutrinariamente. Em Goiás tal poder foi exercido pela Federação de Umbanda e Candomblé de Goiás, surgida em 1969 na cidade de Goiânia. Nosso trabalho, portanto, tem por objetivo analisar a trajetória da religião em Goiânia, tendo como foco suas origens, a ação da Federação, os conflitos e tensões criados entre ela, os aparelhos repressores do Estado e o terreiros, entre os anos de 1948 e de 2003, quando Goiânia foi palco de uma manifestação pública de repúdio à Umbanda, protagonizada por algumas igrejas neo-pentecostais ao protestarem contra uma exposição de vários Orixás em um parque da cidade, caso que ficou conhecido como Episódio Vaca-Brava

La col•lecció de narrativa eròtica «La sonrisa vertical» (Barcelona: Tusquets Editores) nasqué en plena transició democràtica, el 1977, a càrrec de Luis García Berlanga i Beatriz de Moura, amb un doble propòsit: rescatar un gènere literari fins aquell moment censurat per les lleis franquistes i apostar per la narrativa de joves autors, tant en llengua catalana com espanyola. L’interès d’una col•lecció d’aquestes característiques no és exclusivament literari, ja que, donada l’ època turbulenta en la qual es va gestar i l’aposta ideològica editorial, va albergar volums amb una notable voluntat de ruptura política i moral. En aquest sentit, no van escassejar les representacions de personatges amb sexualitats heterodoxes, entre les quals, donada la legislació vigent (Llei de Perillositat i Rehabilitació Social), bé s’hi podrien incloure les de lesbianes, gais i persones trans. Aquesta tesi doctoral pretén oferir una anàlisi de les molt diverses creacions d’autors espanyols i hispanoamericans que, en especial, van afavorir la representació de personatges lèsbics entre 1977 i 2014 amb l’objectiu de valorar la seva identitat literària i la seva rellevància històrica i social.<br>La colección de narrativa erótica «La sonrisa vertical» (Barcelona: Tusquets Editores) nació en plena transición democrática, en 1977, de la mano de Luis García Berlanga y Beatriz de Moura, con un doble propósito: rescatar un género literario hasta aquel momento censurado por las leyes franquistas y apostar por la narrativa de jóvenes autores, tanto en lengua catalana como española. El interés de una colección de estas características no es exclusivamente literario, ya que, dada la época turbulenta en que se gestó y la apuesta ideológica de la editorial, albergó volúmenes con una notable voluntad de ruptura política y moral. En este sentido, no escasearon las representaciones de personajes con sexualidades heterodoxas, entre las cuales, dada la legislación vigente (Ley de Peligrosidad y Rehabilitación Social), bien podrían incluirse las de lesbianas, gais y personas trans. Esta tesis doctoral pretende ofrecer un análisis de las muy diversas creaciones de autores españoles e hispanoamericanos que, en especial, favorecieron la representación de personajes lésbicos entre 1977 y 2014 con el objetivo de valorar su entidad literaria y su relevancia histórica y social.<br>The collection of erotic narrative «La sonrisa vertical» (Barcelona: Tusquets Editores) was born in full democratic transition, in 1977, it was created by Luis García Berlanga and Beatriz de Moura, with a double purpose: a genre up to that moment censored by the laws rescuing Francoists and betting on the narrative of young authors, both in Catalan and Spanish. The interest of a collection of these characteristics is not exclusively literary, since, the turbulent period in which it was gestated and the ideological bet of the publishing company, lodged volumes with a remarkable will of political and moral breach. In this sense, the representations of characters with heterodox sexualities were not scarce, among which, given the current legislation (Law of Dangerousness and Social Rehabilitation), well those of lesbians, gays and people could be included trans. This Ph. D. dissertation intends to offer an analysis of the very different creations of Spanish and Latin American authors who, especially, favoured the representation of lesbian characters between 1977 and 2014 with the aim of valuing their literary entity and their historical and social relevance.

L’œuvre de Joan Ganhaire (Jean Ganiayre en français) est d’une exceptionnelle richesse. Cet auteur contemporain, qui a fait de l’occitan limousin son unique langue d’écriture, a abordé des genres littéraires variés : nouvelles fantastiques, « nhòrlas » [histoires drôles], romans de cape et d’épée, romans policiers, sans compter une forme de poésie en prose qui affleure dans de nombreux textes. Sous son apparente diversité, cette œuvre est d’une grande cohérence par ses thèmes, par ses images, par ses « biais de dire » [façons de s’exprimer] récurrents. Elle peut se lire à des niveaux multiples et ouvre sur des possibilités d’interprétation très différentes selon le point de vue que l’on adopte, interprétations qui se croisent et s’enrichissent mutuellement. Hanté par les questions de la mort, de la violence omniprésente et de l’absurdité du monde, à la fois en tant qu’homme et par sa profession de médecin, Ganhaire, comme de nombreux auteurs des XXe et XXIe siècles, leur oppose le rire et la dérision comme un ultime pied de nez. Son œuvre est un hommage à l’imaginaire limousin, en relation étroite avec la nature, et dont il s’est senti imprégné dès l’enfance. Elle en propose une expression contemporaine, irriguée et hybridée par les imaginaires de grandes figures de la littérature mondiale, mais aussi par d’autres arts comme le cinéma<br>The work of Joan Ganhaire (in French Jean Ganiayre) is of exceptional richness. This contemporary author, who made the Limousin Occitan his only language of writing, addressed various literary genres : fantastic short stories, «nhòrlas» [funny short stories], cape and sword novels, detective novels, not to mention a form of poetry in prose that outcrops in many texts. Under its apparent diversity, this work is very consistent because of its themes, its images, and its recurring « biais de dire » [ways of saying]. It can be read at multiple levels and opens up very different possibilities of interpretation depending on the point of view adopted, interpretations that cross and enrich each other. Haunted by the questions of death, of the omnipresent violence and of the world’s absurdity, both as a man and by his profession as a doctor, Ganhaire, like many authors of the twentieth and twenty-first centuries, opposes them laught and derision like an ultimate snub. His work is a tribute to the imaginative limousin world, in close relationship with nature, which he felt imbued from childhood. It proposes a contemporary expression of it, irrigated and hybridized by the imaginative worlds of great figures of world literature, but also by other arts such as cinema

Alejandro López Andrada, poète, romancier et essayiste appartenant à la « génération des fils » comme la nomme Juan Vila, retrace le passé perdu ou en voie de disparition de son Andalousie natale. Sa prose se démarque par son caractère élégiaque et en dépit de la diversité générique qui caractérise ses œuvres, celles-ci ont en commun l’expression d’un sentiment nostalgique. Cette étude s’attache à présenter, en premier lieu, la voix narrative qui s’exprime dans le corpus choisi ainsi que la subjectivité qui la définit, puis, dans un second temps, les modes d’expression de cette nostalgie à travers l’exaltation de l’enfance dans laquelle s’inscrit la représentation de la terre natale andalouse. Enfin, la dernière partie de ce travail est consacrée à l’humanisme chrétien qui se dégage des textes, lesquels traduisent ainsi la foi personnelle de l’auteur. Celle-ci se manifeste notamment par l’expression de l’amour de l’Autre, de la revendication de valeurs et modes de vie renvoyant à nouveau à la période de l’enfance de l’auteur et par le poids important du religieux dans l’ensemble de son œuvre<br>Alejandro Lopez Andrada, a poet, novelist and essayist from the "generation of sons" as Juan Vila calls it, traces the lost or disappearing past of his native Andalusia.His prose is notable for its elegiac character and despite the generic diversity that characterises his works, they all express a feeling of nostalgia.This study aims to present, in the first instance, the narrative voice that is expressed in the chosen corpus as well as the subjectivity that defines it, and, secondly, the expression of this nostalgia through the exaltation of childhood, in which the representation of the Andalusian homeland is enshrined. Finally, the last part of this work is devoted to the Christian humanism that emerges from the texts, which reflect the author's own personal faith. This particularly manifests itself in the expression of love of the Other, in the demand for the values and way of life which hark back to the author's childhood and by the weight given to the importance of religion in all his work

