La thèse analyse l’évolution de l’écriture féminine en Sicile aux XIXe et XXe siècles, sur la base d’un corpus de 24 romans de femmes écrivains : Cecilia Stazzone, Rosina Muzio Salvo, Elvira Mancuso, Angelina Damiani Lanza, Adelaide Bernardini Capuana, Maria Messina et Goliarda Sapienza. Dans la première partie, selon une approche socio-littéraire et en utilisant des inédits ou des textes rares mis au jour, nous avons illustré cette production dans l’histoire littéraire et dans la réception (à l’époque et contemporaine), étant donné certains oublis puis redécouvertes ultérieures, grâce surtout à l’activité éditoriale de Leonardo Sciascia (Mancuso et Messina), à la connaissance du rosminien Giuseppe Pellegrino (Lanza) et au succès des traductions françaises (Sapienza). Dans la deuxième partie, nous avons indiqué comment ces femmes écrivains ont différemment représenté la condition féminine de leur époque, en utilisant pendant le Romantisme des modèles romanesques masculins, en développant pendant le Décadentisme des structures et styles personnels qui corrodaient la langue et les schémas constitués, et enfin en créant des formes résolument autres à l’époque contemporaine. Ce sont surtout les romancières de l’époque contemporaine qui ont contribué significativement au développement du genre romanesque au féminin, en particulier Sapienza qui a, de façon unique, modelé au féminin l’autobiographie, le roman-épopée et le roman-enquête. / In this doctoral thesis, we examine the evolution of women’s writing in the XIXth and XXth centuries in Sicily. We based on a corpus of 24 novels by seven women writers : Cecilia Stazzone, Rosina Muzio Salvo, Elvira Mancuso, Angelina Damiani Lanza, Adelaide Bernardini Capuana, Maria Messina and Goliarda Sapienza. In the first part, applying sociological Criticism and using unpublished and rare texts, we show how this production can be understood through the development of textual history and history of reception. There have been some omissions and also rediscoveries, especially thanks to Leonardo Sciascia’s editorial activity for Mancuso’s and Messina’s works, to the Rosminian philosopher Giuseppe Pellegrino for Lanza’s works and to the great success of Sapienza’s French translations. In the second part, we analyze the different forms how these women writers represented the female condition in each phase : during the Romantic age, they followed their contemporary writers’ models, while during the Decadent movement they invented a structure and a personal style so as to erode the linguistic and formal canons. In the contemporary period, they created their own patterns. The women writers of the twentieth century contributed to the development of the female novel, especially Sapienza, who elaborated a personal pattern for female expression in several genres : autobiography, epic and psychological inquiry.

Jana Cermanová Prague sculpture exhibitions 1898 - 1916 A contribution to the theme of gallery sculpture presentation Dissertation synopsis Sculpture as an artistic discipline experienced a dynamic rise in the Czech lands at the turn of the 19th and 20th centuries. This followed the much admired example of France, where Charles Morice, referencing Rodin and his pupils, asserted the dominance of modern sculpture over painting in 1910. Thanks in large part to major art world figure and educator J. V. Myslbek, the Czech lands also saw the development of a highly ambitious group of sculptors poised to address a growing social demand for monumental works (particularly memorials) that recaptured the city's public space. Sculptors worked on architectural commissions for decorative sculptures and on orders for funerary objects, which guaranteed them an income and enabled them to pursue their own creative work. However, it was chiefly this "flood of monuments" that attracted public attention to sculptors and garnered them social prestige. Sculptors became more deeply involved in art events and played a major role in addressing contemporary art world issues. The public boom enjoyed by sculpture carried over into exhibition halls, where ...

