The French government under Philippe Petain, based at Vichy, simultaneously collaborated with the Germans and promoted French patriotism. French artists and designers produced an abundance of posters, paintings, sculptures and other objets d'art, examples of which are included here, to promote the values of the "new order." Although Christian symbols were common, fascist symbols among the mass-produced images support the idea that the Vichy regime was not merely authoritarian, but parafascist. / The fine arts were purged of "foreign" influences, yet the German Arno Breker was invited to exhibit his sculptures in Paris. In the spirit of national redressement, traditional French art was promoted; however, Modern art, which Hitler condemned as cultural Bolshevism, continued to be produced. With reference to the words of Petain, Hitler, French artists and art critics, and a variety of artworks, this thesis shows how art was used to propagate the ideology of the Vichy regime.

This thesis is an attempt to understand the role of nuclear weapons in Britain's defence and foreign policies. It works from the assumption that decisions in relation to nuclear weapons, can only be understood in the context of a broader overview of the British state's policies since the 1940's. In turn Britain's nuclear policies have made a decisive impact on defence policy as a whole and have had an important effect on international developments. It is hoped that this thesis will contribute to a better-understanding of the causes and effects of the nuclear weapons policies adopted by the UK since the 19401s. The thesis will focus on the politics and political economy of nuclear weapons and British defence policy. This central concern has required that a number of other important aspects of the subject have been given only peripheral consideration. The thesis does not attempt to provide a detailed technological history of Britain's nuclear force. Nor is it intended to provide particular new insights on the nuclear decisionmaking process. Rather it seeks to explore the underlying factors which have shaped both the technology and the perceptions of decision-makers. There is no shortage of historical accounts of Britain's nuclear force. The unique contribution which it is hoped that this thesis makes, however, does not lie so much in its subject matter as in the way that this subject matter is approached. In my view that approach is sufficiently different from those of previous works in this area as to be both original and of some interest to other scholars in this field.

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The present dissertation deals with how a segment of the Swedish immigrant group mobilized to be included in American society. Three Swedish-American working class organizations have been studied as to how they interacted to promote their interests in Chicago and the Lake View district during the first decades of this century. Reflecting political, cultural and economic aspects of the immigrant workers' lives the case studies indicate that Swedish immigrant workers constructed an organizational network parallel to the one they had left in the old country known as "folkrörelsesamverkan" (popular movement cooperation). Like in Sweden this network was constructed as a haven for social mobilization, with the exception that in the American context an ethnic aspect was added.In the formative phase of their haven, historical retrospect and the defence of organized labor in the old country were important aspects of their activities. Through the educational and cultural programs that were organized, the group articulated and consolidated its position for interaction with American society including other ethnic groups. Political radicalism, including a pro-labor temperance movement, distinguished the group both within the Swedish enclave and the American labor movement. Nevertheless, in constant conflict and cooperation with other groups, new bonds of solidarity were developed which gradually enabled a re-definition of the group to include fewer ethnic and more class aspects. Once a wider definition of the group was implemented, the need for separate Swedish-American organizations decreased. Hence in the 1930s, by which time the Swedish immigrants had been included in the American labor movement, the Swedish-American labor movement also withered. / digitalisering@umu

Thèse--Lettres--Paris X, 1975. / Bibliogr. p. 1446-1495.

Made available in DSpace on 2015-03-03T11:52:42Z (GMT). No. of bitstreams: 0 Previous issue date: 2014-04-23Bitstream added on 2015-03-03T12:07:09Z : No. of bitstreams: 1 000810225.pdf: 2886425 bytes, checksum: 5b5b22803525fa83c393e5e610114b6f (MD5) / O presente trabalho apresenta uma reflexão acerca da configuração das personagens fantásticas femininas nas três seguintes obras: “Ojos Verdes” (1861), de Gustavo Adolfo Bécquer; “Mi vida con la ola” (1949-50), de Octavio Paz e “Historia del lagarto que tenía la costumbre de cenar a sus mujeres” (1993), de Eduardo Galeano. Tendo em vista a perspectiva dos estudos mitocríticos que contemplam o aspecto ancestral do feminino maléfico, observa-se o modo como se produzem as manifestações da mulher fatal, vinculada ao feminino terrível e às águas nas literaturas de diferentes épocas. Analisa-se, assim, a representação simbólica que denominamos mulher-sereia, imagem que, repleta da carga mítica, se apresenta nos três contos construindo a figura arquetípica de mulher sedutora e atraente, mas causadora de danos, perigosa e por vezes, fatal. Atenta-se, ainda, para a questão do gênero literário nos referidos contos, analisando sua construção através da personagem feminina, enquanto representação do fenômeno insólito que aparece nas narrativas / This work presents a reflection about the configuration of fantastic female characters in the following three works: “Ojos Verdes” (1981), by Gustavo Adolfo Bécquer, “Mi vida con la ola” (1949-50), by Octavio Paz and “Historia del lagarto que tenía la costumbre de cenar a sus mujeres” (1993), by Eduardo Galeano. In view of the mythcritical studies prospect that comtemplates the malefic female ancestral aspect, observe the way that they produce the manifestations of the femme fatale, linked to the terrible female and to the waters in different times. Thus analized a symbolic representation that we call mermaid-woman, a image that, full of mythical load, presents in these three tales on contours of the archetypal figure of seductive and attractive woman, but damage causer, dangerous and sometimes, deadly. Also, attentive to the literary genre issue in these tales analyzing its construction through the female character, as an unusual phenomenon representation in the narratives

From Introductory note: The Complete Poems of W.H. Davies (London: Jonathan Cape, 1963; rev. 1968) has been used throughout this study. Accordingly, unless otherwise stated, all citations of poem numbers and pagination refer to this text. Critical literature on the work of W.H. Davies is restricted in quantity and limited in scope. There are few comprehensive assessments of Davies as poet, autobiographer, novelist, or raconteur. Apart from such sources as Richard J. Stonesifer's full-length critical biography (1963), Lawrence Hockey's biographical monograph (1971), and Thomas Moult's anecdotal and historical appreciation (1934), critical material must be drawn from contemporary reviews, isolated articles in magazines such as The Catholic World and Fortnightly Review, and specific chapters in surveys of the poetry of the early twentieth century, although Davies is frequently alluded to passim in literary histories which deal with this period. Many of these studies favour biographical exposition and evaluation rather than descriptive analysis and discursive interpretation. A detailed chronology of Davies's works is included in Stonesifer's discussion. This thesis is not attempting to trace a line of development for two reasons. First, the Complete Poems gives no indication of date of composition or publication of particular poems, and the present writer has access only to the dates of publication of individual volumes as external evidence of a chronology, internal evidence being confined to such infrequent references as "the birds of steel" in Poem no. 236, p. 260. Secondly, the lyrics themselves do not, on the whole, evince much stylistic and thematic development, and the concern of this study is with recurrent themes and techniques dispersed throughout the oeuvre.

Text in French / No abstract available / Classics and Modern European Languages / M.A. (French)