Ce mémoire propose une exploration de la relation entre réel et imaginaire à travers l'analyse d'une œuvre de bande dessinée. Cette analyse nous permettra par la suite de dégager dans cette œuvre un regard critique sur le paysage urbain contemporain. Nous poserons dans un premier chapitre les bases théoriques de notre réflexion. Le genre littéraire fantastique se présentera comme une première approche du rapport entre réel et imaginaire au sein d'un objet littéraire. Nous développerons par la suite cette mince frontière qui sépare le réel de l'imaginaire avec une approche plus philosophique. La deuxième section de ce chapitre se consacrera aux thèses de Paul Ricœur sur le pouvoir de la fiction de redécrire le réel. Nous nous pencherons tout particulièrement sur ses ouvrages La Métaphore vive et Temps et récit. Le second chapitre de ce mémoire sera consacré à la bande dessinée. Nous tenterons de dresser un portrait général des Cités obscures afin d'éclairer une figure centrale de l'œuvre, celle du « passage ». Dans cette optique, nous approfondirons notre compréhension du neuvième art en en présentant un bref historique pour ensuite identifier les différentes tensions qui agissent et articulent cet art. Nous présenterons la grille ainsi que les résultats d'une analyse sémiotique que nous avons menée sur deux albums, et tout particulièrement sur quatre planches et doubles pages. C'est par une approche herméneutique et sociologique que nous aborderons la dimension urbaine de l'œuvre dans un troisième et dernier chapitre. Les Cités obscures se présentent d'abord comme une critique des utopies architecturales et urbanistiques modernes et de leurs traces que l'on retrouve aujourd'hui dans le paysage urbain. L'œuvre propose également un nouveau regard sur les villes en s'intéressant aux espaces brouillés, non définis et aux espaces frontaliers et transitoires rappelés par la figure du « passage ». ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Les Cités obscures, Benoît Peeters, François Schuiten, Imaginaire, Réel, Bande dessinée, Fantastique, Espace urbain, Ville contemporaine

本論文定名為中共與蘇聯衝突之研究，赫魯曉夫時期：一九五六─一九六四年。全文 共分為八章，敘述自蘇共第廿次代表大會至赫魯曉夫辭去蘇聯第一書記和部長會議主 席職位為止期間北平與莫斯科的衝突。除緒論和結論外，本文部分共計六章。 第一章緒論，本章分為三部分：壹、說明研究的動機，貳、簡述蘇聯外交政策的決定 因素，參、介紹與本文有關的共產黨人策略的基本理論，對於瞭解本文的內容有所裨 益。 第二章敘述中共與蘇聯衝突的緣起及其發展：針對美國的圍堵政策，蘇共領導人於蘇 共第廿次大會，提出和平共處的路線，作為今後對外政策的基本方針。 第三章敘述國內情勢發展對雙方關係的影響：中（共）蘇雙方對於美國鬥爭的策略是 否採取戰爭抑和平路線發生岐見。 第四章敘述由意識形態的論戰發展到兩條路線的鬥爭：中共領導人不滿赫魯曉夫對美 國的政策，先從意識形態上表現，故有列寧生日九十週年的論戰，世界工商理事會的 爭論，再經布加勒斯特會議的衝突，發展到蘇聯領導人對中共政權實施經濟制裁，迫 使中共領導人屈服，結果蘇聯政府不但沒有收到效果，反而使雙方的關係更加惡劣， 以後又召開莫斯科會議，協調雙方的岐見，仍然沒有結果，使雙方的衝突日漸惡化。 第五章敘述中（共）蘇雙方對於國際問題的不同立場：中（共）蘇關係不睦以後，蘇 聯領導人為堅持和平共處路線。 第六章敘述中共與蘇聯衝突擴大。 第七章敘述中（共）蘇雙方廣泛地展開鬥爭，部分核子禁試條約以後，中共領導人決 定對蘇聯從黨與政府方面展開廣泛的鬥爭。 第八章結論：本章綜合上述各章的分析，對於中（共）蘇的衝突，提出四點結論：一 、基於現實的利益和政權安全的觀點。二、雙方分岐的焦點是：國際共產主義運動採 取戰爭路線抑和平路線，中共堅持前者，蘇聯主張後者。三、雙方都以意識形態作為 批評對方的工具。四、雙方都以自己的鬥爭經驗，作為國際共產主義運動的路線。 /