Apparu vers le milieu du XIXe siècle comme jargon dans les cercles artistiques munichois désignant une image de piètre qualité, bon marché, le mot kitsch s’utilise aujourd’hui non seulement dans le monde de l’art mais aussi dans la vie quotidienne toujours avec un sens fortement péjoratif. Considéré en général comme « mauvais goût », « art sans valeur », « camelote artistique », ou « art vulgaire », le kitsch n’est pourtant pas un concept qui demeure seulement dans une dimension esthétique ou artistique. Les divers phénomènes historiques du kitsch, émergés dans le contexte de la modernité, comme « la bib[e]lotomanie », « le roman-feuilleton », « l’art pompier » en France au XIXe siècle, ou encore « la peinture de salon de coiffure » en Corée au XXe siècle, trahissent tous que le kitsch est en effet une attitude que l’homme adopte vis-à-vis de son existence et du monde dans la réalité. L’essentiel de ce concept réside donc dans sa négation ou mieux dans sa fuite de la réalité. Voilà pourquoi la photographie se présente comme un médium qui mérite d’être étudié en rapport avec le kitsch. Médium qui a un lien spécifique par excellence avec le réel, elle ne cesse de faire ontologiquement le va-et-vient entre le présent et le passé, l’instantanéité et l’éternel, l’ici et l’ailleurs, le sujet et l’objet, la vie et la mort, etc. C’est en effet à cause de cette ontologie paradoxale que la photo peut devenir, selon « l’acte photographique », non seulement de l’art mais aussi du kitsch. Ainsi, l’attitude envers ce dernier que les artistes laissent apercevoir à travers leur œuvre photographique s’avère extrêmement variée, et ambiguë, voire même contradictoire tout comme chez Pierre et Gilles, Vik Muniz, Sebastião Salgado et Oliviero Toscani. / Appeared in the mid-nineteenth century as a jargon in the artistic circles of Munich designating a cheap image of poor quality, the term “kitsch” is used today not only in the art world, but also in everyday life, always with strongly pejorative sense. Generally considered as “bad taste”, “worthless art”, “artistic junk” or “vulgar art”, kitsch, however, is not a concept that remains only in aesthetic or artistic field ?. Various historical phenomena of kitsch which had been all emerged in the context of modernity, such as “bib[e]lotomanie”, “serialized novel”, “academic art” in France in the nineteenth century, or “barbershop’s painting” in Korea in the twentieth century, show that kitsch is indeed an attitude of human being toward his own existence and the world. The essence of this concept lies therefore in his negation of reality, or better in his escape from reality. That’s why photography deserves to be studied in relation with the kitsch. Having a specific link with the reality, the medium oscillate ontologically between the present and the past, the instant and the eternity, the here and the elsewhere, the subject and the object, the life and the death, etc. It is indeed because of this paradoxical ontology that the photography can become, according to the “acte photographique” not just art but also kitsch. Thus, the attitude to the latter the artists let reveal through their photographic work turn out extremely varied and ambiguous, even contradictory such as it does in the work of Pierre et Gilles, Vik Muniz, Sebastião Salgado and Oliviero Toscani.

Master’s thesis is devoted to analysis of extremely high infant mortality in late 19th – early 20th centuries Ekaterinburg. The research based on Voznesenskaya church books data 1889–1916 transcribed into digital database “Ural Population Project”. The author reconstructed the dynamics, seasonality and causes of phenomenon using methods of historical demography. Foreign, all-Russian, provincial and county data were used for comprehensive comparative analysis that let do some conclusions about special features of Ekaterinburg infant mortality. / Магистерская диссертация посвящена исследованию феномена сверхвысокой младенческой смертности в Екатеринбурге конца XIX – начала XX в. На основе данных метрических книг Градо-Екатеринбургского Вознесенского прихода за период с 1889 по 1916 гг., транскрибированных в электронную базу данных «Регистр населения Урала», с помощью методов исторической демографии была реконструирована динамика, сезонность и причинность явления. Привлечение зарубежных, общероссийских, губернских и уездных данных позволило провести компаративный анализ и сделать ряд выводов о специфике екатеринбургских показателей.

