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This thesis presents a history of the concept of the state as a political community. Beginning with the early-nineteenth century and using debates about state formation and state recognition as its source material, it uses the language of English-speaking policy makers and political commentators to explore understandings of statehood across different time periods. The thesis argues that the meaning and connotations of the state have changed significantly in the past two hundred years, as it has become more salient in images of world politics. In particular, the state has evolved to incorporate the idea of the 'nation,' such that when governments act they are perceived to have their populations 'in tow.' These conceptual changes are surprisingly recent, solidified particularly since the Second World War. Four broad themes structure the argument in each chapter. First, the historical 'nation' has become an increasingly dominant way of conceptualising the populations of states. Second, the state has come to be construed as the inevitable unit of world politics, corroborated by the assumption that each one arises out of a pre-existing 'nation.' Third, the state has increasingly been perceived as a unitary actor with its own consciousness, separate from 'government.' Finally, the state with its nationalist implications, has come to define the dynamics of international politics, a means of simplifying an ever more complex world. The thesis roots contemporary (English language) understandings of the state in a particular historical and political context, defined by the contestation between 'American' and 'British' worldviews, the triumph of liberal internationalism and the multiple interests at stake in the image of the state as a nation. The thesis thus exposes the intensely political nature of language and the complacency of International Relations with regard to its own use of words and conventional narratives.

Zugl.: Bologna, Universit̀a, Diss., 2005. / Contains bibliographical references, notes and name index.

This thesis is a project of intellectual history which focuses on the development of notions of power and the nation-state in realist thought. The main aim of the thesis is to offer a comprehensive account of how different conceptions of power in the work of various realist thinkers influence their perceptions of the nation-state. Although both power and the state are considered as central to realism, their connection has not been adequately discussed and remains largely implicit. The thesis aims at illuminating such a connection. The authors under examination are both key realist thinkers and representative of the diversity of realist thought as well as of the development from classical to structural realism. As such, the thesis focuses on the works of E.H. Carr, H. Morgenthau (as classical realists), J. Herz (as a transitional figure) and J. Mearsheimer (as a structural realist). The thesis engages with each realist’s theory in a three-step process. First, it analyses their conceptualisation of power and the role it plays in their ontological and epistemological assumptions. Then, using that conceptualisation of power as a starting point, it discusses its impact on the way the realist under examination understood the nation-state. Finally, the way the aforementioned realists engaged with the foreign policies of given nation-states is employed as an illustration of their theoretical framework. The thesis identifies a close interplay between power and the nation-state in all realists examined. Power plays a central role in each realist’s ontology and as such influences profoundly the way they conceptualised the nation-state. The latter can thus be approached as a manifestation of power which is unfixed in time. The realists examined approach the state as a historically conditioned entity. As such, it is argued that it is power that constitutes the core analytical category of realism rather than the state whose very conception is dependent upon that of power. In terms of the development of realism, a process of gradual narrowing down of the concept of power from classical to structural approaches is observed. The multifaceted conception of power advanced by early realists is abandoned in favour of an approach which understands power as material capabilities. While this approach is compatible with a scientific vision of politics as manifested after the second debate it reduces significantly realism’s analytical purchase both in understanding power and the nation-state. This is evident in the precarious balance that neorealists have to attain when theorising nationalism, the ideological corollary of the nation-state, which can more fully be accounted for by classical realists. Finally, by removing power from the field of epistemology, structural variants of realism lack the reflexivity of earlier realists and as such find it difficult to engage in foreign policy debates without compromising the core assumptions of their theory. The thesis is structured as follows: In the introduction, the thesis is put in the context of existing literature on realism and the way questions of power and the nation-state have been addressed in the past. Questions of methodology and selection of authors are also addressed in the introduction. The following four chapters are dedicated to analysing the theories of the selected realists. The concluding section summarises the findings and main argument of the thesis.

In this thesis, the purpose is to analyze the path that the nation building process in Kazakhstan has been following in the post-Soviet period through examining the various policies implemented and the official rhetoric and discourses stated by the Kazakh policymakers. The ethno-symbolist approach of Anthony D. Smith and the views of Walker Connor and Willfried Spohn on nationalism and national identity have been utilized in the analysis of the research. The Soviet Nationalities Policy is examined to be able to better understand the post-Soviet nation-building, because the policies implemented under this comprehensive project, which had been outlined by the Bolsheviks, had deep political, cultural, demographic and linguistic impacts on the process in Kazakhstan. The ethnic situation has also been laid down in order to highlight under which ethnic circumstances the nation building process has been taking place. After analyzing the Constitution of the Republic of Kazakhstan, the post-Soviet policies about language, education, employment, culture and national symbols, the statements of the President Nursultan Nazarbayev and the move of capital, this study claims that post-Soviet nation building process and nationalism in Kazakhstan have both ethnic and civic components whereby the nation building process in Kazakhstan is a more ethnic process than it is civic.

