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This study aims to utilize Juan J. Linz and Alfred Stepan's (1996) theory of democratic consolidation with its five interactive arenas to comprehend how the Belarusian dictatorship consolidated during the 1990s. A crucial aspect to achieve this aim is to ascertain whether the theory can provide clarity on when autocratic consolidation has occurred, or if it rather elucidates the process of autocratization in Belarus. The paper adopts a descriptive qualitative case study methodology with a deductive approach. By flipping the theory's perspective and examining how the regime undermined the arenas to strengthen autocracy, the study reveals the extent to which Belarus fulfills Linz and Stepan's (1996) three criteria of behavioral, attitudinal, and constitutional consolidation to gain insights into the consolidation of the Belarusian dictatorship. The findings reveal that the Lukashenko-led Belarusian regime systematically eroded aspects across all five arenas to consolidate its dictatorship. However, given the unascertainable attitudinal consolidation that transpired in Belarus during the 1990s, the study cannot pinpoint when autocratic consolidation occurred. Instead, it concludes that an autocratization process began under Lukashenko's rule, facilitated by political, social, legal, institutional, and economic maneuvers aimed at consolidating power. Taken together, the results deepen our understanding of what strategies autocratic regimes may employ to strengthen autocracy.

Cette recherche s’intéresse aux diverses méthodes de représentation utilisées par le sculpteur Alfred Laliberté, né en 1878 à Sainte-Elisabeth-de-Warwick. Ce mémoire tente, plus particulièrement, de cerner les différentes facettes de la projection identitaire chez Laliberté par l’étude des relations entre la vie et l’œuvre de l’artiste. Pour ce faire, la présente contribution propose une réflexion méthodologique sur la place de l’autoportrait dans la production du sculpteur et la singularité du langage plastique qu'il développe à cette même époque. Leur mise en rapport avec ses écrits permet de faire ressortir sa vision subjective des choses et de discerner l’interaction qui sous-tend tout l’œuvre de Laliberté, entre l’être et la représentation. À travers le contexte d’effervescence du milieu des arts du début du XXe siècle, nos recherches dressent un portrait à la fois nouveau et complexe de ce sculpteur, tout en soulignant son apport indéniable dans la pratique artistique au Québec.

ANNOTATION: The work The Mirror of Reality in the Imagery of Dreams of the 19th and 20th Centuries - Creative Individuality versus the Chaos of the Time is based on the assumption that dreams are inseparably linked to the concept of existence in human life (Michel Foucault). The study touches on the ways in which dreams are depicted in visual culture that does not coincide with chronologically organized historical events, but is an expression of a free alliance between artists in the European space and centuries of common experience. These works are generally socially critical, exposed to unimaginable pressure from public censorship. The artist must pretend it is only an innocent game, a crazy idea, a whim. At the same time, these paintings are not an expression of boundless imagination, but they are subject to the firm rules of spatial construction of the painting. This is due to the traditional delimitation of dark depths - the underworld of Virgil's Saturn myth of pre-Roman culture, alternating with the vertically felt open heavens as variants of the original Plato's The Myth of Er, which in the 20th century paintings is replaced by the idea of an open landscape with illumination on the low horizon. The work deals with the work of Albrecht Dürer, his copperplate Melancholia I (1514) and his so-called...

Originally presented as the author's Thesis (doctoral--Ludwig-Maximilians-Universität, München, 2006). / Includes bibliographical references (p. 185-204).

Originally presented as the author's Thesis (doctoral--Ludwig-Maximilians-Universität, München, 2006). / Includes bibliographical references (p. 185-204).

This thesis surveys all the found British settings of A. E. Housman's A Shropshire Lad (1896) but concentrates on the period after 1940, which, the author believes, has not previously received critical attention. A new study is timely especially because of a renewed interest among composers in the poet's highly influential lyric collection. The author found about 110 British composers with about 340 settings of individual poems not listed in previous Shropshire Lad catalogues. This number adds more than fifty per cent to the known repertoire. The search was not restricted to art song; it found, in addition, multi-voice settings, settings in popular styles and non-vocal music. Largely because of the work of broadly trained musicians, there is now a much wider range of medium, style and compositional technique applied to A Shropshire Lad. There are also new ways in which words and music relate. Different catalogues in the thesis list settings according to period, genre, poem and composer. The author hopes to broaden the British canon of Shropshire Lad music, which, despite recent commissions and competitions, is still mostly limited to the major composers of the English musical renaissance (the early decades of the twentieth century). Accordingly, the catalogues let performers know how to obtain the settings. In preliminary chapters, the thesis attempts a literary examination of A Shropshire Lad and reviews the already-researched pre-Second World War settings. It then divides the post-1940 period into two parts–a Decline (to c.1980) and a Renewal (since c.1980)–and surveys them. The compositions of this period are placed in three tonal-stylistic streams of development: a mainstream tonal with ultraconservative and atonal tributaries. Then follow detailed literary-musical analyses of post-1940 songs, song cycles, collaborative sets, and multi-voice settings. A final summary draws together the conclusions of the individual chapters, summarizes and evaluates the achievement of the post-1940 composers, and suggests how further research might be carried out. / Art History, Visucal Arts & Music / D. Litt. et Phil. (Musicology)

