Cette thèse se focalise sur le groupe artistique international Abstraction-Création, créé pour servir de forum à l’art non figuratif à Paris entre 1931-1936. Au fil des années, il a eu une centaine de membres, y compris certains artistes hongrois, notamment Étienne Béothy, Alfred Reth, Lajos Tihanyi et Ferenc Martyn, tandis que László Moholy-Nagy était membre sans vivre à Paris. Ce n’est que dans les années 1970 que les premières recherches approfondies ont été menées sur Abstraction-Création. Depuis, l’activité d’Abstraction-Création n’a été que rarement étudiée, sa structure, ses objectifs ou son histoire ont été largement négligés. Le constat est le même pour l’état de la recherche relative à chacun des membres hongrois : jusqu’à présent, seule la participation de Béothy et de Martyn a été analysée en détail. Outre l’objectif principal de cette thèse, notamment la mise en perspective des artistes hongrois dans le groupe, la réévaluation et l’interprétation de l’ensemble de l’activité d’Abstraction-Création sont également mises en lumière. A la base d’une analyse théorique et historique, ce travail compare Abstraction-Création avec deux groupes parisiens non figuratifs. Cette thèse vise à clarifier les différences qui les séparent en soulignant qu’Abstraction-Création ne peut pas être considéré comme une combinaison des deux. Grâce à des documents jusqu’alors non analysés, l'auteur donne un aperçu de la structure organisationnelle de ce forum et discute, à partir d’une perspective entièrement nouvelle, le rôle du comité, leurs débats, leur formation, cessation et leurs plateformes, y compris les réunions, la galerie et le cahier. La thèse démontre la relation entre Abstraction-Création et Surréalisme au moyen d'une analyse stylistique et théorique. Elle prétend que, grâce aux activités des membres hongrois, toutes les facettes du groupe peuvent être présentées. L'auteur révèle quels ont été les objectifs initiaux de l'adhésion des membres hongrois et comment ils ont tiré profit de leur participation. La thèse décrit la période abstraite parisienne des artistes hongrois dans les années 1930, et ce, dans un contexte artistique international et dans un contexte historique plus large. / This dissertation focuses on the international artistic group, called Abstraction-Création (1931-1936. Out of the approximately 100 members joining the association a few were Hungarian artists, namely Étienne Béothy, Alfred Reth, Lajos Tihanyi and Ferenc Martyn, whereas László Moholy-Nagy received an external membership. A deeper research into the Parisian non-figurative formations of the 1930s, including Abstraction-Création, only took shape in the 1970s. Since then, Abstraction-Création has been discussed only occasionally, and a deeper discussion concerning the structure, the goals, or the history of the group is still missing. The same applies to the research on individual Hungarian artists; while for each of them the participation in the forum was presented as an important stage of their lives, so far only the participation of Béothy and Martyn has been examined in detail. Beyond the basic goal of the study to concentrate on Hungarian artists in the group, the re-evaluation and a new examination of Abstraction-Création are also placed in the focus. Based on a theoretical and historical analysis, the study compares Abstraction-Création with two non-figurative Parisian groups, clarifying the differences between them and pointing out that Abstraction-Création could not be viewed as a combination of the two of them. Drawing on hitherto unanalyzed documents, the author gives an overview of the organizational structure of the forum, and discusses, from an entirely new perspective, the role of the committee, their debates, their formation and cessation and their platforms, including their meetings, gallery and journal. The dissertation demonstrates the relation between Abstraction-Création and Surrealism by means of a stylistic and theoretical analysis. It claims that through the activities of the Hungarian members, all the facets of the group can be shown, particularly because of the fact that they did not form a special group within the association, but had their different individual roles and routes. The author presents what the original aims behind the admission of the Hungarian members were and how they benefited from the participation. The dissertation depicts the Parisian abstract period of Hungarian artists in the 1930s in an international artistic context and against a broader historical background.

This thesis is a complete bibliography of texts written by Růžena Vacková published in between years 1929 and 1948, supplemented by contemporary contextualisation of the time and characteristics of individual periodicals in which these texts appear. A substantial part of this study deals with magazines Vacková has contributed to consistently for a long period of time. This study presents a brief biographical summary, serving to facilitate the classification of individual texts and their relation to the author's persecuted life. The study also includes a brief outline of her views as an author and as an critic. Keywords: Růžena Vacková, bibliography, criticism, magazines of the 1930s and 1940s

History welcomed the screwball comedy genre in 1934, a time where cinema was in urgent need of providing escapism to audiences victim of the Great Depression. Screwball films, therefore, chose to underline the distinction between social classes and to emphasise on the imperfections of the upper class. The following thesis aims to determine how Depression screwballs (screwball comedies released from 1934 to 1938) used their narrative power to establish this distinction between opposed social classes and how this reflects the undeniable importance of an overlooked genre. It is with a socio-historical approach, personal analyses and observations, that the following research has been conducted. In conclusion, it has been recognised that the genre drew its importance, not only in the way it represents social classes but also how it depicts their mutual interactions, therefore forming a significant whole.

