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Ce mémoire est une analyse du discours théologique d’Adolphe Gesché sur la création et le don. Cette analyse présente la création comprise comme don. Notre objectif est d’identifier la catégorie de don qui sous-tend le discours théologique de Gesché. Pour parvenir à ce travail d’identification du modèle de don, nous nous emploierons à situer notre réflexion en deux grands moments. D’abord, un premier moment sera de présenter les propos théologiques d’Adolphe Gesché. Un deuxième moment nous conduira à un autre champ, celui de l’anthropologie. Ensuite, nous effectuons une analyse de la socio-anthropologie du don. Ce sera l’étude de deux modèles de don qu’on retrouve respectivement chez Marcel Mauss et Marcel Hénaff. Elle nous servira de grille pour l’analyse du discours théologique de Gesché. Enfin nous présenterons une conclusion à travers laquelle nous indiquerons la catégorie du don que suppose la création dans le projet théologique de Gesché.

The April 1837 debut of tenor Gilbert-Louis Duprez at the Paris Opéra sparked uproarious applause and inspired a new group of tenors with a different vocal technique from tenors of the previous generation. Whereas previous tenors of the nineteenth century sang in a graceful, light, and flexible style that complemented the operatic compositions of Gluck, Rossini, and Bellini, Duprez sang in a powerful, forceful voice that brought new dramatic fervor to the existing repertoire of French Grand Opera. Duprez’ stentorian vocal representations of Arnold in Rossini’s Guillaume Tell and Robert in Meyerbeer’s Robert le diable, among others, inspired composers to write more prominent and dramatic tenor roles, eventually leading to the tenor roles in the operas of Verdi and Wagner. Duprez’ 1837 debut also marked the end of Adolphe Nourrit’s eleven-year reign as the sole leading tenor at the Paris Opéra. Threatened by the prospect of competition, Nourrit eventually left France for Italy in pursuit of the same vocal technique that insured Duprez’ fame. Nourrit studied with Donizetti and debuted at the Teatro di San Carlo in Naples, but grew impatient with his slow progress, disliked the sound of his new voice, and tried to turn back to his old way of singing. He failed to do so and lost his high notes, as well as his head voice. Nourrit’s pursuit ended in 1839 as he threw himself from the third floor of his residence, his voice, his health, and his psyche all in shambles. The shift in vocal technique involved a lowered laryngeal position, a raised velum, and a greater use of chest voice muscles in the higher ranges of the tenor voice. The resulting voix sombrée or “closed” or “covered” timbre, offers distinct hygienic and acoustic advantages, resulting in healthier vocalization and greater amplification of the upper harmonics of the voice. The voix sombrée allows the singer to sing at higher pitch levels with lower levels of tension in the vocal folds and the harmonics from the voice source are greatly enhanced at 2500-3200 Hz, the “singer’s formant,” the range at which the human ear is most sensitive. By reviewing the writings of singers, teachers, and critics of the early nineteenth century and comparing their descriptions of singers’ voices, and then comparing those descriptions with modern studies on the physiology and acoustics of the voice, one can paint a more informed picture concerning the nature and sound of the voices of Nourrit and Duprez. Analysis seems to show that Adolphe Nourrit utilized the lighter vocal production typical of earlier Rossinian tenors, combined with the nasal vocalization of French singers of the early 1800’s. His technique included a low velum, raised larynx, and a pure head voice in the high register. Conversely, Duprez sang with a lowered larynx and a larger degree of chest voice function in his high register. Duprez also incorporated Italian ideals of emphasis on the sound of the voice, rather than the French tendency to emphasize the words. Duprez’s innovations, based in the vocal technique already being used in Italy in the early 1830’s, propelled the voix sombrée technique into the French spotlight, and led to the eventual globalized use of the technique in the opera world.

