This is a critical study of Hamish Henderson (1919-2002). It examines his work as a poet, translator, folklorist, and cultural and political commentator. Through close textual analysis, this project shows how Henderson’s various writings can be considered part of a life-long engagement with the complex relationship between politics and aesthetics. This includes the purpose of poetry and its relation to ‘the people’; the defining qualities of folk culture and its political potential; conceptions of nationalism and internationalism; and notions of Scottish history and ‘tradition’. Bemoaning a modern disconnect between the artist and society, Henderson explored the possible causes of this disjuncture and proposed various solutions. His views on these issues were tested in a series of public ‘flytings’, or opinion column debates, with the poet Hugh MacDiarmid between 1959 and 1968. Chapter One is an analysis of the form and content of these exchanges. In Chapter Two, Henderson’s poetic responses to the War, his collected Ballads of World War II (1947) and Elegies for the Dead in Cyrenaica (1948), are considered in light of his professed aim to create a poetry that ‘becomes people’. Chapter Three examines Henderson’s relationship with the life and works of the Italian Marxist Antonio Gramsci (1891-1937). Drawing from Henderson’s translation of Gramsci’s prison letters, this chapter examines how the Italian thinker both validated and undermined his approach to folk culture. Chapter Four considers Henderson’s perceived ‘turn’ away from art-poetry towards folk-song. With reference to his writings on various poets, his own poetry and song, and that of others that he admired, this chapter reflects on Henderson’s ideas about the distinctiveness of the Scottish literary tradition, and about the politics of authorship. Chapter Five interrogates Henderson’s various writings on folk culture according to his role as a ‘folk revivalist’ who seeks to reinstate folk-song as a popular mode of collective selfexpression, and as a ‘folklorist’ who documents the folk tradition. This project argues for a holistic examination of Henderson’s cultural politics, restoring his writings to their original contexts and providing an account of the constantly renegotiated relationship between art and society present throughout his work.

This thesis has focused on the rhetoric of polarization in the 1968 and 1972 Presidential campaigns as practiced by Governor George C, Wallace of Alabama The study has attempted to identify Wallace's major rhetorical problems in selected addresses in Ohio, Florida, and Michigan, The study focused on the major rhetorical strategies of subversion and purification that Wallace used to overcome his rhetorical problems and implement the rhetoric of polarization, Finally, the study attempted to evaluate the effectiveness of Wallace's rhetorical choices.

This thesis is a study of the colony of Italian anarchists who found refuge in London in the years between the Paris Commune and the outbreak of the First World War. The first chapter is an introduction to the sources and to the main problems analysed. The second chapter reconstructs the settlement of the Italian anarchists in London and their relationship with the colony of Italian emigrants. Chapter three deals with the activities that the Italian anarchists organised in London, such as demonstrations, conferences, and meetings. It likewise examines the ideological differences that characterised the two main groups in which the anarchists were divided: organisationalists and anti-organisationalists. Italian authorities were extremely concerned about the danger represented by the anarchists. The fourth chapter of the thesis provides a detailed investigation of the surveillance of the anarchists that the Italian embassy and the Italian Minster of Interior organised in London by using spies and informers. At the same time, it describes the contradictory attitude held by British police forces toward political refugees. The following two chapters are dedicated to the analysis of the main instruments of propaganda used by the Italian anarchists: chapter five reviews the newspapers they published in those years, and chapter six reconstructs social and political activities that were organised in their clubs. Chapter seven examines the impact that the outbreak of First World Word had on the anarchist movement, particularly in dividing it between interventionists and anti-interventionists; a split that destroyed the network of international solidarity that had been hitherto the core of the experience of political exile. Chapter eight summarises the main arguments of the dissertation.

During the Great War many European armies (most notably the Russian) collapsed due to major disciplinary problems. However, the British Expeditionary Force avoided these problems up until the Armistice of November 1918. This thesis examines how the discipline and morale of the RE.F. survived the war, by using a case-study of the Irish regiments. In 1914 with Ireland on the brink of a civil war, serious questions had been raised relating to the loyalty of the Irish regiments, particularly in the aftermath of the Curragh Incident. Indeed, intelligence reports prepared for Irish Command suggested that some reserve units would defect en masse to the U.V.F. if hostilities broke out in Ireland. As the Great War progressed, the rise of Sinn Fein produced further concern about the loyalty of Irish troops, seen most vividly in the decisions not to reform the 16th. (Irish) Division following the German Spring Offensive of 1918 and to remove Irish reserve units from Ireland in 1917-18. Nevertheless, a detailed study of courts martial (studied comprehensively in a database project) recently released by the P.R.O., demonstrates that many of the fears relating to Irish troops were groundless. Certainly Irish courts martial rates tended to be high, however, these figures were inflated by cases of drunkenness and absence, not disobedience. Likewise, while a number of mutinies did occur in Irish regiments during the war, this study has revealed that mutinies were much more common in the B.E.F. as a whole, than has been previously believed. This study has also considered the discipline and morale problems caused by the rapid expansion of the British army in 1914 and the appointment of many officers, especially in the 36th. (Ulster) Division, on the basis of their political allegiances rather than professional knowledge. Nevertheless, in general it appears that the discipline and morale of the Irish units in the B.E.F. was very good. Incidents of indiscipline appear to have been caused by the practical problems facing units during training and on active service rather than by the growth of the Sinn Fein movement in Ireland.