The earliest buildings designad by Thomas Herzog reflect practicas of solar design. Overarching geometric forms as well as efficient structures complimented long, slanted south-facing walls incorporated in the meticulously-crafted structures. This strategy created much more approval in solar buildings in the eyes of the mass consumar. Inspired by the early modernism, his buildings characterize structure and function both ecologically and typologically while stressing the formal organization of plan and façade in tandem. In line with early followers of this movement, Herzog, too resorted to stretching the limits of tradition (including modernism) and taking a leadership role to broaden the view of present and future practitioners. Pioneering in development of buildings aligned to their place and context, Thomas Herzog repudiates design of closed systems independent of their location. Energy crisis can be suppressed through his ecologically-aware housing designs. The outer skins can react flexibly to changing conditions, and the energy balance can be regulated like an open system in accordance with dissipative climatic structures. The key element of the building then is the envelope which is conceived as an energy-exchange medium that reacts to specific local conditions. This inductive assessment of the relationship between the building and its environment is a salient achievement which wards off the repeatable types or monolithic structures. Conventionally, Herzog's architecture aims to reach to a self-sufliciency in ecology while the application of technology is his main concern, which is in fact an example of "technicist development" in the contemporary architecture. Through the analysis of a series of Thomas Herzog's works, a dozen of case studies have been selected for further discussion in which the design's approaches are based on Performance Form, both in its practicas and processes. Throughout these projects, there is a considerable integration between architecture and engineering. This thesis seeks to outline the prominence of performance-based design in which building performances are translated into guiding design principies while considered equal or above making the forms. Furthermore, it attempts to depict performative aspects in Herzog's works and suggests that the objectives sought by performance-based design can introduce an opportunity to an efficacious and accomplished architecture. Additionally, this study is aimed at realizing how concepts are brought into construction by exploiting innovative energy eflicient design. Further, it investigates less-focused concepts in establishing guidelines for future energy-efficient building design.<br>Los primeros edificios diseñados por Thomas Herzog reflejan las técnicas de diseño solar, arqueando formas geométricas, así como estructuras eficientes complementado muros largos, inclinados y orientados al Sur, fueron incorporados en estructuras meticulosamente elaboradas. Estas estrategias de diseño crearon mucho más la aprobación de edificios solares ante los ojos del consumidor masivo.Inspirado en el movimiento moderno temprano, sus edificios se caracterizan por el tratamiento ecológico y tipológico de estructura y función mientras que al mismo tiempo subraya la organización formal de la planta y fachada en tándem. En línea con los primeros seguidores de este movimiento, Herzog, también recurrió a extender los límites de la tradición (incluyendo el movimiento moderno) al asumir un papel de liderazgo y asi ampliar la visión de los profesionales presentes y futuros.Pionera en el desarrollo de edificios alineados a su lugar y contexto, Thomas Herzog repudia diseño de sistemas cerrados independientemente de su ubicación. Crisis energética se puede suprimir a través de sus diseños de viviendas ecológicamente conscientes. Los revestimientos exteriores pueden reaccionar de manera flexible a las condiciones cambiantes, y el balance de energía puede ser regulada como un sistema abierto, de acuerdo con las estructuras disipativas climáticas. El elemento clave de la construcción es, entonces ,el sobre que se concibe como un medio de intercambio de energía que reacciona a las condiciones locales especificas. Esta evaluación inductiva de la relación entre el edificio y su entorno es un logro sobresaliente que ahuyenta a los tipos repetibles o estructuras monolíticas . Convencionalmente, la arquitectura de Herzog tiene como objetivo llegar a una autosuficiencia en la ecología, mientras que la aplicación de la tecnología es su principal preocupación, que de hecho es un ejemplo de "desarrollo tecnicista" en la arquitectura contemporánea. Mediante el análisis de una serie de trabajos de Thomas Herzog, doce de casos de estudio, en el que su enfoque de diseño se basa en el desempeño de la forma, han sido seleccionados para continuar el debate, tanto en sus técnicas como sus procesos. Hay una integración considerable entre la arquitectura y la ingeniería a través de estos proyectos. Este tesis pretende esbozar la prominencia del diseño basado en el desempeño en el que las actuaciones de construcción se traducen en principios rectores el diseño que se consideran ya sea igual o más importante que el diseño de la forma. Además, se trata de ilustrar los aspectos performativos de obras de Herzog y sugiere que los objetivos perseguidos por el diseño basado en el desempeño pueden introducir una oportunidad para lograr una arquitectura más eficiente .

Cette thèse se focalise sur l’étude de quatre compositeurs chiliens contemporains de la seconde moitié du XXe siècle/début du XXIe (Cirilo Vila, Sergio Ortega, Patricio Wang et Andrés González), dont l’échelonnement générationnel permet d’embrasser un demi siècle de musique, et ayant pour dénominateur commun le fait d’avoir mené des carrières dans l’espace « euro-latinoaméricain ». La première partie de la thèse présente un panorama succinct de la musique savante chilienne dès l’indépendance du pays au XIXe siècle, en mettant l’accent sur le processus d’institutionnalisation de la vie musicale au pays, ainsi que sur les discours explicitement ou implicitement énoncés sur l’identité nationale/culturelle en musique. La deuxième partie analyse en détail, à travers une approche biographique, les parcours transnationaux et les œuvres des quatre compositeurs choisis, afin de comprendre, entre autres aspects, comment opèrent les processus de changement culturel à l’échelle d’une vie artistique. Enfin, la troisième partie présente une série d’études centrées sur l’analyse du rôle de passeurs culturels joué par les compositeurs chiliens (à la fois en tant que pédagogues et en tant que traducteurs de langages musicaux exogènes) ; l’impact de la circulation internationale et la globalisation ; les liens entre musique et politique, ainsi qu’entre art savant et populaire ; le rôle de la France et de l’Europe dans les processus d’acculturation ; les résultats du métissage culturel (à travers des cas concrets) ; ces études se complétant par une typologie des formes d’appropriation sonore opérés dans la musique de ces compositeurs<br>This thesis focuses on the study of four contemporary Chilean composers from the second half of the 20th century and beginning of 21st century who developed their careers in the ‘euro-latin-american’ space (Cirilo Vila, Sergio Ortega, Patricio Wang, and Andrés González), and whose generational intersections allow to cover half a century of music. The first part of the thesis presents a brief panorama of Chilean concert music, from the independence of the country at the beginning of the 19th century until our days. The survey emphasizes the process of institutionalization of the musical life, as well as the implicit or explicit discurses, which are presented regarding the national cultural identity in relation to music. The second part analyzes in detail, through a biographical approach, the transnational trajectories of the four composers under study. The aim is to understand, among other aspects, how the processes of cultural change work at the level of a given artistic life. The third part, attempts to elucidate 1. the specificity of Chilean musicians through a multifactorial approach, presenting a series of studies towards analyzing the role of cultural transmitter performed by Chilean composers (within their double function as pedagogues and translators of exogenous languages); 2. the impact of the international circulation and the globalization on their works; 3. the links between music and politics as well as the links between high and popular art; 4. the role of France and Europe in the processes of acculturation; 5. the results of cultural hybridization (through concrete cases), and finally, 6. a typology of the ways of sonic appropriation