In the field of Cinema studies recent and updated studies on Swedish 1930s cinema has been absent. The aim of this thesis is to provide new insights into the period by examining the films starring actor Edvard Persson released between 1930 and 1939. In total the study analyses 17 feature films with Persson in a leading or minor role in how they portray modernity and modernisation. The focus of the research lies on certain aspects of modernity such as machines, borders, class differences, national identity, and the role of women. The goal is to shed new light on Persson’s films in the 1930s and give updated research on a period of Swedish film history that is in need of newer scholarly work.

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This thesis investigates a neglected sub-genre of women’s writing, which I have termed the literature of the boarding house. Focusing on unmarried women, this is a study of the alternative rooms ‘of one’s own’ that existed in the nineteen thirties: from the boarding house and hotel, to the bed-sitting room or single room as a paying guest in another family’s house. The 1930s is defined by the conflict between women’s emerging social and economic independence and a dominant ideology that placed increased importance on domesticity, the idea of ‘home’ and women’s place within the familial structure. My research highlights the incompatibility between the idealised images of domestic life that dominated the period and the reality for the single woman living in temporary accommodation. The boarding house existed outside conventional notions of female domestic space with its connotations of stability and family life. Women within the boarding house were not only living outside traditional domestic structures; they were placing themselves outside socially and culturally defined domestic roles. The boarding house was both a new space of modernity, symbolising women’s independence, and a continued imitation of the bourgeois home modelled on rituals of middle-class behaviour. Through an examination of novels by Elizabeth Bowen, Lettice Cooper, Stella Gibbons, Storm Jameson, Rosamond Lehmann, Dorothy Richardson, Jean Rhys, Virginia Woolf, and E. H. Young, this study privileges the literary as a way in which to understand the space of the boarding house. Not only does the boarding house blur the boundaries between public and private space, it also challenges the traditional conceptions of the family home as the sole location of private domestic space. I argue that by placing their characters in the in-between space of the boarding house, the authors can reflect on the liminal spaces that existed for women both socially and sexually. In the literature of the boarding house, the novel becomes a site for representing women’s experiences that were usually on the periphery of traditional narratives, as well as a literary medium for articulating the wider social and economic issues affecting the lives of unmarried women.

La version intégrale de ce mémoire est disponible uniquement pour consultation individuelle à la Bibliothèque de musique de l’Université de Montréal (www.bib.umontreal.ca/MU). / Ce mémoire propose une étude de la programmation musicale de la Radio Suisse romande (RSR) des années trente. Le premier chapitre du travail rappelle les prémices de la radio dans le monde et présente les différentes étapes qui ont mené à la création d’un service public de radiodiffusion en Suisse, ainsi que ses premières années de développement. Le deuxième chapitre examine la construction des grilles de programmes à l’antenne et se penche sur les rôles et implications des différents acteurs qui participent au développement des émissions musicales de l’époque : programmateurs, musiciens et auditeurs. Le troisième chapitre est une étude statistique réalisée à partir d’un échantillon de programmes musicaux diffusés entre 1930 et 1939. En procédant à une catégorisation des émissions musicales recensées et à l’identification des différents auteurs/compositeurs présents dans les émissions, nous proposons une typologie des programmes et des compositeurs. Le travail est illustré par plusieurs archives sonores. / This thesis proposes a study of the musical programming of Radio Suisse Romande (RSR) in the 1930s. The first chapter of the work recalls the beginnings of radio in the world and shows the different steps that led to the creation of a public service broadcasting in Switzerland and its early years of development. The second chapter examines the construction of program schedules on the air and looks at the roles and implications of the different actors involved in the development of music programs at the time: programmers, musicians and listeners. The third chapter is a statistical study based on a sample of music programs broadcast between 1930 and 1939. In making a classification of recorded music programs and the identification of different authors/composers present in broadcasts, we propose a typology of programs and composers. The study is illustrated by several sound archives.

