Intellectuel évoluant aux marges des institutions, Guy Debord (1931-1994) fut l’auteur d’une pensée et d’un art hétérodoxes. Cette thèse tente de refaire le chemin de son expérience intellectuelle grâce à l’étude des documents inédits conservés au « Fonds Guy Debord » de la Bibliothèque nationale de France. Sont étudiés les manuscrits de ses œuvres, les documents préparatoires de ses films et, plus particulièrement, ses nombreuses fiches de lecture, afin d’établir une généalogie des concepts et des idées de l’auteur, en resituant Debord dans le contexte de son époque. Le grand débat qui animait alors la pensée française, partagée entre les vagues opposées de l’existentialisme et du structuralisme, se concentrait en effet sur l’affirmation ou la disparition du « sujet ». Debord ne participe pas directement à cette querelle et s’intéresse fort peu aux auteurs de la mode. Néanmoins, son œuvre constitue une réponse à ce débat, réponse donnée, d’abord, par l’élaboration d’un art expérimental qui remet le sujet en situation, en recherchant les déterminations objectives qui affectent la subjectivité ; ensuite, par l’élaboration d’une théorie – la théorie du « spectacle » – qui voit la séparation entre l’expérience et la représentation comme le propre de la modernité capitaliste ; enfin, par le développement d’une écriture – littéraire et cinématographique – qui puise dans le travail du détournement et de la citation le moyen de dépasser la séparation « spectaculaire » entre le sujet et le langage. / Guy Debord (1931-1994), always on the margins of cultural and intellectual institutions, authored a heterodox style of thought and art. Through extensive archival research in the “Fonds Guy Debord”, a collection of unpublished notes and manuscripts in the Bibliothèque nationale de France, this thesis seeks to retrace Debord’s intellectual experience. These documents allow for the creation of a genealogy of the author’s key concepts and enable us to situate him in the intellectual context of his times. Contemporary French thought was dominated by existentialism and structuralism. Discussion of the empowerment and disappearance of the “subject” was therefore central. Although Debord took no direct part in these disputes, expressing disinterest in the authors then in vogue, his works did respond to this debate: First of all, in his experimental art, which places the subject in a “situation” and thereby seeks to discover the objective determinations that affect subjectivity; secondly, in his theoretical work – in particular, the theory of the spectacle –, in which capitalist modernity is characterized as a growing separation between experience and representation; and thirdly, in his literary and cinematic works, in which the practice of détournement appears as a method for a subjective re-appropriation of representation.

Cette thèse propose trois essais économétriques ayant trait au capital humain et au bien-être de l'enfant. Chacun des essais présente une méthodologie distincte afin de répondre à l'objectif concerné. Dans le premier chapitre, nous évaluons les effets à long terme d'une politique de services de garde universels au Canada sur le bien-être de l'enfant (santé, comportement, développement moteur et social). Nous montrons que la réforme a un effet négatif sur le bien-être des enfants d'âge préscolaire, mais ces effets tendent à disparaître lorsque l'enfant devient plus âgé. Nous trouvons que cette tendance persiste même dix ans après la mise en place de la réforme. Le second chapitre s'intéresse à l'effet de l'intensité des services de garde sur le développement cognitif des enfants d'âge préscolaire. Nous utilisons la méthode d'appariement à traitements multiples pour répondre à cet objectif. Nous montrons que les effets des services de garde sont grandement hétérogènes. Leurs effets varient selon le statut socioéconomique des familles, la scolarité ou non de l'enfant, le niveau d'intensité des services de garde ainsi que le mode de garde utilisé. Le troisième chapitre porte sur la modélisation des trajectoires des performances mathématiques des enfants canadiens de 7 à 15 ans ainsi que sur l'identification des facteurs de risque durant la petite enfance susceptibles d'influencer l'appartenance à ces trajectoires. La méthode utilisée est celle du Group-Based Trajectory Modeling de Nagin (2005). / This thesis contains three econometric essays on child human capital and well-being. Each essay has a distinct methodology to meet the purpose. In the first chapter, we evaluate the long-term effects of a reform of universal child care in Canada on children's health, motor and social development, and behaviour. We show that the policy had negative effects on preschool children's well-being, but these effects tend to disappear as the child gets older. We find that this pattern persist even ten years after the implementation of the reform. The second chapter focuses on the effect of the intensity of child care on preschool children's cognitive development using propensity score matching with multivalued treatments. We show that the effects of child care are significantly heterogeneous and vary by family socioeconomic status, schooling or not of the child, the intensity of child care and the type of child care arrangement. The third chapter models mathematics trajectories of Canadian children aged 7 to 15 years and identifies risk factors during early childhood on the membership of these trajectories using Group-Based Trajectory Modeling (Nagin, 2005).