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This dissertation is an amalgam of reformulated essays on artists who had connections with 20-21st century KwaZulu-Natal: They appeared in exhibition catalogues that accompanied the exhibitions; The Azaria Mbatha Retrospective, 1998, The Trevor Makhoba Memorial, 2005 and Cyprian Mpho Shilakoe Revisited, 2006. Chapter 1, the introduction; outlines the chapters, gives the theoretical and broader theoretical framework, history of the region and art therein, literature survey and methodology. Central to the theoretical framework is an attempt to meld the original essays into a coherent whole; by expanding the interpretation of indigenous cultural world-view to include the concept of orality versus literate cultures. Even in the transformation to literacy with westernization and Christianity the African oral mind-set is still operative; thus for instance the early Zulu writers like R.R.R. Dhlomo rendered the Zulu kings‘ oral praise-poems into written form and these became set-works for Zulu schools up until the 1994 new dispensation. Also dealt with are related issues of what therefore constitutes 'Africanness‘ and debates whether it is but the invention of the west in need of the 'Other‘ (something arguably pertinent to the art-collector‘s reasons for collecting), or if there is that own to the African style, like the oral style, which can be termed a 'legitimate Africanness‘ if one will. Further, how this style then exhibits itself in the visual arts as a 'preferred form‘ in terms of medium, colour, patterning and favored technique which best conspire to express these qualities. Chapter 2 (essay 1) and chapter 3 (essay 2), carry forward the assumptions made in the introduction. In modern times the oral genre has developed into an exciting style; namely the development of urban, often migrant musical forms, like isicathimiya, that challenge politics, social-wrongs, racism and taboos. It is argued that an artist like Trevor Makhoba can be considered a social commentator and 'master of the oral genre‘ in that he rendered this style into visual form. Certain of Makhoba‘s works depicting white females and black males are analyzed in this light and it is suggested that the oral genre also draws upon both stereotypical and universal archetypal imagery. Chapter 3 (essay 2) considers Azaria Mbatha‘s use of the older oral story-telling mode, rendered in linocut medium as an echo of earlier indigenous wooden 'pokerwork‘ panels, to transmit a political message in line with concepts of African Christianity, itself a syncretism of the Christian message with African world-view. This allegory was needed in a time where the Nationalist Government would have made open insurrection impossible. Chapter 4 (essay 3) concerns ex-Rorke‘s Drift art-student Cyprian Shilakoe. I analyze his aquatints in the light of his own Sotho cultural ideas on contagion and the ancestors for deeper meaning. The fact of culture change is accepted and mention is made of the artist‘s friend and fellow student, Dan Rakgoathe‘s melding of western esoteric mysticism, like Rosicrucianism, into African thinking and how far this impacted on the more traditional Shilakoe‘s works. The essays are followed by Chapter 5, the conclusion, which serves to come to some resolution. This is then followed by the bibliography. / Thesis (M.A.)-University of KwaZulu-Natal, Pietermaritzburg, 2009.

This thesis presents a comparative study of two modern Muslim biographers of the Prophet of Islam, Muhammad Husayn Haykal and Sayyid Ja$ rm sp{c}$far Murtada, the one a Sunni the other a Shispc$ = i. In dealing with their works on the { it s = i ra}, the intention is to focus on some aspects of the life of the Prophet of Islam from the time when he resided in Makka. After outlining the authors' scholarly backgrounds, sources, methods, and purposes, etc., the thesis deals with certain specific issues concerning the Prophet's birth, his nursing and the reason behind the custom of having foster-mothers, the controversial stories of the splitting of his chest and of his participation in the sacrilegious war, his state both before and after the announcement to him of his Mission, the authors' interpretations of his night journey and ascent to heaven and lastly their discussion about the Prophet and miracles. This research should not be considered as historical in nature; rather, it aims at clarifying the similarities and differences which may be discovered between our two biographers, and at comparing their respective Sunn = i and Sh = i$spc$ = i approaches.

