La notion d'équilibre est, pourrait-on dire, quasi intrinsèque à la pensée de Camus; dans son univers, Némésis en est la gardienne. Or, cette idée d'équilibre me semble faire cruellement défaut à l'époque qui est la nôtre, au sens d'écart entre différents statuts sociaux, mais aussi au sens d'inconséquence, d'inadéquation entre, par exemple, croyances et faits, entre dires et gestes, pensées et actions. Nos sociétés occidentales, trop souvent fondées sur des rapports de force, constituent un théâtre tout indiqué pour les faux-semblants, les trompe-l'oeil et autres attitudes ostentatoires. Évidemment de tels clivages ne constituent pas une nouveauté historique. Or, j'ai compris à travers Camus que ces maux de société sont exacerbés par les séparations qu'entraîne un mode de vie déséquilibré, c'est-à-dire tenté par la perfection ou obnubilé par le pouvoir, que cette vie soit régie par le réel ou gouvernée par l'idéel. Car, et c'est ce que je comprends dans L'envers et l'endroit et L'exil et le royaume, idéel et réel sont deux absolus qui poussent ceux et celles qui y obéissent à délimiter les espaces, à ériger des murs, réels ou imaginaires, pour éloigner, rejeter, voire nier, ce qui ne leur semble pas désirable. Pour que la vie prenne forme, il faut donc rompre avec ces tentations d'absolu, réunir l'idéel et le réel, en essayant non pas de les fusionner, mais bien de les équilibrer, sans quoi on se condamne à la facilité, à l'illusion, à ce que Camus appelle une vie par procuration. C'est en tout cas ce que me donnent à lire les deux textes de Camus que j'ai retenus, sorte de plaidoyers en faveur de cette irréductible dualité unissant l'un et l'autre, relation certes désespérante par les conflits qu'elle suscite, mais seule garante de véritable progrès.

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The thesis explores the work of two disparate figures, John Ruskin (1819-1900) and Albert Smith (1816-1860) who, together, helped transform the way the Alps were perceived in the mid nineteenth century. Both esteemed the Alps in their own way, although Ruskin’s cultural aestheticism contrasting markedly to the popular showmanship of Smith. Nevertheless, both Ruskin’s five-volumed Modern Painters (1843-1860), and Smith’s theatrical shows describing his ascent of Mont Blanc (1852-1858), contributed significantly to the growing popularity of the landscape resulting in the Alpine Club (1857) and the birth of modern tourism in the region. This work examines in detail the work and interests of both characters. This includes Ruskin’s drawings, art theory (especially in relation to his admiration of Turner), geological interests, religious convictions, and poetry. These reveal his desire to centre ideas of the sublime around his scientific interest in the area and the legacy of his Evangelical upbringing. The thesis investigates the tension between these elements. Smith’s climb of Mont Blanc (1851) and his subsequent shows highlighted his desire to thrill and entertain. For him, presentation of the Alps was a matter of showmanship and the thesis investigates his success, tracing its roots in elements of Victorian popular entertainment. Both Smith’s shows, and works like Of Mountain Beauty (Volume IV of Modern Painters (1856)), inspired many to explore the landscape for themselves. For Ruskin, this led to a decline in his interest in the Alps following the development of the rail network and the expansion of popular tourist sites, including his beloved Chamonix. For Smith, the public’s increasing familiarity with the region, and the popularity of other stories of Alpine ascents by members of the Alpine Club, led to a decline in interest in his shows by the end of the 1850s. Due to their interest in the region, the Romantic appreciation of the Alps in the early nineteenth century associated with theories of the sublime became a much more diverse phenomenon illustrating a number of key features of Victorian culture, including: the relationship of ‘high’ and ‘popular’ culture; the increasing influence of mass tourism; and the ways in which major figures in Victorian Britain explored and utilised foreign destinations. The thesis will also, from time to time, examine the relationship between cultural and visual forms and key elements in Victorian intellectual controversy, including the relationship of religion and science.

Albert Baldwin Wood and his screw pumps modernized New Orleans by bringing flood-free streets and cleaner water to the city while providing the potential for growth by pumping swamp lands dry. While Wood was never part of the local Progressive movement, his work with the pumps fit with Progressive initiatives for modernization. At first, the screw pumps removed rain water from the streets. Then New Orleans expanded the drainage to include sewerage removal and water purification. The pumps successfully drained thousands of acres of land once considered uninhabitable swamp land. This additional land extended New Orleans city limits but also aided in the acceleration of residential segregation. Cities from around the world used the designs for the screw pump and consulted Wood for advice on drainage systems.

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Thesis advisor: Kevin Newmark / This dissertation constitutes a systematic literary study of the image of the mother in Camus’s works. The study is twofold: it represents 1) a reconstruction of the story of the image of the mother through the analysis of the image’s manifestations and meanings and 2) a reading of Camus’s oeuvre through the lens of this image. In this dissertation, the image of the mother is approached as a unique entity that 1) has its distinctive parameters, inner logic, language, manifestations, and levels of meaning, 2) manifests a tendency to remain central, and 3) leads an uninterrupted existence throughout the entire oeuvre. The narrative unfolding of the image of the mother repeats Camus's progression through his project and shows an intimate connection to the problematics of the self and the expression of emotion. Paralleling the twists and turns of Camusian creation, the existence of the image of the mother in the texts remains dual: embodied and hidden. Hence, the analysis of the sequence of the image’s perceptible forms – i.e., the mothers who appear in different works, in particular the mother of “Entre oui et non” (L’Envers et L’Endroit), Mme Meursault (L’Etranger), the mother of Jan (Le Malentendu), Mme Rieux (La Peste), and Catherine Cormery (Le Premier Homme) – is supplemented by an account of the image’s less perceptible forms – i.e., veiled presences, echoes, traces, and avatars. The narrative is not only cumulative, it has a specific direction. As the story of the image of the mother unfolds, moving from text to text, from one manifestation to another, the image of the mother is gradually unveiled as a living symbol, the Mother-Christ – a figure of conciliation of the living and the symbolic and a point of convergence of the vertical and the horizontal. / Thesis (PhD) — Boston College, 2016. / Submitted to: Boston College. Graduate School of Arts and Sciences. / Discipline: Romance Languages and Literatures.

