La partie création des Variations Burroughs ou l'équation de Dieu emprunte à l'autofiction comme genre et, par sa structure, à la pratique du fragment. C'est sur le mode de la confidence que la narration offre deux voix qui s'entrelacent ; la première dans un glissement intimiste et vulnérable vers l'enfance, le passé et ses traces archivées, la seconde dans un présent qui témoigne, à travers la rupture amoureuse, de son rapport au langage et au monde. L'une et l'autre se soudent autour de l'indéfectible fil qui lie la vie à l'écriture. La partie réflexion aborde ce qui du lien mère / fille a pu engendrer le désir d'écrire et de quelle manière ce phénomène s'articule au fil des Variations. Dans cette perspective, livres, lecture et écriture sont perçus comme des espaces potentiels de rapprochement et / ou d'éloignement, et l'archive poétique – en l'occurrence la boîte et ses variantes au cœur des Variations Burroughs – comme un puissant élément générateur de sens. L'ensemble trouve sa résolution autour des notions de territoires identitaire et littéraire.

Thesis (MA)--Stellenbosch University, 2003. / ENGLISH ABSTRACT: The term 'representation' is often used to refer to the possibility of a link between literature and reality. The word also suggests the reiteration of an event and is used in literary studies to indicate that a representation should be read as the author's interpretation of events and thus as a mediated rendition thereof. This study focuses on the representation of a black character who lived in the 19th Century by a white author from the zo" Century, Arthur Japin, in his novel, De zwarte met het witte hart (1997). This novel, based on historical events, is a rendering of the lives of two Ashanti princes who were taken to the Netherlands in 1837 as guarantee to an agreement between the king of the Ashanti and the Netherlands. This study therefore looks at the way in which Japin interpreted and represented the available information in his novel. This study furthermore focuses on ways in which this novel, written in what may be termed a postcolonial era could be read as a continuation of the colonial discourse in the 21st Century. This is demonstrated by identifying and examining the characteristics of colonial discourse, postcolonial discourse, the historic novel and the didactic novel, as well as ways in which these genres deal with representation. The study refers to the work of literary and social theoreticians such as Edward Said, Frantz Fanon, Homi Bhabha, Gayatri Spivak, Linda Hutcheon and Maaike Meijer. The study indicates that this novel can partially be read as a continuation of the colonial discourse. The results of this study also indicates that an uncritical reading of the novel De zwarte met het witte hart could lead to a continuation of the colonial discourse in the 21st Century. The role and responsibility of the reader in the interpretation and the subversion of the colonial discourse could therefore be further investigated. / AFRIKAANSE OPSOMMING: Die term 'representasie' word dikwels gebruik om die moontlikheid van 'n verband tussen die letterkunde en die werklikheid aan te dui. Die woord suggereer die herhaling van 'n gegewe en word in die letterkunde gebruik om aan te dui dat die representasie wat gelees word, die outeur se interpretasie en dus bemiddelde weergawe van gebeure is. Hierdie ondersoek fokus op die representasie van 'n swart hoofkarakter uit die 19de eeu deur 'n blanke outeur in die 20ste eeu soos dit in die roman, De zwarte met het witte hart (1997) deur Arthur Japin, weergegee word. Hierdie roman, gebaseer op historiese gegewens, handeloor die lewens van twee Ashanti prinse wat in 1837 as onderpand vir 'n ooreenkoms tussen Nederland en die Ashantynse koning na Nederland geneem is en die gevolge wat dit vir hulle ingehou het. Daar word dus in dié ondersoek gekyk na die manier waarop Japin die gegewens tot sy beskikking geïnterpreteer en in die roman weergegee het. Verder fokus die ondersoek op die manier waarop hierdie roman, geskryf in wat as 'n postkoloniale era gesien kan word, moontlik as 'n voortsetting van die koloniale diskoers in die 21ste eeu gelees kan word. Dit word gedoen deur kenmerke van die koloniale diskoers, die postkoloniale diskoers, die historiese roman en die tendensroman te identifiseer en ondersoek, saam met die wyses waarop hierdie genres met representasie omgaan. Daar word verwys na die werk van letterkundige en sosiale teoretici soos Edward Said, Frantz Fanon, Homi Bhabha, Gayatri Spivak, Linda Hutcheon en Maaike Meijer. Uit die ondersoek blyk dat hierdie roman gedeeltelik as 'n voortsetting van die koloniale diskoers gelees kan word. Die resultate van hierdie ondersoek dui ook aan dat 'n onkritiese lees van die roman De zwarte met het witte hart kan lei tot die voortsetting van die koloniale diskoers in die 21ste eeu. Die rol en die verantwoordelikheid van die leser in die interpretasie en ondermyning van die koloniale diskoers kan dus verder ondersoek word.