Master’s thesis is dedicated to the Jewish religious community of Yekaterinburg - Sverdlovsk. The main purpose of the work was to reconstruct the history of the Yekaterinburg’s Jewish religious community formation, its structures, composition and forms of activity during 1843–1961. Sources for the work: documents stored in the funds of the State Archive of the Sverdlovsk Region (GASO), the Documentation Center of Public Organizations of the Sverdlovsk Region (CDOOSO), the Central Archive of the History of the Jewish People in Jerusalem (CAHJP); statistical materials of aggregated and nominative sources; field studies, etc. Also, the research was based on the Yekaterinburg’s “metrik books” which were transcribed into digital database “Ural Population Project”. As a result of the research, three stages were identified in the history of the formation and functioning of a religious community. All main institutions of Judaism existed in the landscape of the city: synagogues, prayer houses, mikvas, cemeteries, kosher dining rooms and rooms for shkhits, etc. In the 1880s, the rabbinate system was formed. During the period under review, six rabbis became spiritual leaders of the community. Until the 1960s, the Jews conducted all the rituals of the life cycle in Yekaterinburg-Sverdlovsk: religious weddings, circumcisions, and funerals. / Магистерская работа посвящена еврейской религиозной общине г. Екатеринбурга – Свердловска. Основной целью работы была реконструкция истории формирования религиозной еврейской общины Екатеринбурга, ее структур, состава и форм деятельности на протяжении 1843–1961 гг. Источниками для работы стали: делопроизводственная документация, хранящаяся в фондах Государственного архива Свердловской области (ГАСО), Центра документации общественных организаций Свердловской области (ЦДООСО), Центрального архива истории еврейского народа в Иерусалиме (ЦАИЕН); статистические материалы как агрегированных, так и номинативных источников; полевые исследования, и.т.д. В работе активно использовалась электронная база данных «Регистр населения Урала» созданная по материалам метрических книг Екатеринбурга. В результате проведенных исследований были выявлены три этапа в истории формирования и функционирования религиозной общины, качественно отличающихся друг от друга. В ландшафте города существовали все основные институты иудаизма: синагоги, молельные дома, миквы, кладбища, кошерная столовая и помещения для шхиты и .т.д. В 1880-х годах сложилась система раввината. На протяжении рассмотренного периода духовными лидерами общины становились шесть раввинов прибывших с запада. До 1960-х годов в Екатеринбурге– Свердловске иудеями проводились все обряды жизненного цикла: религиозные свадьбы, обрезания и похороны. Однако к концу существования религиозной общины практически единственными открыто проводимыми обрядами оставались похороны.

The thesis brings a global insight into the Prague's suburb of Bohnice. Captures the appearance since the first settlements until nowadays. Focusing mainly on both historical and socio-economical milestones, which created the city. According to the lack of written resources for the historical part of the theses and to the fact, that Bohnice are often reduced to the activities of the famous mental institution, the main target is the forming of Bohnice city in the 20th century. Concentrates on institutions of both social and health care, which can compete the famous mental institution. The thesis also supplies materials about the urban concept of the housing estate of Bohnice including the traffic solutions through the past century. Points out also outstanding architectural solitaires.

Dans l’Amérique et les Caraïbes des XIXe et XXe siècles, l’œuvre du poète national est au cœur d’un trafic d’images qui nourrit un lien social fragile dans un temps où les collectivités reposent moins sur un lien direct entre leurs membres que sur un lien imaginé. Prenant ses distances vis-à-vis des représentations en circulation à son époque, comme les représentations exotiques de la nature, le poète offre une vision démocratique ambitieuse pour l’avenir de la communauté à travers des images nouvelles du territoire, du peuple, de l’esclavage et de l’histoire. L’ethos auctorial encourage l’appropriation de ce discours par le lecteur en désignant le poète comme figure de référence. Mais c’est surtout à travers son procédé d’écriture qui met à mal les normes littéraires de son temps que celui-ci est à même d’influer sur la société. Plutôt qu’ils ne parviennent à saisir l’esprit de leur peuple, Whitman, Martí et Césaire participent par leur travail sur le fragment, les formes populaires ou le tremblement du sens à la création d’un devenir collectif. / In 19th and 20th centuries America and West Indies, the national poet’s works lay at the centre of a traffic of images. This traffic feeds the fragile social ties of young collectivities, at a time when communities are bound by imagination rather than by direct contact between their members. Distancing themselves from the representations of the community circulating at that time, like the exotic images of the New World’s nature, the poet offers an ambitious democratic vision for the future which is channeled through images of the territory, the people, slavery and history. The poet’s ethos encourages the reader to appropriate this discourse by presenting the author as a role model. However, it is mainly thanks to his style, at odds with the literary norms of his time, that the poet is able to act upon society. Whitman, Martí and Césaire do not so much contrive to capture their people’s spirit, as they participate through their work on the fragment, on popular poetical forms or on the destabilizing of meaning, in the creation of a common devenir.