La recerca que presentem a continuació, Pau Audouard, un fotògraf “retratista” de Barcelona. De la reputació a l’oblit (1856-1918), té un objectiu triàdic. Per una banda, estudiar, amb caràcter monogràfic, la trajectòria professional de Pau Audouard, considerat per la historiografia fotogràfica moderna un dels professionals d’aquest àmbit més destacats de Barcelona, en el context cultural del Modernisme. Per l’altra, i entenent el cas d’Audouard com un paradigma d’anàlisi, la recerca pretén analitzar els processos que van intervenir en la construcció identitària del nou professional de la imatge, el retratista fotogràfic, i les múltiples estratègies de singularització seguides per aquest amb la voluntat de legitimar la seva activitat en termes socio-econòmics i artístics. Finalment, resseguint la curva d’ascens i ocàs traçada pel propi Pau Audouard, volem aproximar un marc cronològic rigorós per entendre els diferents estrats generacionals del negoci fotogràfic a Barcelona, des dels seus inicis a la dècada de 1840, amb què delimitar la producció fotogràfica que s’ha vingut a anomenar del segle XIX però que, malgrat el seu origen vuitcentista, s’estén en la primera dècada del 1900 fins a ramificar-se en els nous gèneres fotogràfics moderns del segle XX com la fotografia artística, el fotoperiodisme o la fotografia documental i, en un extrem, el cinema. Des que a la dècada de 1980 es va començar a escriure una història de la fotografia a Catalunya, dins d’un marc historiogràfic més ampli d’àmbit internacional en el context del 150è aniversari de la presentació oficial del daguerreotip a França, Pau Audouard ha estat considerat un dels més grans fotògrafs de Barcelona del darrer quart del segle XIX i primera dècada del XX. La conservació, actualment, de nombrosos àlbums fotogràfics i retrats en els fons d’algunes institucions culturals de referència com la Biblioteca Nacional d’Espanya, la Biblioteca de Catalunya, l’Arxiu Nacional de Catalunya o l’Arxiu Fotogràfic de Barcelona, de la mateixa manera que en col•leccions d’entitats com la Biblioteca Museu Víctor Balaguer, l’Institut Amatller d’Art Hispànic, la Casa-Museu Joan Maragall, el Museu de la Música o l’Institut del Teatre, per citar-ne només unes poques, així com en multitud de col•leccions particulars, han avalat aquesta dimensió patrimonial del fotògraf. No en va, de manera prèvia a l’excepcionalitat trobem la norma i, en aquest sentit, la trajectòria professional d’Audouard és una bona prova del camí de legitimació que van procurar molts altres fotògrafs coetanis a ell, empesos per l’efervescència, tant econòmica com cultural, que va viure Barcelona des de la dècada de 1870 i fins a catalitzar en els anys del Modernisme. Audouard, el Sarony de Barcelona tal i com el va qualificar l’historiador Lee Fontanella en el seu llibre La fotografía en España hasta 1900, no va ser un fotògraf al marge ni tampoc singular per produir una fotografia avançada al seu temps ni molt menys allunyada del mercat. Pau Audouard va ser, pel contrari, un fotògraf que va assolir l’excel•lència des de dins mateix del grup dels retratistes, és a dir aquells primers fotògrafs professionals de Barcelona que van tenir en l’elaboració del retrat i en la galeria fotogràfica la seva activitat econòmica i el seu espai d’acció principals. Com a objecte d’estudi d’Audouard respon a la voluntat de poder retratar el retratista, el seu perfil professional i les múltiples estratègies seguides per tal d’assolir un nou règim social i artístic que, evidentment, no tots els fotògrafs de la ciutat van aconseguir. Pau Audouard, com també va ser el cas d’Emilio Fernández Napoleon, és l’extrem d’una línia d’ascens formada per diferents nivells i en què interactuen múltiples variables. / This research focuses on the professional career and photographic production of Pau Audouard, considered one of the most important photographers in Spain around 1900. In parallel, it analyzes the portrait photographer’s emergence as a new professional of the image and its interactions with the political and cultural spheres in the context of Catalan Modernisme. Among the commercial photographers in Barcelona at the fin-de-siècle, Pau Audouard (1856-1918) was one of the most important portrait artists of the political and cultural elite during the Modernisme period. From his studio on Gran Via Street (1886-1905) and then from the ground floor of Lleó Morera’s House (1905-1910), the leading personalities of the city posed for his camera, which was an important exercise on public exhibition. This visual project was complemented by a vast production of images dedicated to the Catalan national symbol (Montserrat mountain), the idea of progress (the Universal Exhibition of 1888 and public works in Barcelona’s port and railway), and finally, to the imminent disaster in Cuba (photographs about military movements in the city around 1896). Furthermore, Audouard organized the first pictorialist photographic exhibition in Barcelona at 1905 while he was teaching the young artistic photographers Miquel Renom and Rafel Areñas Tona, the future master of the avant-gardist Pere Català Pic. Based on all of these aspects, we propose to focus on the social and cultural role of the photographic production of Pau Audouard and his contribution to Catalan photography that pointed at modernity, always between politics and art.

