Entre el mes de desembre de 1938 i el de febrer de 1939 es va desenvolupar la darrera gran batalla entre les forces lleials i les rebels, de la guerra civil espanyola. Al novembre de 1938 les tropes republicanes tornen a passar l’Ebre, a les posicions que ocupaven al mes de juliol, finalitzant la batalla iniciada per les forces del GERO, el Grup d’Exèrcits de la Regió Oriental. En aquests moments Catalunya és el més feble dels territoris de la República. Amb les seves unitats militars força gastades pels recents combats al Segre, al Noguera Pallaresa i a l’Ebre. I amb poques possibilitats de rebre reforç de la zona de Madrid o València: impossible per terra i molt difícil per via marítima. Un important objectiu, feble i aïllat de forces amigues. Al Cuartel General del Generalísimo hi ha el propòsit d’iniciar noves operacions en aquest escenari amb un plantejament estratègic organitzat en tres fases. Primer pretenen destruir la capacitat operativa de l’exèrcit enemic. Avançant amb rapidesa cap a l’est superant les dues línies fortificades, entre els Pirineus i la Mediterrània: la L-1 i L-2. Tot seguit caldrà tallar les comunicacions amb França, ocupant la franja territorial de la frontera des del Pallars fins l’Empordà. Barcelona restarà isolada. No podrà resistir massa temps el setge i s’haurà de rendir. El general Franco encomana aquesta missió a les unitats de maniobra de l’Exèrcit del Nord sota comandament del ministre i general Fidel Dávila. Una gran força armada, la més gran de tota la guerra reunida per avançar fins l’ocupació de tota Catalunya. Sis cossos d’exèrcit i més d’un miler de peces d’artilleria. Morters, antitancs, armes automàtiques, blindats... Gairebé tota l’aviació centrada en recolzar l’atac i l’armada amb la missió d’exercir el bloqueig marítim. L’objectiu més feble alhora que força important contra el més fort dels exèrcits. Ben armat i amb una bona proporció de forces de xoc entre les seves files i unitats de veterans que ja saben com fer la guerra. El discurs de la tesi es recolza en la documentació militar escrita per l’exèrcit atacant. Com van pensar, preparar i executar la maniobra. L’alt estat major central escollirà l’escenari de les operacions i prepararà la campanya. I encarregarà a l’Exèrcit del Nord la realització de la maniobra. Aquest organitzarà els seus sis cossos d’exèrcit per complir les ordres de l’alt comandament. Les unitats d’infanteria que els componen informaran de les notícies, dels fets de la jornada. Del que han fet per complir les ordres. Aquestes informacions fan el camí de tornada fins arribar al lloc de comandament central. Segons les novetats rebudes hi haurà noves instruccions, correccions, enhorabones o esbroncades depenent del l’èxit en la batalla. Podem recrear el dia a dia de la campanya militar al llarg de tot el front de guerra a Catalunya en forma de diari. Les notícies dels combats, els moviments de les tropes pel territori, les baixes, presoners i botí de guerra. / Between December 1938 and February 1939 was developed the last big battle between the loyal forces and revels in the framework of the Spanish civil war. In November 1938 the republican troops crossed Ebro River again, recovering to the same positions occupied in July, and ending the battle begun by ORAG’s forces, The Oriental Region’s Armies Group. At those moments Catalonia is the weakest territory under the control of the Republic. Catalonia military units are spoiled because of the recent battles in Segre, Noguera Pallaresa and Ebre areas, and they have few possibilities of receiving reinforcements from Madrid or Valencia areas: impossible by foot and with large difficulties by maritime lines. Spoiled and isolated from their friend forces, these military units were an important war objective. At the Generalísimo Headquarters, the intention is to initiate new operations in this area with a strategic approach, organized in three phases. First, they are going to try to destroy the operative capacity of the enemy. Moving their troops fast to the East and overcoming both strengthened lines between the Pyrenees and the Mediterranean: L-1 and L-2. Afterwards, the communications with France must be cut, occupying the entire border from the Pallars to Empordà area. Due to these operations Barcelona will stay isolated, and won’t be able to resist the siege for a long time. Barcelona will have to come to terms (subdue, give up). General Franco entrusts this mission to North Army units under control of General-minister Fidel Dávila. Those units were the biggest forces assembled during the war, and its aim was to advance up to the total occupation of Catalonia. The force was composed by six army corps and more than one thousand of pieces of artillery. Mortars, antitank and automatic armament, armoured cars…, in addition the whole aviation was focussed in this assault and the navy centred on the maritime blockade. The weakest and most important objective versus the strongest army with many elite corps, volunteers and mercenaries, all of them well trained and experienced. The argument of the thesis is supported by military documentation written by the attacking army. Those documents allow us to know how they thought, prepared and executed the operation. The High Central Commandant will choose the operations scenery and will prepare the military campaign, entrusting it to the North’s Army. The North Army will organise its six army corps to fulfil the orders. Infantry units will inform about the news and daily events of the war. All this information will go back to the Central Commandant, which will take news decisions and orders depending of the evolution of the events. We are able to recreate daily events about Catalonia war phase in the shape of a diary. News of the battles, troop’s movements, soldiers fallen in combat, prisoners and the war earnings captured to the enemy.