[pt] A Guerra do Chaco foi um conflito catastrófico para Bolívia e Paraguai em vários sentidos, tendo sido especialmente transformadora para a literatura dos dois países, já que durante o período que se lhe seguiu, uma nova geração de artistas, intelectuais e escritores, que tinham no conflito o seu principal referencial, teve sua produção artística marcada pelas transformações geradas, que criaram um período de grande instabilidade política e social tanto na Bolívia quanto no Paraguai. A pesquisa se propõe a compreender os projetos de nação elaborados através da crítica social e da representação de elementos contidos na literatura regional, em especial nas duas obras ficcionais que giram em torno desse evento histórico: Hijo de Hombre e Sangre de Mestizos, respectivamente escritos pelo paraguaio Augusto Roa Bastos e pelo boliviano Augusto Céspedes. O Chaco foi objeto de reflexão nas narrativas analisadas a partir de diversos aspectos, uma tela de projeção da nação, um protagonista na narrativa e talvez o símbolo maior das injustiças e opressão sofridas pela população. A Guerra no Chaco define as últimas fronteiras físicas de ambos os Estados-nacionais, e sobretudo as fronteiras imaginárias desses projetos de nação. Verificaremos alguns elementos fundamentais nas propostas apresentadas pelos autores que buscaram homogeneizar não apenas a nação que projetavam, mas também os seus sujeitos nacionais. / [en] The Chaco War was a catastrophic conflict for Bolivia and Paraguay in several senses, having been especially transformative for the literature of the two countries, since during the period that followed, a new generation of artists, intellectuals and writers, who had in the conflict its main reference, had its artistic production marked by the generated transformations that created a period of great political and social instability in both Bolivia and Paraguay. The research proposes to understand the projects of nation elaborated through the social criticism and the representation of elements contained in the regional literature, especially in the two fictional works that revolve around this historical event: Hijo de Hombre and Sangre de Mestizos, respectively written by paraguayan Augusto Roa Bastos and the bolivian Augusto Céspedes. The Chaco was object of reflection in the narratives analyzed from various aspects, a projection screen of the nation, a protagonist in the narrative and perhaps the greater symbol of the injustices and oppression suffered by the population. The Chaco War defines the last physical borders of both Nation-states, and above all the imaginary frontiers of these nation projects. We will verify some fundamental elements in the proposals presented by the authors who sought to homogenize not only the nation they projected but also their national subjects.

Thèse réalisée en cotutelle avec l'Université Paris-Sorbonne et l'Université de Montréal. Composition du jury : M. Laurent Cugny (Université Paris-Sorbonne) ; M. Michel Duchesneau (Université de Montréal) ; M. Philippe Gumplowicz (Université d'Evry-Val d'Essonne) ; Mme Barbara Kelly (Keele University - Royal Northern College of Music) ; M. François de Médicis (Université de Montréal) ; M. Christopher Moore (Université d'Ottawa) / Cette version de la thèse a été tronquée de certains éléments protégés par le droit d’auteur (exemples musicaux et iconographie). Par conséquent, ces éléments n'apparaissent pas dans le document. / Ce travail envisage les appropriations musicales et discursives du jazz dans le monde musical savant français. Fondé sur la méthode des transferts culturels, il propose une histoire croisée de la musique savante française, de la diffusion des répertoires de jazz en Europe et de leur perception. La réflexion s’appuie sur un corpus systématique des œuvres savantes influencées le jazz et des textes que lui consacrent compositeurs et critiques. La réflexion se fonde sur l’établissement d’un corpus systématique des œuvres savantes influencées le jazz et des textes que lui consacrent compositeurs et critiques. Une analyse informée par des données issues de l’esthétique et de l’histoire culturelle montre que ces œuvres contribuèrent à différentes entreprises de redéfinition d’une identité française de la musique. Les appropriations du jazz remettent également en cause une conception de la musique populaire propre au XIXe siècle. Elles valorisent des sujets auparavant considérés comme triviaux et proposent un son nouveau, tantôt associé au modernisme mécaniste des États-Unis, tantôt à l’énergie débridée attribuée au primitivisme nègre. Enfin, elles participent à la remise au goût du jour d’un classicisme protéiforme. Ces différents aspects font l’objet d’une périodisation et d’une thématisation. Si les premiers cake-walks des années 1900 sont mis au service d’un exotisme « nègre », les emprunts au jazz à la fin des années 1910 relèvent d’un geste avant-gardiste au service d’un projet nationaliste de rétablissement de l’identité française de la musique. À partir du milieu des années 1920, suite aux efforts fructueux de Jean Wiéner pour légitimer le jazz aux yeux du monde musical savant, un discours spécialisé émerge. De nouveaux compositeurs s’y intéressent, dans la perspective d’un classicisme désormais plus cosmopolite. Tout en faisant émerger différents paradigmes de l’appropriation du jazz (cocteauiste, stravinskien, ravélien, entre autres), ce travail vise à jeter un éclairage nouveau sur la production musicale savante dans la France de l’entre-deux-guerres et sur les rencontres entre différentes traditions musicales. / This thesis deals with the musical and discursive appropriations of jazz in the French musical world. Inspired the approach of cultural transfers and crosses the history of French art music in France and the history of its diffusion and perception in Europe. To do so, it draws upon a corpus of art music pieces influenced by jazz and of texts written by composers and critics. This corpus contributes to different redefinitions of an alleged French musical identity. What is more, appropriations of jazz renew a conception of popular music that goes back to the beginning of the 19th century. They also valorize topics previously considered as trivial, and they display a new kind of sound, evoking Anglo-saxon modernism or « negro » primitivism. The different aspects mentionned above are presented in a chronological and thematic fashion. In the 1900s, the first cake-walks contribute to a tradition of « negro » exoticsm. Ten years after, borrowing to jazz has become an avant-gardist gesture, and a response to nationalist motivations. Thanks to Jean Wiéner’s efforts in order to legitimize jazz, a new group of composers and critics take an interest in it. Jazz then becomes a means to assert a more cosmopolitan classicism. This thesis identifies different paradigms of the appropriation of jazz in France. More broadly, it sheds new light on musical creation in the French art music world between 1900-1930, and on musical encounters between different musical traditions.