Las elecciones generales de 1956 constituyen un importante hito en la historia de la democracia en el Perú; pusieron fin al autoritario régimen del general Manuel Odría (1948- 1956) y dieron inicio al mayor periodo democrático hasta ese entonces (1956-1968). Nuestra investigación es la primera en examinar la coyuntura electoral 1955-1956 de manera comprensiva y a partir de un uso intensivo de fuentes primarias; permitiéndonos plantear una interpretación consistente y articulada sobre cómo ocurrió este trascendental proceso de apertura política. / Tesis

À partir de l'analyse comparée des mobilisations étudiantes hongroise (1956) et mexicaine (1968), cette recherche vise à mettre en évidence une configuration de facteurs permettant de comprendre les conditions d'émergence d'un mouvement contestataire dans l'université face à un régime autoritaire. Partant de l'hypothèse que les acteurs étudiants ont évalué les risques et les incitations, la première étape de cette recherche aborde sous un angle rationnel le contexte d'opportunités politiques et l'environnement cognitif de chacune de ces mobilisations. Mais les témoignages des étudiants amènent également à prendre en compte une seconde dimension de l'action collective – sa dimension émotionnelle – en distinguant les émotions qui découlent d'une accumulation de mécontentements de celles qui naissent au cours de l'action collective. Enfin, les conditions particulières de socialisation politique dans l'université invitent à appréhender, dans une perspective néo-institutionnaliste, les liens étroits nouant institution universitaire et contestation politique. Soulignant l'importance respective des dimensions rationnelle, émotionnelle et institutionnelle des mobilisations estudiantines, cette recherche comparative s'attache en définitive à proposer un cadre analytique configuratif permettant de combiner ces trois dimensions.

From the Wold of Business to the World of Planned Distribution A Look into the Development of Czech Consumer Cooperatives: 1945 - 1956 (Ústí nad Labem Region) The dissertation deals with changes in the content, forms and roles of the Czech consumer co- operatives in the years 1945 - 1956. This issue is a theme in four surveyed areas (territorially - organizational structure, the role of co-operatives in the Czechoslovak economy, relations with the Communist Party, economic activity of co-operatives). These are prerequisites of the transformation of consumer cooperatives from autonomous business entities in the subordinate sections of the state-organized distribution. The dissertation analyzes this transformation in its various stages and puts it into a broader context of Sovietisation, creation of a system of centrally planned economy and the economic, social and political development of Czechoslovakia during the researched period. Keywords: economic history, co-operatives, consumer co-operatives, Sovietisation, centrally planned economy, 1945-1956

Annotation The aim of this thesis was to analyze the occurrence of francophone literature in literary review {\clqq}Světová literatura`` in the period of 1956 {--} 1968. I made a view of all francophone literature and related articles which was the resource for creating the indexes of authors, translators and translated literature. I devided the published texts in accordance with their genres and I outlined their themes. The view, the lists and the division of genres were the base for evolving the final analysis. There, I apply myself to the spectrum of the genres and themes, to the choice of authors considering their nationality, period of their life and creation and even their political involvement. Then I evaluated the contribution of the periodical and the changes in publishing the francophone literature in context of political development.

Cette étude porte sur la pratique de l’artiste française Jeanne Rij-Rousseau (1870-1956). Au début du XXe siècle, cette créatrice évolue dans les cercles d’avant-gardes parisiens. Bien que ses œuvres soient régulièrement associées à l’esthétique cubiste, elle développe une technique originale, qu’elle appelle le vibrisme, et qui lui vaut une certaine reconnaissance de son vivant. Aujourd’hui toutefois, son œuvre est tombé dans l’oubli. L’objectif de cette première étude universitaire est de contribuer à la connaissance de cette figure. Ce mémoire vise à faire ressortir la spécificité de sa production artistique. Les nombreuses représentations de l’univers du sport qu’elle réalise dans les années 1920 ont particulièrement contribué à la fortune critique de l’artiste. L’étude s’appuie donc sur un corpus thématique d’œuvres à thème sportif qui incarnent la recherche d’une modernité plastique : Les Courses, Les Rameurs, Géo-Charles au Vélodrome d’Hiver et Les Lutteurs. L’analyse détaillée de celles-ci permet de mettre en valeur les rapports de l’art de Rij-Rousseau avec celui des cubistes et des futuristes, et de mieux situer son apport à l’histoire de l’art moderne.