Ce travail de recherche examine la représentation de l'expérience des violences extrêmes dans l'espace fictionnel contemporain de l'Afrique subsaharienne francophone. Les nombreuses fictions en prose produites dans le sillage des conflits armés des années 90 et du génocide au Rwanda soulèvent des interrogations liées à la représentation de la douleur, de la cruauté et de la mort ainsi qu’à l'éthique de l'art. Comment le texte littéraire met-il en récit les événements traumatiques ? Comment l'écrivain pense et problématise-t-il des crises extrêmes relevant de l'histoire immédiate ? Selon quelles modalités littéraires sont-elles constituées en un objet de connaissance et de sensibilisation ? Et quelles sont les stratégies langagières et esthétiques privilégiées pour transmettre la mémoire des atrocités dans une visée de témoignage ou de réflexion critique ? Cette thèse explore la mise en écriture de ces drames collectifs qui inaugurent, sur les plans historique et socioculturel, une nouvelle ère de violence en Afrique subsaharienne. Dans ce contexte, nous nous intéressons surtout aux ouvrages qui – en raison des choix formels et stylistiques singuliers adoptés par leurs auteurs – se caractérisent par une radicalisation du discours et des scénographies particulièrement violentes. Cette étude qui, au final, interroge les pouvoirs et les possibles limites de l'art dans la représentation de faits de violence extrême analyse un vaste corpus de romans et de nouvelles parus entre 1998 et 2010 et propose une approche pluridisciplinaire, puisant, à côté des théories littéraires et esthétiques, dans l'histoire, la sociologie, l'anthropologie et la psychiatrie<br>This research project examines the representation of the experience of extreme violence in the contemporary fictional space of Sub-Saharan Francophone Africa. The numerous works of prose fiction written in the wake of the armed conflicts of the 1990s and the Rwandan genocide raise questions related to the representation of pain, cruelty and death as well as to the ethics of art. How do literary texts put into narrative traumatic events? How do writers think and problematize extreme crises of immediate history? By the means of what literary modalities are these crises constituted into an object of knowledge and awareness? And what esthetic and language strategies have been privileged to convey the memory of the atrocities in order toprovide testimony or aim at critical reflection? This thesis explores the writing of the collective tragedies that, from a historical and socio-cultural perspective, mark the start of a new period of violence in Sub-Saharan Africa. In this context, we are focusing predominantly on texts that are characterized – through the distinctive choices of form and style operated by the authors – by a radicalization of discourse and particularly violent plots and esthetics. This research which interrogates the powers and the possible limits of art in the representation of facts of extreme violence analyses an extensive corpus of novels and short stories published between 1998 and 2010 and suggests a multidisciplinary approach which, next to literary and esthetic theories, draws on history, sociology, anthropology and psychiatry

Transdisciplinaire et transculturel, le motif familial a toujours entretenu des liens étroits avec le genre romanesque. Dans la littérature de la Grande Caraïbe, il fait l’objet de peu d’études critiques alors que l’espace caribéen se présente lui-même comme une famille géographique complexe, douloureusement marquée par la conquête coloniale, l’esclavage et le système de la plantation. Cette thèse se propose de l’aborder dans toute sa polysémie, de la représentation de la famille biologique aux différentes acceptions figurées – famille de substitution, famille de cœur, affiliations spirituelles, etc. – dans un corpus trilingue composé de quatre fictions romanesques caribéennes des XXe et XXIe siècles : Sartoris de William Faulkner, Cien años de soledad de Gabriel García Márquez, Texaco de Patrick Chamoiseau et La eternidad del instante de Zoé Valdés. Dans ces quatre romans, la représentation de la famille biologique révèle rapidement son caractère dysfonctionnel : rejetée par les personnages ou fragilisée par les événements, elle semble condamnée au délitement. Cet échec permet à d’autres types de relations d’apparaître ; loin de s’opposer au schéma familial initial, elles invitent à penser d’autres façons de « faire famille ». Ce passage d’une famille à l’autre permet ainsi d’engager une réflexion aussi bien sur la question de l’identité familiale des personnages que sur le rapport qu’entretiennent les romanciers caribéens avec les membres de la généalogie littéraire dans laquelle ils choisissent de se placer<br>An interdisciplinary and transcultural motif, the study of families has taken root in the genre of the novel. In Caribbean literature, there are but a few studies about the family pattern, despite the fact that the Caribbean area already constitutes a complex geographical family, painfully marked by colonization, slavery and the plantation system. This dissertation aims to study the various meanings of the representation of family, biological but also, figuratively, adoptive family, chosen family, spiritual family, etc. – in a trilingual corpus of texts made of four Caribbean fictional novels from the XXth and XXIst centuries: William Faulkner’s Sartoris, Cien años de soledad by Gabriel García Márquez, Patrick Chamoiseau’s Texaco and La eternidad del instante by Zoé Valdés. Within these four novels, the representation of the biological family soon reveals its dysfunctional dimension: rejected by the characters, fragilized by events, the family seems condemned to being dismembered. The failure allows for other relationships to form; far from being opposed to the way the original family was outlined, these relationships offer other ways to think about how to make a family. The passage from one family to the other allows to reflect upon, on the one hand, the question of familial identity on the part of the characters and, on the other, the relationship that Caribbean fiction writers have with the literary genealogy to which they wish to identify themselves

The use of existing music in new works is a widespread practice in recent art music, considering the number of “recompositions” that have been written since the late Eighties, and their remarkable variety in techniques, style and aesthetics. Nevertheless, essays on specific works have been published but no systematic musicological research has been undertaken on this phenomenon. The aim of this thesis is therefore to investigate musical borrowing in late twentieth- and early twenty-first-century Western art music both from a theoretical and a practical perspective. In the first part, different approaches to the study of musical borrowing by Burkholder, Straus, Metzer and Watkins are reviewed, with particular emphasis on methods and epistemological frameworks. Part two then broadens to include literary, semiotic and philosophical knowledge on the subject, with reference to theories of Genette, Eco, Steiner and Gadamer. Finally, part three consists of a multiple case-study of eight works composed by several authors between 1990 and 2013 using Gesualdo’s music (i.e. Adolphe, Dean, Eötvös, Francesconi, Haas, Mantovani, Ronchetti, Sciarrino). The results of this in-depth analysis show that a comparative study on musical borrowing as a creative interaction with tradition not only can provide a valuable improvement of our knowledge on individual authors but also can advance our understanding of the current condition of Western art music.