Thesis advisor: Charles Derber / The institution of apartheid (or official segregation), implemented in South Africa in 1948, drew immediate and prolonged opposition. For decades, groups within South Africa and in countries around the world protested government policies and repression. Many anti-apartheid activists expressed their objections to the system of apartheid through expressly nonviolent actions, including strikes, boycotts, demonstrations, and the formation of alternative institutions. Opponents of apartheid also garnered support from the international community to pressure the South African government with sanctions and embargoes. At the same time, several groups of anti-apartheid activists chose to resort to violent means to protest the government. These acts of violence included sabotage and, occasionally, the deaths of government officials or collaborators. This paper examines historical and contemporary theories of the morality and effectiveness of nonviolent action. After studying the history of the struggle against apartheid and the use of nonviolent action in South Africa, the argument is made that the consistent and prolonged use of nonviolent actions played the most crucial role in the downfall of the apartheid system. / Thesis (BA) — Boston College, 2005. / Submitted to: Boston College. College of Arts and Sciences. / Discipline: Sociology. / Discipline: College Honors Program.

Trata-se de um ensaio teórico que propõe a aproximação entre a psicologia e a Filosofia do Absurdo de Albert Camus. Como condição de possibilidade para essa aproximação, são problematizadas as noções de ética e política, além da materialização dessas duas na noção proposta aqui de dissidenz, isto é, a dissidência propriamente absurda. É apresentada a possibilidade de recolocar como especificidade dessa psicologia não mais suas técnicas, referenciais, conteúdos ou métodos, mas, em lugar disso, priorizar a própria dimensão ética como meio e fim dessa psicologia. Ao invés da pretensão de buscar fundamentos no estreito âmbito da ciência ou mesmo na amplidão da filosofia, sugere-se como possibilidade para essa atuação o ocupar-se com a condução de si diante da condição humana perspectivada desde o absurdo. Para tanto, são propostos fundamentos e pressupostos éticos, políticos, ontológicos e epistemológicos derivados da Filosofia do Absurdo. Essa psicologia – intitulada neste trabalho de Psicologia Absurda – tem seu estatuto deslocado, passando agora a se afirmar como uma práxis filosófica que enseja o cuidado de si e dos outros mediado não mais por regras ou inclinações a priori, mas tão somente pelo poder ser derivado do movimento poético do próprio viver, este potencializado pela absurdidade constitutiva do ethos absurdo desenvolvido aqui. / This is a theoretical essay that proposes the approximation between psychology and philosophy of the Absurd of Albert Camus. As a possible condition for this approach are problematize the notions of ethics and politics, beyond the materialization of these two on the notion proposed here dissidenz, ie properly absurd dissent. It presented the possibility of replacing as specificity of psychology no longer their techniques, references, content or methods, but instead prioritize the very ethical dimension as a means and end of that psychology. Instead of pretense of seeking foundations in the narrow realm of science or even philosophy of spaciousness, it is suggested as a possibility for that role the mind with the driving itself on the human condition envisaged from the absurd. To this end, they propose fundamentals and ethical assumptions, political, ontological and epistemological derivatives Absurd Philosophy. This psychology – titled this work Absurda Psychology – have their displaced status, and will now be stated as a philosophical practice which entails care of themselves and others mediated not by rules or priori inclinations, but only by the power be derived the poetic movement's own life, this powered by the constituent absurdity nonsense ethos developed here.

This thesis deals with an important part of marketing in retail trade -- instore marketing with a focus on commercial communications and especially sales promotions applied in Albert stores. The thesis characterizes the specifics of marketing in the retail and shopping behavior of Czech customers. The main part concerns the analysis of instore communication in Albert stores -- both its own communication and the possibilities of commercial communications of suppliers, who sell their products in supermarkets and hypermarkets Albert. The thesis also analyzes the system of selling communication space in Albert stores and a survey of effects and effectiveness of the most common sales promotions at point of sale and provides recommendations for their proper execution.

Uppsatsen jämför Kamel Daouds Fallet Meursault och Albert Camus Främlingen ur de tre perspektiven berättarteknik, postkolonialt tänkande och livsåskådning. Syftet med jämförelsen är att se vilka likheter och skillnader som finns mellan verken, och då i första hand hur Fallet Meursault förhåller sig till Främlingen. Uppsatsen utgår från en komparativ metod utefter de aspekter som anges i syftet. Resultatet visar att Daouds Fallet Meursault i hög grad anspelar på CamusFrämlingen och kan ur ett postkolonialt perspektiv beskrivas som en form av writing back samtidigt som Daoud livsåskådningsmässigt kommer att ligga mycket nära Camus.