The thesis contains two complementary strands of inquiry. On the one hand, there is an examination of the way leisure was included within a way of life; the home and the neighbourhood being key elements in this account. There is a description of the parameters set by paid and unpaid work on the extent of people's spare time, and what money they were able to spend during it. Note is taken of how patterns of activity and spending differed when childhood, youth and adulthood are compared. On the other hand, there is a survey of the provenance and growth of those institutions arising in the period, together with a picture of the progress of those already present by 1880. The six decades preceding 1939 witnessed a massive growth in the commercial provision for spare time activity; the pub, music hall, and railway companies provide a basis for this, but the cinema, dance hall, radio and gramophone soon outpace them. Over the same space of time, the church and secular societies cease to retain their role as an amenity and as a force for the organisation of people's spare time.

(no abstract available) / Series: SRE - Discussion Papers

Texte remanié de : Dissertation : Philosophie : Universität Köln : 1999. / Bibliogr. p. 481-520. Index.

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The narratives of Flaubert usually begin with the creation of a closed setting, geographically or architecturally contained, that the observer perceives as a theatrical stage. In fact, the staging of space and sets plays such an important role in the narration that it is possible to read the novels as scenographies. Flaubert's tendency to treat life events as tableaux and space as a performing area is already at work in his travel notes and in the Carnets de travail, and he makes a systematic use of this vision in the elaboration of his novels. By showing only what is visible and by creating different spaces for action and observation, Flaubert equates space in the novel with the space of a play. The scenography of the sets as well as the way characters stage their own environment also contribute to this theatrical representation. By representing reality as a staged creation, without an omniscient narrator, scenography can be defined as both a narrative device and a narrative object.

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This master's thesis examines how the liquid metaphor articulates the creative/creation ideal in Guillaume Apollinaire's collection of poems Alcools. Our analysis is inspired by Gaston Bachelard's theories, notably the ones found in his books, L'eau et Les reves (1942) and La psychanalyse du feu (1949). / The first chapter analyses the link between the artistic ideal and moving water imagery. It seems that this mobility is a live and human characteristic of art. The second chapter deals with three types of celestial metaphors, all representing the ideal, that is, the Sun, the Moon and the Milky way. The third chapter focuses on the theme of alcohol, which is a sort of "supermetaphor" of poetic distillation, encompassing all the other metaphors. / The successive examination of these varied liquid images in Alcools suggests that the poet's ideal involves a happiness based on the tranquillity originating in the "sentiment maternel" and a sense of artistic satiety.

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Michèle Basseville, Albert Benveniste. / Cover title. / Includes bibliographical references. / Supported in part by CRNS. G0134 Supported in part by the Air Force Office of Scientific Research. AFOSR-88-0032 Supported in part by the National Science Foundation. ECS-8700903 Supported in part by the US Army Research Office. DAAL03-86-K-0171