L’histoire sociale du commerce du bétail et de ses acteurs en Brionnais-Charolais, de la fin du XIXe siècle à nos jours, se confond avec celle de la construction de la filière bovine qui se structure autour de trois spécialités : le naissage, l’embouche et le négoce. Plusieurs étapes, mises en évidence dans la thèse, l’ont jalonnée : développement de l’embouche dans la seconde moitié du XIXe siècle, accès progressif des cultivateurs-éleveurs à l’aisance au cours du XXe siècle, remise en cause des pratiques à partir des années 1960 au profit de l’élevage allaitant. Les apports de cette thèse – réalisée à partir de sources très fragmentaires dans un assemblage qui a nécessité quelque inventivité – à l’histoire rurale, sociale et économique sont multiples. Une mise en perspective des adaptations successives d’un monde agricole en profonde mutation est proposée. L’analyse des changements à l’échelle de la famille, de l’exploitation ou du commerce fait de cette thèse un travail pionnier. Les acteurs de la spécialisation sortent de l’ombre grâce à l’étude, selon une approche prosopographique, d’un corpus d’emboucheurs et de marchands de bestiaux. De même, sont mis en évidence des flux et des réseaux au sein desquels circulent le bétail et l’argent et qui contribuent au désenclavement du territoire observé. Jusqu’au milieu du XXe siècle, la société rurale brionnaise repose sur un équilibre patiemment acquis, bientôt ébranlé par la modernisation de l’agriculture et la Politique agricole commune. La filière s’organise progressivement dans la seconde moitié du XXe siècle. La professionnalisation du négoce de bétail passe par la fin des maquignons et la mise en place de structures coopératives. Au début du XXIe siècle, la question se pose du devenir des commerçants en bestiaux et de l’élevage dans le berceau de la charolaise<br>The social history of cattle trade and its actors in Brionnais-Charolais, from the late 19th century up to nowadays merges into the history of the setting up of the cattle industry which has built itself around three fields : breeding, feeding and trade. My thesis reveals the different stages which have marked it up : from the development of cattle feeding in the second half of the 19th century, then the gradual access to wealth by farmers-breeders during the 20th century, to a questioning of old practices since the 1960s, replaced by brood cows breeding. I have carried out my thesis from very fragmentary sources into an assembly of facts (which had required great inventiveness) and shown how much contribution it could bring to the knowledge of rural, social and economical history. I propose a new perspective on the successive adaptations to a profoundly changing agricultural society. I have analyzed in a pioneering way the changes in the family as well as the farm or the trade fields. Thanks to a prosopographical approach, from a corpus of feeders and cattle dealers, this study brings the actors of specialization to light. In the same way, I have revealed the methods and the networks in which cattle and money circulate and which have contributed to opening up the studied area. Until the mid-20th century, the rural Brionnais society had rested on a patiently acquired equilibrium, soon shaken by a modernized agriculture and the Common Agricultural Policy. In the second half of the 20th century, the industry got itself organized gradually. The professionalization of cattle trade goes through the end of cattle dealers and the setting up of cooperatives. In the early 21st century, one has to wonder about the evolution of cattle traders and of breeding itself in the birthplace of Charolais cattle

博士<br>淡江大學<br>英文學系博士班<br>107<br>My dissertation aims to illustrate several trajectories in feminist theory in the last fifty years through a critical analysis of selected literature and film. Much of contemporary feminist discourse remains humanist-centered discourse and so continues in the vein of the projects of first and second-wave feminist scholars. However, in many instances, as I will discuss in this dissertation, contemporary feminist discourse has moved beyond humanist focused inquiries, reflecting and crossing over with scholarly and activist work in the areas of posthumanism as well as ecocriticism, and animal studies. The “post” in the word “‘post’-feminisms” in the title of my dissertation refers to said shift. Much of contemporary feminist discourse also is not as dominated by western models of feminism, a change that owes in part to the work of scholars who specialize in postcolonial studies (and postcolonial ecocriticism). The “post” in the word “‘post’-feminisms” in the title of my dissertation refers to that shift or widening of feminist concerns as well. I illustrate the given transformations through a reading of selected works of literature and film that ask or raise questions that reflect feminist theoretical engagements with humanism, posthumanism, anthropocentrism, and speciesism. Such engagements owe significantly to but also move beyond the groundbreaking work of first- and second-wave feminists, the latter group of which is represented by Simone De Beauvoir. Her work was very influential up through the 1970s and thus I comment on a seminal publication by De Beauvoir (in the second chapter of my dissertation). “‘Post’-feminisms” in this dissertation mostly refers to feminist arguments that appear after the 1970s and intersect closely with arguments in the more recent disciplines (disciplines that didn’t emerge until soon or well after the 1970s) of postcolonialism, ecocriticism, animal studies, and posthumanism. There are six chapters in total in the dissertation. The first chapter functions as the introduction to the dissertation, introducing the overall argument. It includes extensive comments on two studies, for they inform the arguments in the dissertation as a whole. The two studies are: ecofeminist and ecophilosopher Val Plumwood’s Feminism and the Mastery of Nature and posthumanist thinker Elaine L. Graham’s Representation of the Post/Human: Monsters, Aliens and Others in Popular Culture. The main subject of Chapter Two, “Feminist Backwaters and French New Wave Film: Alain Resnais’ Last Year at Marienbad,” is Resnais’ film. I critique that film by drawing on a classic study of second-wave feminism, Simone De Beauvoir’s The Second Sex as well as by referring to studies of French New Wave film by poststructuralist scholars. Chapter Three,“Postcolonial Feminism and Ecofeminism: Amitav Ghosh’s The Hungry Tide,” focuses on postcolonial writer Amitav Ghosh’s The Hungry Tide. I critique the representations of female characters in the novel, specifically how those representations implicitly show bias towards western feminist role models. Chapter Four, “Marxist Feminism and Ecosophy: Linda Hogan’s Solar Storms and Steven Seagal’s On Deadly Ground,” addresses a novel and a film through the perspectives of Marxist-influenced feminist thought as well as Marxist-influenced ecosophical positions. Chapter Five, “A Feminist and Animal Studies Critique of Transhumanism: Egoyan Zheng’s The Dream Devourer, Alex Garland’s Ex Machina, and Neill Blomkamp’s Elysium” addresses two films primarily from the perspective of a feminist posthumanist critique of the discipline itself—namely a critique of the mainstream direction, transhumanism, that poshumanism has taken. In my feminist posthumanist critique, I address in particular the area of transhumanism inquiry of artificial intelligence. Chapter Six functions as the conclusion of the dissertation, recapping the main points and the thesis.