This thesis closely examines the utilisation of dramatic characters’ comments on matters of literary and theatrical criticism. This phenomenon shaped a trend in European theatre during the first half of the twentieth century, and Egyptian theatre in the second half of the century. My main hypotheses are, firstly, that dramatic characters’ comments on literary and theatrical matters of criticism respond to specific problems that challenge theatre practice. Thus, my reading of literary and theatrical criticism within the dramatic texts studied in my thesis focuses on this criticism’s reformative function to rectify the crisis that faces theatre practice in general, rather than playwrights’ individual motives, such as responding to their critics. Secondly, socio-political, economic, and cultural aspects shape historical circumstances, which influence the current state of the theatre industry. Therefore, although Egyptian plays are noticeably influenced by European metatheatre, Egyptian playwrights utilise these borrowed techniques to highlight specific problems of Egyptian theatre such as the corrupt administration of governmental theatre and censorship. Finally, while Egyptian plays exploit European metatheatrical techniques, Egyptian playwrights claimed their works as a revival of intrinsically anti-illusionist traditional forms of entertainment such as the shadow play and Karagöz. This claim reflected increasing calls for pure Egyptian theatre, as part of the anti-Western jingoistic discourse of the political regime of the 1950s. In order to examine these assumptions, my theoretical approach draws from the fields of metatheatrical studies; literary and performance studies of parody and intertextuality; the history of European and Egyptian theatre; sociological, political and cultural studies; theories of modern criticism, and critical reviews. My contribution to the field of metatheatrical studies is in highlighting the reformative function of literary and theatrical criticism, whether as a discourse or a metatheatrical device, within a group of European plays that belong to different movements of the avant-garde during the first half of the twentieth century. More significantly, my study investigates the same phenomenon in Egyptian plays that, since the 1980s, have gradually been marginalised as fringe theatre and neglected by academic studies.

De la promulgation du Code civil en 1804 à l’Ordonnance civile du 23 décembre 1958, la protection de l’enfant « en danger » a connu ses plus grandes transformations. Le Code civil sacralise la puissance paternelle comme un droit-pouvoir exercé sur l’enfant. De cette conception restrictive découle une absence de protection légale de l’enfant « en danger » au sein de son foyer, qu’il soit légitime ou naturel. Dès le XIXe siècle pourtant, les juges ont dégagé la notion d’intérêt de l’enfant pour pallier les insuffisances législatives, mais confrontés à une conception forte du droit du père sur l’enfant, ils ne peuvent en limiter durablement les effets en l’absence d’abus de droit. À la fin du siècle, le passage de la magistrature paternelle à la magistrature judiciaire s’accompagne de l’immixtion graduelle des autorités publiques dans la sphère privée, marquée par la promulgation de la loi du 24 juillet 1889 instituant la déchéance de la puissance paternelle. Il apparaît cependant que les rares interventions législatives des XIXe et XXe siècles portant atteinte au droit sacré du père répondent à une logique première de sauvegarde des intérêts de l’État face à la menace sociale, représentée par des familles considérées comme défaillantes, plutôt qu’à une volonté d’élaborer un droit protecteur pour l’enfant. Dès lors, en œuvrant pour une politique hygiéniste systématique, le législateur a provoqué une politique judiciaire du « tout ou rien » fondée sur la faute des parents au détriment de l’intérêt de l’enfant. Toutefois, les juges ont continué à élaborer des théories juridiques pour combler les lacunes, à tel point que l’intérêt de l’enfant tend à devenir le critère judiciaire de sa protection dès l’entre-deux-guerres. Il faut cependant attendre l’Ordonnance du 23 décembre 1958 pour que l’intervention de l’État ne soit plus fondée sur la faute des parents mais sur le seul intérêt de l’enfant. / From the Civil Code in 1804 to the Ordonnance of Decembre 23rd, 1958, the legal protection of the child « in danger » has been revolutionized. As the Civil Code consideres the « paternal authority » (puissance paternelle) as an inviolable and sacred power of the father on his child, there is a complete absence of legal protection of the child, whether the child is a natural one or a legitimate one. The right of custody may not been taken away from the father who neglects his own child. Nonetheless, since the early 19th century, the judges had drawn the concept of « interest of the child » in order to protect him against his father's abuse of auhtority. However, because the « paternal authority » is strong, they cannot limit durably the effects of the father’s power. Then, at the end of the century, the State involves itself in the legal protection by entering at the father’s home. Indeed, the law of July 24th, 1889 instaures for the first time forfeiture parental rights when parents has commited a fault. According to this new principle, an harmful judicial policy of « all or nothing » paralyzes the child protection. Thus the infrequent legislative interventions in the 19th and 20th centuries, harming the paternal authority, are taken in the aim of protecting the interest of the State in stead of developping a real Right to the child. Consequently, the judges still work for the protection of the child by formulating pretorian theoricies. As a result of the judges’work, the interest of the child tends to be the criterion of judicial protection since the interwar years. It is not until the Ordonnance of December 1958 that intervention of the State is not based anymore on a parental fault but on the only interest of the child.