In February 1877, publisher Sampson Low, Marston, Searle and Rivington began release of a monthly serial called Street Life in London, by journalist Adolphe Smith and photographer John Thomson. The work aimed to reveal to readers, through novel use of photographic illustrations combined with essays, the conditions of a life of poverty in London. Appearing also as a book in late 1877, Street Life in London did not achieve commercial success in either format and was cancelled after just one year's run. This dissertation aims to demonstrate how Street Life in London was subject to and shaped by a variety of interests and forces, to understand why it failed, and to place it within the overarching contexts of Victorian social exploration and street typology. Historians of photography have justifiably praised Street Life in London as a foundational work of socially-conscious photography, John Thomson's images breaking--sometimes radically--with prior models for depiction of the poor. But they have tended to regard it primarily as a book rather than a serial, and primarily as a book of photographs, not a publication in which text and image work in concert. This dissertation examines the vital contributions of both Adolphe Smith and John Thomson, combining close reading of images, text and sequencing throughout the serial publication to treat the work as a photo-text. It reinscribes the work within the contexts of both authors' overall careers, relates it to prior pictorial and literary models for representation of poverty, and demonstrates the roles of other players such as the publisher and critics in shaping the publication. Ultimately this study places Street Life in London within a matrix of Victorian discourses on poverty, photography, and typology, among others, demonstrating that it was contingent, conflicted, and ultimately incomplete: a flawed but fascinating commentary on the complex and multifarious Victorian era from which it emerged.

Made available in DSpace on 2016-04-29T14:27:28Z (GMT). No. of bitstreams: 1 Alexandre Patucci de Lima.pdf: 1406564 bytes, checksum: b3ac0230a9efc97971e535c6c8020333 (MD5) Previous issue date: 2016-03-08 / The language became central issue in contemporary thought. In the classical tradition until the early twentieth century, it was designed primarily as a mere instrument of thought . This approach to language as a tool of thought, led to the search for a universal, neutral and objective language aiming at building up the science. In this way also philosophy in the early twentieth century, from some currents (positivism, Analytical Philosophy, Vienna Circle), started proceeding as language analysis in order to define what should be considered meaningful propositions which aggregate knowledge, this from a logical-mathematical analysis and especially from empirical verification. In these philosophers addressing, propositions of Metaphysics, Ethics, Religion and Theology are considered as meaningless . This approach, combined with other factors, put into question the theological language . However, in the very heart of philosophy, issues were deepened which allowed recovering the value of several other forms of languages. It was realized that scientific language is not the only one which conveys knowledge , but there are language games . Approaches such as Wittgenstein, Heidegger, Levinas and Paul Ricoeur deepened such plural aspect of language . Thus, ways were opened in which theology can (and should) reflect on the nature of its own language. In these ways Adolphe Gesché arises. He does not systematically address the theological language issue, not even his theology is structured as large system or manual. He offers fragments of reflection that allow us to think the matter. According to Gesché, it is necessary to hear again and recover the value of the words of faith . For him, theology has a speech entirely of its own about man and for man. In dialogue with contemporary culture, Gesché aims to show the specific rationality of faith s language and discourse, and thereby proclaim that God is good news for man / A linguagem tornou-se questão central no pensamento contemporâneo. Na Tradição clássica até inícios do sec. XX, foi concebida preponderantemente como mero instrumento do pensamento . Esta abordagem da linguagem como instrumento do pensamento, culminou na busca de uma linguagem universal, neutra e objetiva visando a edificação da Ciência. Neste caminho, também a Filosofia, no início do sec. XX, a partir de algumas correntes (Positivismo, Filosofia Analítica, Círculo de Viena), passou a proceder como análise de linguagem a fim de delimitar o que deveria ser considerado proposições com sentido e que agregam conhecimento, isto a partir de uma análise lógico-matemática e principalmente da verificação empírica. Na abordagem destes filósofos, as proposições da Metafísica, da Ética, da Religião e da Teologia foram consideradas como sem-sentido . Tal abordagem, aliada a outros fatores, colocou em questão a linguagem teológica . No entanto, no próprio seio da filosofia aprofundaram-se questões que permitiram recuperar o valor das várias outras formas de linguagens. Percebeu-se que a linguagem científica não é a única que veicula conhecimento , mas que há jogos de linguagens . Abordagens como as de Wittgenstein, Heidegger, Levinas e Paul Ricoeur aprofundaram tal aspecto plural da linguagem . Assim, abriram-se vias pelas quais a teologia pode (e deve) refletir sobre a natureza de sua linguagem. Nelas é que Adolphe Gesché se coloca. Ele não aborda sistematicamente a questão da linguagem teológica, nem mesmo sua teologia é estruturada como grande sistema ou manual. Ele oferece fragmentos de reflexão que permitem pensar a questão. Para Gesché é preciso ouvir de novo e recuperar o valor das palavras da fé . Para ele, a Teologia possui um discurso todo próprio sobre o homem e para o homem. Dialogando com a cultura contemporânea, Gesché visa mostrar a racionalidade própria da linguagem e do discurso da fé, e com isso anunciar que Deus é uma boa notícia para o homem