Objectos modernos e contemporâneos feitos de plástico são amplamente encontrados no património cultural. Presentemente, a sua preservação levanta questões críticas aos conservadores e cientistas uma vez que estes objectos podem facilmente sofrer degradação num curto espaço de tempo. Um dos fenómenos que pode alterar significativamente a aparência de objectos em plástico é a alteração de cor (descoloração). De um modo geral, a descoloração é habitualmente associada à degradação dos polímeros, contudo, os pigmentos, que são parte integrante das formulações do plástico, também podem desvanecer devido à exposição à luz. A identificação de objetos de plástico com pigmentos sensíveis à luz é um exercício bastante exigente devido à sensibilidade dos mesmos a alterações na cor. A caracterização dos corantes nos plásticos é normalmente realizada através de amostragem, métodos de extração e testagem destrutiva. Como alternativa, esta tese apresenta uma abordagem inovadora e multi- analítica baseada em espectroscopias que foi desenvolvida para a identificação in situ dos pigmentos em plásticos históricos. Esta metodologia compreendeu a utilização de microscopia ótica (MO), microespectrometria por fluorescência de raios X dispersiva de energias (μ-EDXRF), espectroscopia UV-Vis-NIR de reflectância, fotoluminescência (PL) e micro-espectroscopia de Raman (μ-Raman) na análise de obras de arte, objetos industriais e de uso diário, datados de 1950-2000s e pertencentes a coleções Portuguesas. Deste estudo resultou a identificação dos pigmentos comumente presentes na paleta de cor dos coloristas da indústria dos plásticos portuguesa: óxido de ferro (PR 101, α-Fe2O3), molibdato de cromato de chumbo (PR 104, Pb(Cr,Mo,S)O4), vermelho de cádmio (PR 108, Cd(S,Se); PR 113, (Cd,Hg)S), amarelo de cádmio (PY 37, CdS; PY 35; (Cd,Zn)S), branco de titânio (PW 6, TiO2 ambos rutilo e anátase), oxicloreto de bismuto (PW 14, BiOCl) e lacas do pigmento orgânico β-naftol (PR 48, PR 49, PR 53). Adicionalmente, foi também identificado um pigmento fora do comum, o pigmento perlascente plumbonacrite Pb5(CO3)3O(OH)2. Para todos os casos de estudo, μ-Raman foi a ferramenta chave para a caracterização dos pigmentos nos objetos de plástico, aportando dados conclusivos para a identificação dos mesmos. A impressão digital vibracional dos pigmentos orgânicos e inorgânicos foi adquirida com sucesso recorrendo à focagem do laser na superfície das partículas. A aquisição de dados espectrais de pigmentos com concentrações muito baixas (0.1 % a 5%, aproximadamente) à escala micro foi possível através de microscopia confocal, que faz parte do sistema do equipamento de μ-Raman. Adicionalmente, foi também possível obter informação sobre o polímero base (principalmente termoplásticos) e cargas. Os métodos analíticos desenvolvidos neste estudo deverão, em trabalhos futuros, facilitar a obtenção de informação complementar sobre estes objetos de plástico e permitir uma melhor identificação e avaliação do seu estado de conservação. Esta tese foca particularmente objectos de plástico vermelhos visto que estes foram identificados como os mais severamente afetados por alterações de cor. O estado avançado de desvanecimento identificado no pigmento β-naftol PR 53 mostrou a sua fraca estabilidade à luz em formulações de plástico. Esta situação, junto com as alterações de cor descritas em literatura para o pigmento PR 48 em objetos de plástico, sugere uma sensibilidade dos pigmentos vermelhos da família dos β-naftol ao desvanecimento. O PR 53 e os pigmentos vermelhos da família dos β-naftóis são pigmentos históricos facilmente encontrados em objetos do património cultural. No entanto, o conhecimento acerca da sua estabilidade a longo prazo e resistência à foto-degradação é limitado, especialmente para os casos onde os mesmos se encontram em polímeros, sendo que este conhecimento é essencial para a sua preservação. Neste estudo, a quantificação da foto-estabilidade para uma série de pigmentos vermelhos da família dos β-naftol foi realizada pela primeira vez, através do cálculo do rendimento quântico de fotodegradação (ΦR). Os valores obtidos variaram entre 3x10-6 e 4x10-5, indicativo de uma estabilidade relativamente boa à luz por parte das moléculas. Tendo em consideração que a estabilidade dos pigmentos não se limita exclusivamente ao pigmento em si, mas também à sua interação com o meio envolvente, foram realizados ensaios de envelhecimento por exposição à luz (λ>300 nm) do pigmento em solução, em pó e incorporado em polímeros de modo a avaliar o papel do meio na estabilidade à luz dos pigmentos e as vias pelas quais estes se degradam. Verificou-se que o ligante tem um impacto significativo na estabilidade do pigmento uma vez que se foi detetada uma maior sensibilidade à luz dos pigmentos PR 48 e PR 53 quando incorporados nos plásticos, comparativamente ao ensaio do pigmento em pó. Este novo conhecimento irá contribuir para o desenvolvimento de novas estratégias na conservação dos plásticos com estes pigmentos vermelhos fotossensíveis através da previsão do desvanecimento. Espectrometrias de massa (MS) por cromatografia em fase líquida e gasosa foram utilizadas na caracterização dos principais subprodutos da degradação. Observou-se uma fotodegradação significativa e a formação de compostos ftálicos e ftalatos nos pigmentos em solução e em pó.<br>Modern and contemporary objects made of plastics are widely found in cultural heritage. Today, their preser- vation poses critical issues to conservators and scientists, as they can suffer from extensive degradation in a short time period. Color change (discoloration) is one of the alteration phenomena that can significantly affect their appearance. Discoloration is commonly associated with the degradation of polymers. However, pigments within plastics can also fade due to exposure to light. The identification of objects that contain light-sensitive pigments is demanding because of the sensitivity of plastics to color change. Normally sampling, extraction methods and destructive testing are required for the characterization of colorants in plastics. In this work, an innovative multi-analytical spectroscopic approach for the in situ identification of pigments in historical plastics was developed. Optical microscopy (MO), micro-energy dispersive X-ray fluo- rescence (μ-EDXRF), UV-Vis-NIR reflectance, photoluminescence (PL) and Raman microscopy (μ-Raman), were used for the analysis of artworks, industrial and daily objects dated from 1950s-2000s from Portuguese collections. A common colorists’ palette within the Portuguese plastics industry was identified: iron oxide (PR 101, α-Fe2O3), lead chromate molybdate (PR 104, Pb(Cr,Mo,S)O4), cadmium red (PR 108, Cd(S,Se); PR 113, (Cd,Hg)S) and cadmium yellow (PY 37, CdS; PY 35; (Cd,Zn)S) pigments, titanium whites (PW 6, TiO2 both rutile and anatase), bismuth oxychloride (PW 14, BiOCl) and organic β-naphthol lakes (PR 48, PR 49, PR 53). An exceptional pigment found was the pearlescent plumbonacrite pigment Pb5(CO3)3O(OH)2. In all the case studies, μ-Raman was the key analytical tool for pigment characterization in the plastic objects, providing conclusive data for their identification. The vibrational fingerprint of both inorganic and organic pigments was successfully recorded by focusing the laser beam on particle surfaces. The confocal microscopy system used in μ-Raman enabled the collection of spectral data from low concentrations of pigments (ap- proximately 0.1%-5%) on the micro-scale. In addition to pigments, information on the base polymer (mainly thermoplastics) and fillers was obtained. The analytical methods developed will facilitate the acquisition of complementary data from plastics allowing material identification and condition assessment in the future. This thesis focused on red pigmented plastic artifacts, as they were found to be severely faded among the studied objects. The identification of β-naphthol pigment lake PR 53 as a faded pigment highlighted its poor fastness in plastics, that together with the color change of PR 48 in plastic objects, reported in literature, suggests the particular susceptibility of β-naphthol red lakes to fading. PR 53, and the other β-naphthol reds, are historical pigments widely found in cultural heritage. However, little is known about their photodegradation and stability, especially when they are found in polymer media, and this knowledge is essential for their long- term preservation. For the first time, photodegradation quantum yields (ΦR) were calculated for a series of red pigments based on β-naphthol in order to quantify their photo-stability. ΦR values ranging from 3x10-6 to 4x10-5 were obtained, indicating relatively light-stable molecules. Bearing in mind that pigment fastness is not only related to the pigment itself, but also to its interaction with the confined environment, light-aging experiments (λ>300 nm) were conducted in solution, on powders, and in polymers to assess the role of the medium on the lightfastness of the pigments and their degradation pathways. A significant impact of the binder on their stability was found. Indeed, a higher sensitivity to light of PR 48 and PR 53 pigments, when incorporated in plastics than in powder, was observed. This new knowledge will contribute to the prediction of plastic fading and inform effective preventive conservation strategies for objects containing light- sensitive β-naphthol red pigments. Liquid- and gas-chromatography mass spectrometry (MS) were used for the characterization of the main degradation products. Extensive photodegradation was observed with the formation of phthalic compounds and phthalates in both solution and powder phases.