The Two Etudes: "Harmonies," and "Coulée" and the Volumina of Ligeti were performed following a lecture on avant-garde techniques in organ works of György Ligeti. The lecture included a brief discussion of earlier twentieth century antecedents of new sound materials and concepts, a biographical sketch of Ligeti and general style features of his works. The main body of the lecture included notational methods, specific style features, and performing scores of Ligeti's three organ works. In addition to the lecture recitals three other public recitals were performed which consisted of solo compositions for the organ.

Leo Ornstein's most significant piano oeuvre, the Seventeen Waltzes, stand out as a unique example of a pianism as a foundation for the composer's musical thoughts. The purpose of this document is to provide musical and technical suggestions based on Ornstein's pianistic patterns, which will help pianists understand the composer's complex writing and form a coherent interpretation. The guide covers the main avant-garde musical devices used by Ornstein such as tone clusters, polymeter, and polyrhythm. A comparison process within the collection will help performers to address Ornstein's unmarked waltzes by underlining the composer's similar ideas and traits.

Forman, D .: Curious World. Possibilities of applicatiom of the theme in pedagogic practise. [Diploma thesis] Prague 2015 - Charles University, Faculty of Education, Department of Fine Arts, 79 p. (Attachments 7 artistic realizations - oil paintings small and medium size) The thesis is based on a comprehensive comparsion of major interpretation avant-garde art and the modernist thinking, which determined crucially interpretation of the most important events in the art history of 20th century. This work brings together three major confrontations looks at the intentions of selected representatives of avant-garde art and focuses on problematic moment of "interruption" the progression of the avant-garde by socialist realism. Three positions are views of art theorists Clement Greenberg, Theodor Adorno and Boris Groys. Didactic part of this thesis is realized by art education series, which is inspidated by this topic. It focuses on understanding the most basic principles of geometric abstraction, constructivism and abstract expressionism by students. The artwork is also inspired by this topic, it contains the collection of oil paintings. Keywords: avant-garde, kitsch, socialist realism, interpretation of art, art discourse, comparsion, Greenberg, Groys, Adorno

In the first half of the twentieth century, sporadic attempts of avant-garde composers to include sounds other than pitch in musical composition paved the way for the composers in the second half to embrace the sound of all types in their creative works. The development of technology since the mid-past century has facilitated composers' inclusive use of sound. The recent achievements in electronics and computers have led to cost-effective tools for today's composers to explore new possibilities in sound design and manipulation. Gradual for tenor saxophone and fixed electronics is primarily concerned with noise. Among the infinite possibilities of noise types, metallic sounds significantly contribute to the composition. The title of the piece refers to the compositional process in which the music progressively unfolds itself from the beginning to the end. The methods and strategies used to present the content give rise to a form I call accretion, described as an organic process by which the musical materials grow. Within the process, while established materials are interacting, combining, and forming layers, new materials may be incorporated and take part in the process. Throughout the composition, the interaction between sounds with common properties guides the music toward interactive unity, while the interplay between sounds with different characteristics forms a dialectical communication. The constant push-and-pull between the two states creates a restless tension throughout the composition. In the current version of Gradual, the audio signals from both saxophone and fixed electronics are transmitted to the same speakers, which helps coalesce acoustic and electronic sounds. The future prospect of the piece can involve real-time audio signal processing to manipulate the sound of saxophone. Adding the above feature to the current version will promote the unification of the two media into a single whole.

Dissertation "Myths of the Czech Music Alternative in the 1980s" presents an anthropological view of the phenomenon of a parallel culture in a limiting situation. On the basis of biographical narratives, additional interviews and data gained from other types of sources, "myths" are constructed for seven major figures of the Czech alternative scene. This is an insider's ethnomusicological interpretation, based on Mircea Eliade's and Bronislaw Malinowski's concepts of myth as recurrent and exemplary models of behavior. The described personalities, Jazz Section (Prometheus), Miroslav Wanek ("hero's journey") Karel Babuljak ("search for paradise lost"), Pavel Zajíček (Odysseus), Mikoláš Chadima ("Rebel"), Oldřich Janota (Hermes), and Marka Míková (Psyche), represent some of the main trends in creative processes of the Czech music alternative scene with myth being used as a metaphor. The metaphor is understood here in the terms of Timothy Rice, i.e. as an organization principle of our thinking, as well as an illuminating image.

The doctoral thesis is concerned diachronically with the term "visual poetry". The focus is on its progress during the period after the Second World War in the context of the extensively advanced movement, as substantially defined in international expert discussion. The use of the term, which is supported by the arguments of many theoreticians and artists of the period, is studied in the thesis from the viewpoint of the inspirational sources and specific contacts between art and literature. The focus is on the specific positions and strategies of visual perception. Visual poetry is studied - considering the different contexts of the European avant-garde movements and through the analysis of contemporaneous theories which defined three main lines of thought - as an incoherent art stream manifesting itself in the eclectic use of artistic media. In conclusion, the thesis looks at the project of Czech author poetics typology which grew from purely Czech examples based on formal language of the visual poetry works. The thesis seeks to point out the original aspects of the internal discussion of visual poetry, and to place it in the international context.