Ce mémoire représente l'ensemble de mes réflexions portées sur le phénomène de l'« effet de présence » dans des oeuvres d'art contemporaines. Il s'attache d'abord à la présence elle-même. Avec une approche phénoménologique, j'expose la manière dont la présence de l'Autre être humain se construit dans la perception humaine. Dans un deuxième temps, c'est une réflexion sur l'effet lui-même qui est opérée par l'étude de la religion primitive dite animiste. J'expose ici comment la présence dans les choses inertes s'érige dans l'esprit animiste. Cette réflexion me permet de proposer un éclaircissement sur l'effet de présence dans des oeuvres d'art, sur la manière dont celui-ci opère dans notre perception. Finalement, quatre oeuvres contemporaines (Forty-Part Motet, Janet Cardiff, I Want You to Feel the Way I Do, Jana Sterbak, Too Sweet Go Away, Helen Choe et Lodge, Marianne Corless) sont étudiées selon leur effet de présence. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Phénoménologie, Husserl, Altérité, Présence, Primitif, Animisme, Représentation, Installation, Polysensorialité.

Les dernières décennies ont été marquées par un regain d'intérêt pour les écritures biographiques. Celles-ci tendent toutefois désormais à délaisser le cadre canonique traditionnel pour se déployer plus librement : les formes s'en trouvent donc transformées, tout comme la place que s'accorde le biographe, dont la subjectivité investit désormais le texte. C'est ainsi que Daniel Oster, dans ses deux ouvrages consacrés au poète symboliste Stéphane Mallarmé, dresse un portrait éminemment personnel du biographé tout en proposant une réflexion sans concessions sur le biographique. Dans ce mémoire, il s'agit dans un premier temps de mettre en lumière, tant dans les biographies traditionnelles que dans les écrits contemporains plus hétérodoxes, les principaux points d'ancrage par lesquels on peut déceler la subjectivité du biographe. Que ce soit par les interventions directes de l'auteur, par les choix qu'il fait dans la hiérarchisation et dans l'analyse des faits, ou encore par l'usage de la fiction, le biographe laisse toujours entrevoir une part de sa subjectivité. Un second chapitre est consacré à l'étude de Stéphane (1991), une fiction biographique racontant des tribulations imaginaires de Mallarmé. L'analyse de ce récit ouvertement fictionnel donne lieu à une investigation de la notion de vérité telle qu'elle est perçue par l'auteur, pour qui le vrai se doit de transcender la simple factualité. La réflexion se porte enfin sur La Gloire (1997), ouvrage où l'auteur, qui se met lui-même en scène en tant que biographe, propose une remise en question radicale du genre biographique. Ce chapitre tend à montrer que, selon Oster, c'est en éliminant la distinction vie-œuvre et en renonçant à tout idéal d'objectivité que le biographe peut espérer atteindre cette grande vérité intime qui est à son avis la seule qui compte réellement. Cette réflexion permet en somme de montrer qu'une implication subjective de l'auteur aussi affirmée que l'est celle d'Oster permet d'élargir le spectre des préoccupations abordées dans l'œuvre. De cette manière, à travers une réévaluation profonde des présupposés du biographique ainsi que du concept même de vérité, le biographe sort de l'ombre de son grand modèle pour produire une œuvre à part entière. ______________________________________________________________________________