This thesis explores the themes of Pride and Prejudice in two texts written roughly two hundred years apart. The first work that is analyzed is Elle et Lui by George Sand, published in the year 1859 . The second book that is explored throughout this dissertation is Merci pour ce moment: a best seller penned in 2014 by the ex french Première Dame Valérie Trierweiler. In particular, this thesis takes a closer look at these womens' use of a biography as a means to redeem their image as perceived by the public.

JARRY SEMBLE AVOIR TOTALEMENT ABANDONNÉ LES COMPLICATIONS STYLISTIQUES QUI CARACTERISAIENT SES PREMIERS TEXTES LORSQU'IL FAIT ŒUVRE DE CRITIQUE LITTERAIRE À LA REVUE BLANCHE. EN RÉALITÉ, L'AUTEUR DE MESSALINE CONTINUE, MAIS DE FAÇON EXTRÊMEMENT SOUS-JACENTE, À PRATIQUER UNE FORME D'OBSCURITE, ELLE PARADOXALE, DANS LE SENS OÙ ELLE EST INAPPARENTE, ET QUI SE TRADUIT PAR LE DÉVELOPPEMENT CONSTANT D'UNE ESTHÉTIQUE DU RACCOURCI ET PAR UN APPARENT RETRAIT DE SA PRÉSENCE DE CRITIQUE JUSQUE DANS L'ACTE MÊME DU COMPTE RENDU, JARRY DONNANT TOUTE SA PLACE AU TEXTE COMMENTÉ, EN TAISANT CETTE FAÇON QU'IL A, INCESSAMMENT, DE LE CITER. AINSI, CE TRAVAIL EST CONDUIT D'UNE PART PAR NOTRE SOUCI DE FAIRE AFFLEURER LA FAÇON DONT SE FAIT JOUR L'ESTHÉTIQUE DU RACCOURCI (JARRY PROCÈDE PAR SYNTHESES INCESSANTES QUI, À FORCE D'AFFIRMATION, EN DEVIENNENT SOIT OBSCURES SOIT INSAISISSABLES) AU SEIN DE CES TEXTES APPAREMMENT ALIMENTAIRES QUE SONT LES CRITIQUES LITTERAIRES DE JARRY, L'AUTEUR DU SURMÂLE PRÉSENTANT DE VÉRITABLES CONCRÉTIONS DE SENS, EN LIEN AVEC LA NOTION D'ÉRUDITION, DANS DES DOMAINES EXTRÊMEMENT DIVERS. D'AUTRE PART, NOTRE TRAVAIL VISE À MONTRER COMMENT SE FAIT JOUR CHEZ JARRY LE DÉTOURNEMENT DE L'USAGE HABITUEL DE LA CITATION, QUI PORTE EN CREUX UNE CRITIQUE CORROSIVE DU STATUT DE CRITIQUE, L'AUTEUR DE LA CHANDELLE VERTE DEVENANT UN CRITIQUE QUI NE S'EXPRIME LE PLUS SOUVENT QUE SUIVANT L'ABSENCE TOTALE DE PROPOS CRITIQUE - PUISQUE LORSQU'IL S'AGIT D'ÉNONCER DES " JUGEMENTS ", C'EST EN FAIT POUR CONTINUER DE TISSER UNE FILIATION AVEC UNE COMMUNAUTE D'AUTEURS DESQUELS IL SE SENT PROCHE ET AINSI, PRINCIPALEMENT, AVEC LE LIEU DU MERCURE DE FRANCE.

The focus of this thesis is on Actual Entities, a concept created by the philosopher Alfred North Whitehead, and how the concept can be applied to Unmanned Aerial Vehicles as a behavioral control method. Actual Entities are vector based, atomic units that use a method called prehension to observe their environment and react with various actions. When combining multiple Actual Entities a Colony of Prehending Entities is created; when observing their prehensions an intelligent behavior emerges. By applying the characteristics of Actual Entities to Unmanned Aerial Vehicles, specifically in a situation where they are searching for targets, this emergent, intelligent behavior can be seen as they search a designated area and locate specified targets. They will alter their movements based on the prehensions of the environment, surrounding Unmanned Aerial Vehicles, and targets.