This master thesis deals with analysis of the first act of ballet Giselle. It is focused on the dramaturgy, dramatic actions and psychology of the characters. It compares different images of the first act from these sources: original libretto by Théophile Gautier and Jules-Henri Vernoy de Saint-Georges, notes by russian ballet master Antoine Titus, manuscript of Henri Justamant, libretto by Rostislav Zakharov, simplified choreographic script written by Cyril Beaumont and Leonid Lavrovsky's choreography written down by Natalia Konius. Attention is particularly focused on Justamant's manuscript and Konius's written record.

In the overall academic study of the saxophone and its history there is a considerable lack of integration in how the technological advances of the saxophone enabled the eminent virtuosi of the repertory to accomplish the challenges of saxophone technique and style. This dissertation explores the technological development of the saxophone from when the instrument was first invented in the 1850s to the 1950s. Concurrent with this investigation, the trajectory of the major repertory of the saxophone is also plotted with the technological developments of each era. This dissertation aims to synthesise and study these two aspects contemporaneously to achieve viable theories to explain the effect that saxophone manufacturers of their particular eras had on the expansion of the classical saxophone repertory. As saxophone manufacturers expanded and diversified their approach in instrument construction, the players started to gain more facility with aspects like altissimo and intonation to aid them to play the repertoire proficiently. As a result, standards in the course of the first century of the saxophone’s existence gradually become higher. This dissertation is grounded in an assortment of secondary historical sources and the concepts that surround them. This work aims to aid saxophone players to not only understand the development of their instrument and repertory, but also the concepts and utilisation of vintage saxophones of previous eras. / Dissertation (MMus)--University of Pretoria, 2014. / lk2014 / Music / MMus / Unrestricted

Texte remanié de: Th. État--Hist.--Paris 1, 1999. / Bibliogr. p. 445-461. Index.