This thesis investigates representations of exile in Hollywood cinema in the period between 1930 and 1956 through the films of Peter Lorre, Béla Lugosi and Conrad Veidt. It aims to dispel the remarkably durable assumption prevalent in critical approaches to Hollywood cinema that by virtue of its hegemonic, reactionary and exclusionary modes of representation, especially in what is considered its ‘Golden Age,’ otherness is excluded from, or only obliquely alluded to in Hollywood cinema. This thesis contends that Hollywood uses European émigré actors to speak of the experience of exile, exilic attempts at integration into the host nation, and the sometimes grand, often pitiful failures of these attempts. Dictated largely by its contention that a consistent and fairly constant discourse surrounding exile can be apprehended in Hollywood cinema, this thesis focuses primarily on the film texts that form its corpus. The close reading of key texts is underpinned by a productive clash with existing critical writings on exile, shifting the focus back to the films, themselves, from analyses of the system, historical accounts of migration and exile, or critical evaluations of archival material and the impact of marketing and political strategy on production. The thorough engagement with the films is further supported by an interdisciplinary critical framework. Theories of the nation and national cinema (Hayward, 2000), body theory (Butler, 1993), and critical works on identity, stereotyping and pathology (Gilman, 1985; 1991; 1995) are combined with critical accounts of immigration in the US (Behdad, 2005) and analyses of the significance and symbolism of blood in US concepts of nationhood (Chinn, 2000) to explore the complex system of representation that dictates the onscreen lives and deaths of exilic stars. Critical works on the language of death and bereavement (Seale, 1998; Hallam et al, 1999), the concept of the posthuman (Halberstam et al, 1995), Lefebvre’s theory of space (1991) and Baudrillard’s analysis of interior design are used to elaborate my argument further.

Thesis (MDram (Drama))--University of Stellenbosch, 2009. / This study focuses on Bertolt Brecht`s use of music in his epic theatre. After looking at his objectives against the background of his times, certain key aspects of his dramatic theory and practice in general are discussed e.g. its epic nature, Verfremdung, Gestus and his social engagement. This is important for an understanding of his functional use of music as an important element in his productions. Music as a sign system in drama is discussed with special reference to the genres in which music plays an essential role, viz. opera, in particular Wagner`s Gesamtkunstwerk and, most importantly, cabaret. The focus is on Brecht`s reaction against and point of connection with, each of these genres. The second part of the study focuses on the role of music in the practice of Brecht`s theatre. Naturally the specific composers with whom Brecht worked and specific productions are discussed. The relevant productions discussed are Aufstieg und Fall der Stadt Mahagonny (1930), Die Dreigroshenoper (1931) and Mutter Courage und Ihre Kinder (1939). Brecht worked against a background of social, political and economic upheaval. His art aimed at making people aware of unjustified social circumstances and inspiring them to engage in the task of changing these circumstances. For him this entailed communicating in a fresh way with words which had lost their meaning because of ideological abuse. For this purpose he made use of music in a very specific way. He tried – not always successfully – to avoid using music as an ornamental narcotic. This implied that music was always meant to serve the intention of the text, the Gestus. Music in Brecht`s theatre was dramatic not incidental, functional not ornamental, and music not as a means of escapism, but as an inspiration. The music, like all the other elements in his theatre, had to stimulate critical thinking and had to be of social use in order for it to be considered functional. The “great struggle for supremacy between music, text and production”, to which Brecht so often referred, complicated his goal of functionality and it was no easy task to marry his dialectical ideas. This caused for certain discrepancies between his theory and practice and I will take that into consideration in this study.

A creative dissertation consisting of two parts: a novel and a critical preface. The critical preface, titled “Novel without Falsehood” deals directly with David Shields’s Reality Hunger, touching on issues of reality as it pertains to truth, writing, fiction, and contemporary culture. The novel is entitled Down and Out and follows the fortunes of a small town in Arkansas before, during, and after its sole source of employment ceases to exist.