Ce travail porte sur les appropriations musicales et discursives du jazz dans le monde musical savant français. Fondé sur la méthode des transferts culturels, il propose une histoire croisée de la musique savante en France, de la diffusion des répertoires de jazz en Europe et de leur perception. La réflexion s’appuie sur un corpus systématique des œuvres savantes influencées le jazz et des textes que lui consacrent compositeurs et critiques. Les unes comme les autres contribuent à différentes tentatives de redéfinition d’une identité française de la musique. Les appropriations du jazz renouvellent également une conception de la musique populaire propre au XIXe siècle. Elles valorisent des sujets auparavant considérés comme triviaux et proposent un son nouveau, tantôt associé au modernisme anglo-saxon, tantôt au primitivisme « nègre ». Enfin, elles participent à la remise au goût du jour d’un classicisme protéiforme. Les aspects qui viennent d’être mentionnés font l’objet d’une périodisation et d’une thématisation. Si les premiers cake-walks des années 1900 sont mis au service d’un exotisme « nègre », les emprunts au jazz relèvent, dix ans plus tard, d’un geste avant-gardiste et nationaliste. À partir du milieu des années 1920, suite aux efforts fructueux de Jean Wiéner pour légitimer le jazz, de nouveaux compositeurs s’y intéressent dans la perspective d’un classicisme désormais plus cosmopolite. Un discours spécialisé émerge. Tout en distinguant différents paradigmes de l’appropriation du jazz, cette étude entend jeter un éclairage nouveau sur la production musicale savante dans la France des années 1900-1930 et sur les rencontres entre différentes traditions musicales. / This thesis deals with the musical and discursive appropriations of jazz in the French musical world. Inspired the approach of cultural transfers and crosses the history of French art music in France and the history of its diffusion and perception in Europe. To do so, it draws upon a corpus of art music pieces influenced by jazz and of texts written by composers and critics. This corpus contribute to different redefinitions of an alleged French musical identity. What is more, appropriations of jazz renew a conception of popular music that goes back to the beginning of the 19th century. They also valorize topics that were considered as trivial and they display a new kind of sound, evoking Anglo-saxon modernism or « negro » primitivism.The different aspects mentionned above are presented in a chronological and thematic fashion. In the 1900s, the first cake-walks contribute to a tradition of « negro » exoticsm. Ten years after, borrowing to jazz has become an avant-gardist gesture, and a response to nationalist motivations. Thanks to Jean Wiéner’s efforts in order to legitimize jazz, a new group of composers and critics take an interest in it. Jazz then becomes a means to assert a more cosmopolitan classicism.This thesis identifies different paradigms of the appropriation of jazz in France. More broadly, it sheds new light on musical creation in the French art music world between 1900-1930, and on musical encounters between different musical traditions.