Nathanael West (1903-1940) a écrit un nouveau chapitre de la littérature américaine, avant de disparaître brutalement en 1940. La publication de ses œuvres complètes en 1957 a suscité l'engouement de la scène littéraire américaine qui a vu en lui un précurseur de l'humour noir et de la critique consumériste, ainsi qu'un maître de la parodie et du comique-apocalyptique, alors en vogue dans les années 60. Cependant, il reste un auteur de la marge. Dans un article intitulé « Some Notes on Violence », publié plus tôt en 1932, West prenait ses distances avec le naturalisme et le réalisme social, affirmant qu'en Amérique la violence était « idiomatique » et que le romancier devait adapter son art à une réalité chaque jour plus fulgurante encore. Dans cette étude, nous voulons montrer dans quelle mesure ce regard décalé sur la réalité a fait de West un « contemporain » de son temps. En effet, pour le philosophe italien Giorgio Agamben, celui « qui appartient vraiment à son temps, le vrai contemporain, est celui qui ne coïncide pas avec lui ni n'adhère à ses prétentions, et se définit, en ce sens, comme inactuel ; mais précisément pour cette raison, précisément par cet écart et cet anachronisme, il est plus apte que les autres à percevoir et à saisir son temps ». Au contact de la brutalité et de la vélocité chaotique de sa fiction, à mesure que les plans s'enchaînent, que le récit accélère et que l'espace-temps se contracte jusqu'au point de rupture, nous voyons se dessiner les contours familiers de notre propre réalité. / American novelist Nathanael West (1903-1940) wrote a new chapter of American literature before he brutally disappeared in 1940. In the wake of the publication of The Complete Works of Nathanael West in 1957, literary critics hailed him as the precursor of black humor, as the critic of consumerism and mass culture, as the master of parody whose comic-apocalyptic tone was in fashion during the 1960s. In an article entitled “Some Notes on Violence” published in 1932, he rejected both naturalism and social realism as being unfit to represent the “idiomatic” violence of American society. According to West, the American writer needed to adapt his art of writing and find more appropriate ways to “handle” the ever-increasing, violent pace of reality. This study examines to what extent West's untimely response to a present reality has made him a true “contemporary.” Italian philosopher Giorgio Agamben argues that “[those] who are truly contemporary, who truly belong to their time, are those who neither perfectly coincide with it nor adjust themselves to its demands. […] But precisely because of this condition, precisely through this disconnection and this anachronism, they are more capable than others of perceiving and grasping their own time.” The chaotic brutality of West's figurations, the velocity of his narrative, and the sequential editing of the scenes accelerating to the point of rupture, all mirror our own reality.

Lançado em 1916, A casa de penhores é uma síntese dos curtas-metragens de Chaplin e funciona como um laboratório cômico, no qual o artista e sua equipe desenvolvem experimentos subversivos, desafiando valores burgueses. O primeiro capítulo desta dissertação apresenta uma análise de A casa de penhores, seu contexto e suas afinidades eletivas com o surrealismo francês, a biomecânica desenvolvida por Meyerhold e o teatro épico de Brecht, mostrando o potencial revolucionário do cinema num tempo de crescentes conflitos entre capital e trabalho. Essa análise detalhada fornece outra perspectiva para Tempos Modernos (que discutimos no capítulo dois), diferente de uma teleológica. Lançado vinte anos depois, em 1936, Tempos Modernos é o último filme silencioso de Chaplin. Nessa obra, Chaplin reflete sobre o fordismo, a mecanização do homem, os problemas sociais da Grande Depressão e as contradições do capitalismo. E, através da autorreferencialidade, o filme tenta sabotar o sistema, refuncionalizando-o num sentido progressista. / Released in 1916, The Pawnshop is a synthesis of Chaplins short-films and functions as a comic laboratory, in which the artist and his crew develop subversive experiments, that defy bourgeois values. The first chapter of this dissertation presents an analysis of The Pawnshop, its context and its elective affinities to French surrealism, as well as the biomechanics developed by Meyerhold and Brechts epic theater in order to show the revolutionary potential of cinema in a time of increasing clashes between capital and labor. This detailed analysis provides another perspective to Modern Times (which we discuss in the chapter two), different than a teleological one. Released twenty years later, in 1936, Modern Times is Chaplins last silent film. In this work, Chaplin reflects on fordism, the mechanization of man, the social problems of the Great Depression and the contradictions of capitalism. And through self referentiality, the film tries to sabotage the system, refunctioning it in a progressive way.

Lançado em 1916, A casa de penhores é uma síntese dos curtas-metragens de Chaplin e funciona como um laboratório cômico, no qual o artista e sua equipe desenvolvem experimentos subversivos, desafiando valores burgueses. O primeiro capítulo desta dissertação apresenta uma análise de A casa de penhores, seu contexto e suas afinidades eletivas com o surrealismo francês, a biomecânica desenvolvida por Meyerhold e o teatro épico de Brecht, mostrando o potencial revolucionário do cinema num tempo de crescentes conflitos entre capital e trabalho. Essa análise detalhada fornece outra perspectiva para Tempos Modernos (que discutimos no capítulo dois), diferente de uma teleológica. Lançado vinte anos depois, em 1936, Tempos Modernos é o último filme silencioso de Chaplin. Nessa obra, Chaplin reflete sobre o fordismo, a mecanização do homem, os problemas sociais da Grande Depressão e as contradições do capitalismo. E, através da autorreferencialidade, o filme tenta sabotar o sistema, refuncionalizando-o num sentido progressista. / Released in 1916, The Pawnshop is a synthesis of Chaplins short-films and functions as a comic laboratory, in which the artist and his crew develop subversive experiments, that defy bourgeois values. The first chapter of this dissertation presents an analysis of The Pawnshop, its context and its elective affinities to French surrealism, as well as the biomechanics developed by Meyerhold and Brechts epic theater in order to show the revolutionary potential of cinema in a time of increasing clashes between capital and labor. This detailed analysis provides another perspective to Modern Times (which we discuss in the chapter two), different than a teleological one. Released twenty years later, in 1936, Modern Times is Chaplins last silent film. In this work, Chaplin reflects on fordism, the mechanization of man, the social problems of the Great Depression and the contradictions of capitalism. And through self referentiality, the film tries to sabotage the system, refunctioning it in a progressive way.