This thesis examines what the visual art of Christian faith might reveal, and teach us, about the living art of faith in a world characterised by progress. The argument focuses on two prominent visual artists from the nineteenth century - William McTaggart (1835-1910) and William Dyce (1806 – 1864) - and two late twentieth century painters: Andy Goldsworthy (b. 1956) and Peter Howson (b. 1958). The principal contribution then, of the thesis is the sustained analysis of works of art as sites of religious meaning; works that do not simply reflect or echo their contexts (although this is clearly the case) but also, through the particular, may transform our understanding of those contexts and, in terms of the art of faith, may prophetically offer new ways of relating to faith in times in which faith is challenged in various ways. After setting the scene with a substantial treatment of the tensions in Victorian society (Chapter 1), the thesis then builds its arguments through close interpretations of the works of William McTaggart (Chapter 2) and William Dyce (Chapter 3) in the central part of the thesis. In Chapter 4, the argument moves to the contemporary. After a short introduction to the secularism, or unattached belief, arguably characteristic of modern Britain (4.1), the thesis presents a close analysis of Andy Goldsworthy (4.2) and Peter Howson (4.3). In the conclusion, I set up a comparison between these two contemporary Scottish artists and their Victorian forbears.

This diploma thesis deals with an analysis and comparison of dramatizations of The Wind in the Willows by Kenneth Grahame, a book which ranks among the British children's classics. The paper examines to what extent the dramatizations correspond to the book, whether and why they deviate from the original text, and what consequences these changes have. The thesis focuses on four dramatizations – a play by Alan Alexander Milne called Toad of Toad Hall, Alfa Theatre production of The Wind in the Willows, a Walt Disney short animated film The Adventures of Ichabod and Mr. Toad, and Terry Jones´s adaptation of The Wind in the Willows to a feature film. In the thesis, firstly the book and then the dramatizations are analyzed in terms of the theme and genre, characters, setting, composition and language use. Subsequently, the dramatizations are examined and compared with regards to the transformation processes – selection, condensation, substitution, amplification, and changes in composition and language. In the final chapter, I summarize my findings and draw the conclusion.

O arquiteto Carlos Alberto de Holanda Mendonça é conhecido como um dos pioneiros na disseminação da arquitetura da escola carioca no Rio Grande do Sul. Alagoano de nascimento e de família carioca, chegou a Porto Alegre na segunda metade de 1946 para trabalhar na Secretaria de Obras Públicas do Estado, onde produziu alguns edifícios significativos como o Mercado Público de Uruguaiana. Em meados de 1950 junta-se à construtora Azevedo Bastian e Castilhos onde projetou até novembro de 1954 uma grande quantidade de edificações. Os projetos mais significativos desta época são dos edifícios Santa Terezinha, Formac, Excelsior, Cerro Formoso, Flores da Cunha, São Sebastião, a Sede do Banco da Província e o Edifício Duque de Caxias. Logo após, o arquiteto monta escritório próprio e continua com encargos importantes como dos edifícios Santa Cruz, General Osório, Consórcio, e Cine e Hotel Consórcio de Bagé. Seu falecimento precoce no final de julho de 1956 acabou deixando algumas lacunas referentes ao seu trabalho. Seu colaborador, Jayme Luna dos Santos assumiu o escritório levando adiante os projetos e gerando dúvidas com relação à autoria de alguns destes. Além de conformar um inventário das obras de Holanda Mendonça, este trabalho pretende esclarecer algumas destas dúvidas e identificar características e aspectos importantes na produção do arquiteto. / Carlos Alberto de Holanda Mendonça is known as one of the pioneers in the dissemination of the Escola Carioca architecture in Rio Grande do Sul. He was Born in Alagoas and his family was from Rio de Janeiro. Arrived in Porto Alegre in the second half of 1946 in order to work on the State Department of Public Works where he designed some significant buildings such as the Uruguaiana Public Market. In the mid-1950’s he joined Azevedo Bastian e Castilhos Construction Company where he designed a large number of buildings until november 1954. The most significant works of this period are the Santa Terezinha building, the Formac building, the Excelsior building, the Cerro Formoso building, the Flores da Cunha building, the São Sebastião building, the Banco da Província Headquarters and the Duque de Caxias building. Soon after, the architect established his own practice and continued being commissioned to important works such as the Santa Cruz building, the General Osório building, the Consórcio building, the Cine building and the Consórcio de Bagé Hotel. His early death at the end of july 1956 left some gaps regarding his work. His collaborator Jayme Luna dos Santos took over the office carrying out the projects and raising doubts about the authorship of some of them. In addition to create a Holanda Mendonça’s inventory of works, the present study aims to clarify some of these questions and identify important features and aspects of his work.

