El 30 de noviembre de 1935, el entonces presidente General Óscar Raimundo Benavides Larrea escribió de su puño y letra un testamento en el cual, además de nombrar a sus hijos como sus únicos herederos, terminaba con la siguiente reflexión sobre su paso por la política hasta ese momento: “Declaro, una vez más, que en ningún momento de mi vida he aspirado a la Presidencia de la República y que mi única ambición fue ser siempre un buen soldado de mi Patria. Solo circunstancias imprevistas, contrariando mi voluntad oportunamente manifestada, me han llevado dos veces a ejercer el mando supremo de la República para salvar al país de la anarquía y del caos” / Tesis

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Reproduction de : Thèse de doctorat : Sciences de l'éducation : Lyon 2 : 2003. / Titre provenant de l'écran-titre. Bibliogr.

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The 19th century French novel has a well-know model called Bildung Novel. The inspiration for this name comes from Wilhem Meister by Goethe published in 1795. In this type of writing we witness the education (Bildung) of a hero or a heroin who has to face and overcome a series of difficulties. / In this memoire we will analyze the theme of education in the works of two authors Stendhal and George Sand. We have chosen two novels from each author, one dating back to the beginning of their career, and the other to the end. For Stendhal we have selected Le Rouge et le Noir (1830) and Lucien Leuwen (posthume publication 1894); Mauprat (1837) and La Ville Noire (1861) by Sand. / In each novel we will analyze family education, intellectual and moral training, life experience and sentimental education successively in the same way the heros experience them. / To do this we use thematic method which, as Jean Starobinski puts it, considers the theme as a unit of meaning of the novel. / In the conclusion we will compare the results of our analyses in the works of Stendhal and George Sand.

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Georges Bizet (1838-1875) is best known for his operatic masterpiece, Carmen, but his other works have received much criticism. Much of this criticism stems from the belief that his work was simply derivative of other composers, including the father of French musical exoticism, Felicien David (1810-1876). However, there has never been any formal study comparing the two composers' compositional techniques.The purpose of this study is to compare the approaches that both Bizet and David took to portray the exotic in their operatic works, and to categorize any differences or similarities between the two composers' styles. The operas chosen for this study include Bizet's Les Pecheurs de perles (1863) and Djamileh (1872), as well as David's La Perle du Bresil (1851) and Lalla-Roukh (1862). Detailed historical background and musical analysis will be provided for each opera. / School of Music

Francis Poulenc (1899-1963) demonstrates a remarkable affinity for surrealist poetry in his numerous settings of leading modernist French poets from the first half of the twentieth century. The poetry of Max Jacob (1876-1944), a once unduly marginalized writer who is now regarded as an influential initiator of surrealism, provided the inspiration for one of Poulenc's most significant works, the chamber cantata Le Bal masque (1932). / This thesis seeks to shed light on Poulenc's largely neglected artistic interaction with Jacob by exploring musical counterparts to the poet's unique surrealist aesthetic in Le Bal masque. Chapter one examines Poulenc's artistic milieu surrounding the composition and first performance of Le Bal masque, and reviews previous literature on Poulenc's involvement with avant-garde art and literature. Chapter two focuses on Jacob himself and discusses key aspects of his subversive poetic aesthetic. Chapter three outlines the fundamental characteristics of surrealist art in general and reviews previous discussions of music and surrealism. The final chapter explores surrealist influences in Le Bal masque while concentrating on musical parallels to central features of Jacob's poetry and surrealist art in general described in the preceding chapters.