The phenomenon of populism has been a passionately debated topic of political science. Many among political thinkers, theorists and actual decision-makers have not only shared a common point of interest and concern, but they also have approached from a variety of different aspects. As can be witnessed in current times, the threat of the populist “awakening” has not exclusively been the experience of relatively recently democratized countries, but also of enduring and stable democracies. The present thesis is to serve as the introduction and comparison of two examples with consociational arrangement, from the latter category – namely, of Belgium and the Netherlands. The core of my inquiry lies in the fundamental discrepancy between the traditional eagerness of conventional parties to cooperate and the populist parties with the intention to oppose the arrangement of the former. According to my supposition, the political activity of the Vlaams Belang in Belgium and the Partij Voor de Vrijheid in the Netherlands generates a tense relation to the consociational arrangement. Namely, these populist factions articulate an exclusive idea of the society – “the people” – which seems to oppose the inclusive nature of consociationalism. Also, their anti-establishment nature contrasts the cooperation and consensus of the elite, whom tend to react to this rather “antisocial” political behaviour with a sort of dissociation, the application of the so-called cordon sanitaire. The conclusion that I will endeavour to draw from the case studies of Belgium and the Netherlands in the last, concluding chapter, will hopefully be able to support the following hypothesis: the Flemish Vlaams Belang and the Dutch Partij voor de Vrijheid have been kept in a distance from actual power, however, their presence have resulted in the traditional parties borrowing elements from their agenda. It is an unconcealed hope of the author that the thesis will eventually be able to demonstrate that as democracy itself can be viewed as a diverse system, populism by which it has been endangered by, might also be a varied and manifold phenomenon.

Research Doctorate - Doctor of Philosophy (PhD)<br>This thesis aims to shed light on the global phenomenon of forcible child transfer. For many centuries children around the world have been forcibly separated from their families and communities by transferral from one group to another within the state. This practice is still happening today and potentially amounts to the crime of genocide (UN Genocide Convention, Article 2(e)). The forcibly transferred children are confronted with physical, mental, and sexual violence; their identity is forcibly changed; and their rights are taken away. The impact of the practice is grave. The children are confronted with short-term and long-term consequences such as potentially lifelong trauma and a lack of of belonging. Adopting a comparative approach, this thesis focuses on the Middle Eastern region in the 20th and 21st centuries. It will look at the Armenian Genocide, the Dersim Massacre, and the Yazidi Genocide. To cover the global dimension of the practice it will further explore the cases of the ‘Stolen Generations’ in Australia, ‘Los Niños de los Desaparecidos’ in Argentina, and ‘Die Kinder der Landstrasse’ in Switzerland. By analysing these different historical case studies of forcible child transfer, this thesis will argue that there is a pattern within the practice and that it is a practice that can potentially occur anywhere in the world, independently of context, geography, and time, provided certain features are present. This thesis will connect historical analysis of the practice of forcible child transfer with the children’s experiences of forced separation. At the centre of the thesis are the stories of the forcibly abducted children.

碩士<br>國立臺灣師範大學<br>翻譯研究所<br>96<br>Considering the reading habits of the English readers who are interested in the traditional Chinese short stories, translators of Feng Menglong’s San-yen have adopted various strategies to approach its literary structure and narrative style. The paper has categorized fifteen English renditions of San-yen in the late 19th – early 21st centuries into three groups, “Liberal Style,” “Academic Style,” and “Eclectic Style” in an attempt to analyze their stylistic characters and effects.