O objetivo desta dissertação é analisar os discursos presidenciais de Juscelino Kubitschek, buscando compreender como este presidente fez uso da ideologia desenvolvimentista, dominante na década de 1950, para legitimar e dar operacionalidade a um governo baseado em um grande programa de desenvolvimento industrial, num contexto de tênue estabilidade política. A abordagem da análise do discurso foi escolhida por se mostrar como um método capaz de esclarecer aspectos do período em questão, condicionados centralmente pela ideologia, e que influenciam e são influenciados pela economia. Em suma, constatou-se que de fato o discurso foi profundamente utilizado como forma de divulgar o desenvolvimentismo, apresentando nitidamente seus três aspectos chaves – a defesa da industrialização, o intervencionismo pró-crescimento e o nacionalismo. Pôde-se, assim, compreender o papel da ideologia para o êxito do Plano de Metas, no que tange especialmente ao tratamento em discurso de questões referentes a inflação, política externa e distribuição, elementos econômicos centrais do período. Nesse sentido, os problemas inflacionário, de balanço de pagamentos e endividamento externo, bem como a maneira relativamente desigual de distribuição da renda entre setores produtivos, classes sociais e regiões (desigualdade já existente e que se fortaleceu no período), foram contemporizados pelo presidente por meio de ações e também pela defesa de seu pensamento em discurso, de forma que além de não impedirem o êxito de seu programa governamental, por vezes foram instrumentais para a concretização de sua política que tinha como fim último o desenvolvimento industrial do país. / The objective of this dissertation is to analyze the presidential speeches of Juscelino Kubitschek, tryng to understand how this president made use of the developmentalist ideology, thas was dominant in the decade of 1950, to legitimize and to give operationalization to a government based on a great program of industrial development, in a context of tenuous political stability. The approach of the analysis of speech was chosen for being a method capable to clarify aspects of the period in question, centrally conditioned for the ideology, and that influence and are influenced by economics. In short, the speech in fact was deeply used as a form to divulge developmentalism, clearly presenting its three key aspects – defense of industrialization, pro-growth interventionism and nationalism. In this manner, it could be understood the paper of ideology for the success of the “Plano de Metas”, especially concerning to the treatment in speech of questions referring to inflation, external politics and distribution – central economic elements of the period. In this direction, the inflationary, balance of payments and external indebtedness problems, as well the relatively unequal way of distribution of income between productive sectors, social classes and regions (unequality already existent and that was fortified in the period), had been temporized for the president by actions and by the defense os his thought in speech, so that beyond not hindering the success of its governmental program, those problems for times had been instrumental for the concretion of his politics that had as last end the industrial development of the country.