No events of international consequences likely to bring Japan to Australia’s attention occurred before the Sino-Japanese war (1894-5). Japan had as yet shown no sign of her military power. Probably as far as Australians felt any insecurity, their anxieties centred on the expansion of European powers into the Pacific, the might of Russia and the Chinese hordes. In such conditions they were free to think of Japan chiefly as a country of cherry blossom and quaint people. Only the question of Japanese immigration which began to assume large proportions after about 1890 gave any basis for feelings of hostility.

Thesis--Paris, 1974. / Includes index. Bibliography: p. [589]-608.

Texte remanié de: Th. État--Sci. pol.--Lille 2, 1988. Titre de soutenance : Halluin la Rouge, 1919-1939. Singularités écologiques et stratégies d'implantation. / Bibliogr. p. 431-433.

Made available in DSpace on 2014-06-11T19:23:37Z (GMT). No. of bitstreams: 0 Previous issue date: 2009-05-04Bitstream added on 2014-06-13T20:11:08Z : No. of bitstreams: 1 soares_sar_me_mar.pdf: 1016540 bytes, checksum: 5469a6caabfad7d6ec5b998f41713f1b (MD5) / A linha que guia toda teoria política de Rosa Luxemburg consiste na importância fundamental fornecida à ação autônoma e criadora das massas para uma efetiva superação da sociedade capitalista em todas as esferas. A proposta deste trabalho é discutir, por meio do núcleo de acontecimentos que permearam a vida política de Luxemburg - Bernstein-Debatte, a revolução russa de 1905, a explosão da I Guerra e a crise no movimento social-democrata, a Revolução Russa de 1917 e a criação dos soviets no movimento operário socialista internacional, juntamente com as experiências dos conselhos na Revolução Alemã de 1918-1919 - a concepção de autonomia das massas e sua importância no processo histórico levando em conta os elementos objetivos e subjetivos, a relação entre espontaneidade e organização. Pretende-se portanto destacar as propostas de estratégias políticas de Rosa Luxemburg para o fortalecimento revolucionário das organizações e instrumentos de luta próprios do proletariado, crescimento interligado à conscientização das massas, e para o desenvolvimento de embriões socialistas no interior da sociedade capitalista, que tomam forma através dos conselhos de operários e soldados. Estes produtos da experiência de luta de massa são a essência da concepção de organização democrática proletária defendida pela autora. / The line that guides all political theory of Rosa Luxemburg is the importance given to the autonomous and creative action of an effective mass to overcome the capitalist society in all spheres. The proposal of this study is to argue, through the core of events that permeated the political life of Luxemburg: Bernetein-Debatte, the Russian revolution of 1905, the eruption of the First War and the crisis of the social-democratic movement, the Russian Revolution of 1917 and the creation of soviets in the international socialist movement, along with the experiences of councils in the German Revolution of 1918-1919, the concept of autonomy of the masses and their importance in the historical process taking into account the objective and subjective elements, the relationship between spontaneity and organization. It is therefore proposed to highlight the political strategies of Luxemburg to the strengthening of the revolutionary organizations and the tools to fight the proletariat, growing awareness of the interconnected bodies, and the development of embryos within the socialist capitalist society, which take shape through the soviets and councils of workers and soldiers. These products from the experience of mass struggle is the essence of the conception of proletarian democratic organization supported by the author.

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