Terrestrial ecosystems play an important role in the global carbon cycle by naturally taking up carbon from the atmosphere through photosynthesis and storing this carbon as biomass and soil carbon. There exists a strong, yet complex and uncertain relationship between the terrestrial ecosystems and the climate system. Inadequate knowledge on the regional terrestrial carbon cycle dynamics translates into large uncertainties in the estimation of global terrestrial carbon stocks and fluxes and in turn the climate projections as well. It is important to gain a better understanding of the terrestrial carbon dynamics at a regional level, in order to reduce the uncertainty in the terrestrial carbon estimates at the global scale (LeQuéré et al., 2017, Canadell et al., 2011). The Indian region is very important but relatively unexplored in terms of terrestrial carbon studies. However, significant environmental changes have occurred in the 20th century that has affected the terrestrial carbon dynamics of the Indian region considerably. The present research provides a model based assessment of the trends and variability in terrestrial carbon stocks and fluxes over India. We have used a multi-model based approach to understand the regional dynamics of the carbon cycle in the historical period and to predict the future terrestrial carbon dynamics over India. In the first part of the thesis (Chapter 3), we assess the trends and variability in the land carbon uptake in India during the period 1901-2010 using outputs from nine land surface models that are a part of the TRENDY model inter-comparison project. Outputs from two simulations were used - the S1 simulation where only atmospheric CO2 concentration is varying and the S2 simulation where both the climate and atmospheric CO2 are varying. The simulation S2 represents approximately the actual historical evolution of the system and the S1 simulation is used to make comparisons with S2 to obtain the individual effect of climate change (S2-S1). The changes in S1 simulation with time is used to infer the effect of increasing CO2. Our analysis in this chapter is focused on the trends and variability in Net Primary Productivity (NPP), Net Ecosystem Productivity (NEP) and the Net Ecosystem Exchange (NEE) over India in the historical period. The TRENDY multi-model mean NPP shows a positive trend of 2.03% per decade during the historical period from 1901-2010 over India. The multi-model based estimate of the cumulative NEE is 0.613 ± 0.1 Pg C during 1901-2010, indicating that the Indian terrestrial ecosystem was neither a strong source nor a significant sink during this historical period. Inter-annual variation in the terrestrial carbon variables are strongly driven by local precipitation changes and remote drivers such as ENSO and Indian Ocean Dipole (IOD) do not have a strong influence on the terrestrial carbon variables over India. The water use efficiency over the region is assessed along with the terrestrial carbon variables, and it shows an increase of about 25% over the 110-year period. However, since our conclusion is based on a set of offline land models further investigations are necessary for assessing the robustness of our estimates based on the TRENDY models. Thus, in the second part of our study we assess the terrestrial carbon dynamics over the Indian region, using a single Dynamic Global Vegetation Model (DGVM) driven by climate data from multiple climate models. In the second part of the thesis, we use a Dynamic Global Vegetation Model (DGVM) forced with climatic inputs from 24 CMIP5 climate models, to assess the trends and variability in terrestrial carbon stocks and fluxes over India for the historical period and for two Representative Concentration Pathway (RCP) scenarios - the RCP 4.5 scenario and the RCP 8.5 scenario. Outputs from 24 Coupled Model Intercomparison Project phase 5 (CMIP5) climate models are used to force the DGVM for more statistically significant results. The DGVM used is the Lund-Potsdam-Jena DGVM (LPJ-DGVM) and is run on a grid cell basis at 0.5° latitude and longitude resolution. For the historical period, we find that the range in the terrestrial carbon fluxes obtained from LPJ-DGVM forced with 24 CMIP5 climate models are comparable with the fluxes obtained from the TRENDY multiple land surface model based assessments. The ensemble mean NPP from the 24 LPJ-DGVM simulations increases by11.3% in the historical period. In the RCP 4.5 scenario, NPP increases by 20% and in the RCP 8.5 scenario, by 62% through the end of the 21st century compared to the 1996-2005 baseline. The vegetation carbon and soil carbon show an increasing trend in the historical period as well as the RCP 4.5 and the RCP 8.5 scenario. The ensemble mean NEE from the 24 LPJ-DGVM simulations over India, has a positive mean value through the historical period, the RCP 4.5 scenario and the RCP 8.5 scenario. The cumulative NEE for the Indian region over the historical period is positive and concur with the TRENDY multi-model results from the previous chapter although differing in the magnitude of source. The cumulative NEE is positive for the RCP 4.5 scenario and is slightly negative in the RCP 8.5 scenario, indicating the Indian land mass becomes a source of carbon to the atmosphere in the RCP 4.5 scenario and sink for the RCP 8.5 scenario. In the third part of the thesis, we assess the role two key drivers, climate change and CO2, for the trends and variability in terrestrial carbon variables over India in the historical period and in the two RCP scenarios. We find that the terrestrial ecosystems over India are a source of carbon when the climate is varying with warming increasing through the historical periods and reaching maximum in the RCP 8.5 scenario. Thus, the climate effect alone makes the Indian land mass a source of carbon to the atmosphere in the historical period as well as the RCP 4.5 scenario and the RCP 8.5 scenario. The contribution of the increasing concentrations of CO2 in the atmosphere is positive on the terrestrial carbon stocks and fluxes and we find that the productivity and hence the terrestrial carbon stocks increase as a result of the CO2 fertilization effect in the historical period, the RCP 4.5 and RCP 8.5 scenarios. The cumulative changes in NEE as a result of the climate-effect, the CO2-effect and the net effect are assessed and we find that in the historical period from 1900-2005, climate-effect is a stronger driver than the CO2-effect, driving the Indian region to be a source for carbon as a net effect. In the RCP 4.5 scenario, from 2006-2100, the climate-effect continues to be a stronger driver than the CO2-effect, driving the Indian region to be a net source for carbon. In the RCP 8.5 scenario, however, the CO2 fertilization effect is a stronger driver and the terrestrial ecosystems are a small net sink for carbon. To summarize, this thesis makes a multi-model based assessment of the long term trends and variability in terrestrial carbon stocks and fluxes over the Indian region for the 20th century and predicts the future changes during 21st century. Understanding the past, current and future changes in terrestrial ecosystem dynamics helps plan better policy interventions to preserve the terrestrial ecosystems from further degradation and in turn mitigate the effects of climate change in the Indian region.