This thesis is a biography of Walter Scott, first Premier of Saskatchewan. He was a populist and had a vision for the new province, the fastest growing province in the Dominion. Agricultural and educational institutions were created to serve this growing population. Walter Scott combined his ability to collect strong people around him with his talent to sense the public mood. Scott was a newspaperman, entrepreneur, land speculator, and distributor of federal Liberal patronage in the North-West before being elected to the House of Commons in 1900. By 1905, Scott became leader of the Saskatchewan Liberal Party and Premier. Contrary to currently held beliefs, this thesis argues that the four months between when Scott became Premier and the first election, the government was neither restructured nor was it rife with patronage. This was a time for campaigning. The political machine was built much later. After the 1905 election, the Scott government embarked on a program to build the new province's infrastructuresuch as the Legislative Building and the University of Saskatchewan. For Scott and his government, agriculture was the vital component in the fabric of Saskatchewan life. By including farm leadership in cabinet and creating a political climate founded on agriculture, Walter Scott built a power base that withstood the United Farmers' Movement that unseated governments in neighbouring provinces. During the First World War, which created a climate of social change in Saskatchewan, the Scott Government banned the bar and established female suffrage. This thesis also examines when Walter Scott first exhibited signs of mental illness. His health became a primary focus as he searched for a cure for depression. It will be argued that it was the battle with Rev. Murdock MacKinnon over minority rights in the school system that brought Scott's mental health to the point that he had to resign. After his death, the memory of Walter Scott faded. Yet his legacy of democracy, education and agriculture continue until today. The fruits of Walter Scott's labours continue to be harvested in Saskatchewan but few remember who planted the original seeds.

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During the early part of the nineteenth century in Scotland local sculpture, perhaps for the first time, came to be regarded as a branch of the arts rather than a mason trade. In those years the two forms of sculpture that were to predominate throughout the century, the portrait bust and the public statue, became prevalent. At first, commissions for such work were offered to English sculptors as none of repute were resident in Scotland. The pattern changed during the late 1820s and 1830s when competent sculptors began to establish practices in Edinburgh. The outstanding personality among these sculptors was John Steell. He introduced large scale marble cutting to Scotland and established the country's first foundry devoted to artistic bronze casting. His example and the patriotic inclination of Edinburgh patrons were major factors in encouraging sculptors to work in Edinburgh. Moreover, artists in other parts of the country suffered from a lack of art academies such as the Trustees School of Design and the Royal Scottish Academy in Edinburgh and it was only in the second half of the century that Glasgow emerged as a second centre of importance for sculpture. Taste as well as patronage tended to be conservative in the west of Scotland and there the classicizing variant of the portrait bust remained a favourite until the 1890s. In Edinburgh the popularity of such work had begun to wane at least fifteen years earlier. Developments in taste were first reflected in private rather than public commissions and it was through private clients that the more significant trends of late nineteenth century sculpture became evident when artists sought to emphasize the personal nature of their expression; the development was accelerated by the breakdown of the apprentice tradition and the more extensive influence of art schools. Of particular importance was the Edinburgh College of Art, established on principles suggested by Pittendrigh MacGillivray who, like John Steell, was an outstanding personality in Scottish sculpture and whose work bridged the nineteenth and twentieth centuries.

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[...] This study attempts to define and articulate the essentially ordered rhythms of meaning governing Wolfe's quest for psychic fulfillment. It seeks to explain his significant relationships and decisions in terms of the 'exile motif': Wolfe's perennial and heroic struggle to overcome the forces of background and temperament, which made him a stranger and exile, in order to establish a normal life for himself. [...]

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