Text in English with summaries and keywords in English, Afrikaans and Zulu<br>Presented in two volumes. Volume 2 contains colour photographs<br>Bibliography: (volume 1: leaves 181-219)<br>The history of South African ceramics of the twentieth and twenty-first centuries tends to be presented in a compartmentalised manner in that it focuses on the leading exponents within genres and is limited to an investigation of the contexts that have an immediate bearing on their oeuvres. The result is a fragmented (and sometimes biased) view of the role players, circumstances, influences and incentives that have come to define South African ceramics. The thesis introduces key contributors who have hitherto been considered in relation to crafts and fine art but whose work with ceramic materials places them firmly within the ambit of South African ceramics. It also positions and evaluates the roles of the formal and informal twentieth-century educational and training agencies that, within the constraints of imposed political dogma, produced ceramists who successfully challenged staid Western aesthetics. Particular attention is given to how the black “traditional potters” exercised agency in negotiating a contemporary (as opposed to an ethnographic) presence in which they referenced the forms, meanings and values of “traditional pottery” to meet the expectations of the collector’s market. The thesis posits that the ceramists’ quest to claim an identity (or an “indigeneity”) in the turbulent political era of the later twentieth century has parallels with the intent and outcomes of African Modernism. African Modernism, which arose in postcolonial countries, sought to challenge Western binaries of art, craft, identity and presence and typically made use of hybridity to that end. The same presence of hybridity is evident in twentieth-century South African ceramics, which must be read as an engagement with a multi-cultural society within which the ceramists sought to position themselves. The thesis illustrates the progression of hybrid features from an initially crude and superficial referencing of indigenous and African material culture to subjective translations of that culture that are presented in innovative approaches. This theme is further explored in relation to South African ceramics of the twenty-first century, and evidence suggests that some of the ceramists’ oeuvres can now be considered transcultural and even transnational. The thesis, which is by its nature an enquiry that presents new or reassessed evidence is neither a fully inclusive nor an absolutist revision of the history of ceramics.<br>Die geskiedenis van Suid-Afrikaanse keramiekkuns van die twintigste en een-entwintigste eeu is geneig om op ʼn onderverdeelde wyse voorgehou te word, omdat dit op die hoofeksponente in genres fokus en beperk is tot ʼn ondersoek na die kontekste wat ʼn direkte uitwerking op hul oeuvres het. Die resultaat is ʼn gefragmenteerde (en soms bevooroordeelde) beskouing van die rolspelers, omstandighede, invloede en aansporings wat Suid-Afrikaanse keramiekkuns definieer. Die tesis stel sleutelbydraers bekend wat tot dusver met handwerk en beeldende kuns verbind is, maar wie se werk met keramiekmateriale hulle sonder twyfel binne die sfeer van Suid-Afrikaanse keramiekkuns plaas. Daarbenewens posisioneer en evalueer die tesis die rolle van die formele en informele twintigsteeeuse opvoeding- en opleidingsagentskappe wat, binne die beperkings van voorgeskrewe politieke dogma, keramiste opgelewer het wat oninspirerende Westerse estetika suksesvol betwis het. Aandag word veral geskenk aan hoe die swart “tradisionele pottebakkers” bemiddeling uitgeoefen het in die verwesenliking van ʼn kontemporêre (teenoor ʼn etnografiese) teenwoordigheid waarin hulle verwys het na die vorme, betekenisse en waardes van “tradisionele pottebakkery” om aan die verwagtinge van die versamelaarsmark te voldoen. Die tesis voer aan dat daar parallelle bestaan tussen die keramis se soeke om op ʼn (inheemse) identiteit te kan aanspraak maak in die onstuimige politieke era van die latere twintigste eeu, en die oogmerke en uitkomste van Afrika-modernisme. Afrika-modernisme het in na-koloniale lande ontstaan en het beoog om Westerse binêre pare van kuns, handwerk, identiteit en teenwoordigheid te betwis; om hierdie doel te bereik is hibridisme gewoonlik gebruik. Dieselfde teenwoordigheid van hibridisme kan gesien word in Suid-Afrikaanse keramiekkuns van die twintigste eeu, wat beskou moet word as ʼn gemoeidheid met ʼn multikulturele samelewing waarin die keramiste hulself probeer posisioneer. Die tesis illustreer die vooruitgang van hibriede eienskappe, van ʼn aanvanklik onafgewerkte en oppervlakkige verwysing na inheemse en Afrika- materiële kultuur, na subjektiewe interpretasies van daardie kultuur wat in innoverende benaderings voorgehou word. Hierdie tema word verder ondersoek in verband met SuidAfrikaanse keramiekkuns van die een-en-twintigste eeu, en bewyse dui daarop dat sommige van die keramiste se oeuvres nou as transkultureel en selfs as transnasionaal beskou kan word. Die tesis, wat in wese ʼn ondersoek is wat nuwe of hersiende bewyse voorhou, is nóg ʼn ten volle inklusiewe nóg ʼn absolutistiese hersiening van die geskiedenis van keramiekkuns.<br>Umlando weseramiki yaseNingizimu Afrika kwikhulu leminyaka lamashumi amabili namashumi amabili nanye uvamise ukwethulwa ngendlela ehlukaniswe ngezigaba ngokuthi igxile phezu kwezingcweti ezihola phambili ngaphakathi komkhakha wezinhlobo kanti lokhu kugxile kuphela kuphenyo lwezizinda ezinomthintela osheshayo phezu kwemisebenzi yonke yalezo zingcweti. Umphumela ukhombisa umbono owehlukene (kanti ngesinye isikhathi umbono owencike kwingxenye eyodwa) wabadlalindima, wezimo, wemithelela kanye neziphembeleli ezichaza iseramiki eNingizimu Afrika. Ithesisi yethula abagaleli abasemqoka ukufika manje okudala benakiwe mayelana nemisebenzi yobuciko kanye nemisetshenzana yobuciko obuncane kodwa imisebenzi yayo yomatheriyali weseramiki ibabeka ngaphakathi komkhakha wezeseramiki eNingizimu Afrika. Lokhu kuphinde futhi kuhlole izindima zezinhlaka zemfundo nezoqeqesho ezihlelekile nezingahlelekile, lezo ngaphaklathi kwezihibhe zohlelo olumatasa lwepolitiki, lukhiqize osolwazi bezeseramiki abaphonsele inselele ngempumelelo osolwazi bezobuhle beNtshonalanga. Kugxilwe kakhulu kwindlela ababumbi bendabuko abamnyama “traditional potters” abasebenzisa ngayo ubummeli uma bexoxisana ukubonakala emsebenzini wesikhathi samanje (njengoba lokhu kuphambene ne-ethinigrafi) lapho baye bariferensa izindlela, izincazelo kanye nezinga lobugugu bobuciko bendabuko bokubumba ukufeza izinhloso ezilindelwe zemakethe yabaqoqi bomsebenzi wobuciko. Ithesisi iyasho ukuthi impokophelo yosolwazi bezeseramiki yokuzitholela uphawu oluchaza ubunjalo babo (or an “indigeneity”) esikhathini esibucayi sezepolitiki sekhulu leminyaka yamashumi amabili inezimpawu ezifanayo ngenhloso kanye nemiphumela yohlelo lwesimanjemanje sase-Afrika African Modernism. Uhlelo lwe-African Modernism, oluqhamuka kumazwe avele ngemuva kombuso wobukoloni, luphonsela inselele yezinhlelo zobuciko, yesithombe sobuciko kanye nobukhona bobuciko kanti ikakhulukazi bukhandwe ngobuciko bokuhlanganisa izinhlobo (hybridity) ezahlukile. Ubukhona bohlelo lokusebenzisa izinhlaka ezahlukile lwe-hybridity lubonakala kwimisebenzi yeseramiki yesenshuwari yamashumi amabili yaseNingizimu Afrika, okufanele ifundwe njengomsebenzi ohlanganiswe ndawonye nomphakathi wamasiko amaningi, kanti ngalo msebenzi ababumbi beseramiki bafuna ukuziphakamisa ngawo. Ithesisi ikhombisa intuthuko yezimpawu wumsebenzi oyingxubevange (hybrid) ovela kwindlela yokureferensa eluhlaza neyobuciko bamaqhinga bosiko lwendabuko lomatheriyeli wase-Afrika ukuphawula ngemisebenzi ehunyushiwe yalolo siko eyethulwe ngezindlela ezinamaqhinga amasha. Lesi sihloko siqhubekela phambili nokuhlolwa mayelana nohlelo lweseramiki eNingizimu Afrika kwisenshuwari yamashumi amabili, kanti ubufakazi buyasho ukuthi eminye imisebenzi yosolwazi bobuciko beseramiki ingathathwa njengemisebenzi ekhombisa ukushintsha amasiko kanye nokushintsha kwesizwe. Ithesisi, ngokwemvelo yayo ingumbuzo owethula ubufakazi obusha noma ubufakazi obubuyekeziwe, le thesis ayiwona umsebenzi oxuba konke futhi ayikona ukubuyekezwa kwangempela komlando weseramiki.<br>Art History, Visual Arts and Musicology<br>D. Phil. (Art)

Item consists of a digitized copy of an audio recording of a Vancouver Institute lecture given by Kal Holsti on March 7, 1998. Original audio recording available in the University Archives (UBC AT 2221).

碩士<br>國立政治大學<br>外交學系戰略與國際事務碩士在職專班<br>106<br>Since its inception, the Shanghai Cooperation Organization (hereinafter referred to as “the SCO”) has proposed the equal cooperation of all member states and adhered to the purposes and principles of the “UN Charter”.The "three forces" are the main multilateral international organizations.So far it has become an important force for maintaining peace and stability in Central Asia.At present,SCO members still suffer from provocations and threats from surrounding terrorism.The cooperation relationship is full of many uncertainties and the arrogance of terrorism is rampant.Faced with the increasingly serious threat of the three forces,the SCO member states are more eager to communicate on an equal footing,negotiate democratically, and jointly build a closer legal mechanism for counter-terrorism cooperation. This article aims to explore the formation and development of the SCO counter-terrorism mechanism, the predicament of counter-terrorism mechanism construction,and how to further improve and guide the anti-terrorism practice of the SCO member states as an entry point.It also constitutes the principle and foundation for the establishment and improvement of cooperation in the fight against terrorism.It also shows the international responsibilities of the member states.