Cette thèse analyse dans une perspective historique quelques aspects d’une vingtaine de traductions de l’hymne national canadien « Ô Canada », publiées entre 1906 et 1931. Ce chant a été composé à l’occasion d’un important rassemblement à Québec des Sociétés Saint-Jean-Baptiste en 1880. Les paroles françaises originales du Chant national furent écrites par Adolphe Basile Routhier, sur une musique de Calixa Lavallée. Jusqu’à ce jour, le texte français est demeuré intact. Vers 1901, cette chanson patriotique canadienne-française fut introduite au Canada anglais et divers auteurs anglophones ont entrepris de la traduire ou l’adapter. Cette thèse examine particulièrement les conditions de cette appropriation à travers la traduction de 1900 à 1931. Cette période fut, particulièrement en effet, un point d’orgue dans l’évolution de la société canadienne : tensions entre certains sujets attachés à l’Empire britannique et ceux revendiquant une plus grande affirmation nationale; participation du Canada à la Guerre des Boers et à la Première Guerre mondiale; en 1919, signature comme Dominion britannique du Traité de Versailles, ce qui contribua à la montée du nationalisme canadien; reconnaissance en 1931 par le Traité de Westminster de la souveraineté des pays membres de l’Empire britannique — dont le Canada. Les traductions de ce Chant national réalisées au cours de cette période sont presque indissociables des lectures que les traducteurs canadiens-anglais ou britanniques font des changements sociaux, culturels et politiques de leur époque qui se produisent au Canada et ailleurs dans le monde. Plus qu’un texte original, ces traductions expriment les différents avatars de ces lectures identitaires. Cette approche lectorielle forme le socle de notre analyse théorique. Charles Le Blanc le résumait ainsi dans son ouvrage, Le complexe d’Hermès : « Le traducteur est tout à la fois lecteur du texte original et auteur du texte traduit. […] L’original naît de l’écriture — avec tout ce que la culture de l’écrit comporte de libertés — alors que la seconde vient de la lecture – avec tout ce que l’acte de lire présume de culture, de dispositions sentimentales, de mémoire, de réciprocité aussi ». Comme Le Blanc disait de sa traduction de Bruni : « Il s’agit bien plus de comprendre un texte pour le traduire : il faut aussi comprendre une époque et une conscience ». « La fin du travail du traducteur […] n’est pas simplement celle de livrer une version acceptable d’un grand texte. Il faut assurer également que le texte traduit puisse jouer un rôle dans le développement des idées et le progrès de la culture [de son époque] ». Bien que cette thèse ne porte pas sur l’ensemble des traductions réalisées entre les années 1900 et 1980, l’étude illustre, entre autres, que la version-traduction-adaptation-réécriture de l’hymne national canadien actuel promulgué le 1er juillet 1980 — quelques mois après l’échec référendaire du Québec — résulte elle-même d’une lecture idéologique, à tout le moins politique par nos parlementaires fédéraux soucieux de doter le Canada d’un symbole identitaire national comme fondement à cette unité nationale tant recherchée par les fédéralistes des années Trudeau- père. Cette appropriation graduelle d’un symbole patriotique canadien-français résulte du cheminement dans l’imaginaire du Canada anglais des lectures du pays rattachées aux premières traductions du Chant national. Celles apparues entre 1906 et 1931 ont déclenché et concouru à cette mainmise.

Le contexte de la Confédération canadienne constitue une fenêtre remarquable afin d’observer l’évolution du nationalisme au Québec à travers le XIXe siècle. C’est dans ce contexte que s’articule la pensée politique de Joseph-Adolphe Chapleau. Influencé par les idées de Louis-Hippolyte LaFontaine et de George-Étienne Cartier, le jeune politicien est séduit par l’idée d’une nouvelle nation politique réunissant les deux peuples fondateurs formant alors le Canada. La pensée nationaliste de Chapleau se caractérise alors par un double idéal, soit celui de défendre les intérêts des Canadiens français tout en préservant l’unité de la Confédération canadienne. Au moment de la Grande Dépression de 1873, le politicien parvient à adapter sa pensée en regard du contexte économique difficile et domine ses adversaires, particulièrement les Castors : ce groupe de Conservateurs ultramontains dissidents des politiques de Chapleau. Ces derniers l’accusent de s’être allié aux Libéraux. Une fois sur la scène fédérale, Chapleau espère réaffirmer l’alliance entre les deux principales nations au Canada, mais se retrouve confronté à l’Affaire Riel qui ébranle le pays en entier. À partir de ce moment, la pensée politique de l’homme ne se retrouve plus en phase avec le contexte dans lequel il se trouve, ce qui motive ses nombreuses défaites personnelles dans les années qui suivent. La réalisation de son projet politique s’avère ainsi inachevée à la fin de sa vie. / The context of the Canadian Confederation is a remarkable window to observe the evolution of nationalism in Quebec through the XIXth century. It is in this context that the political thought of Joseph-Adolphe Chapleau is articulated. Influenced by the ideas of Louis-Hippolyte LaFontaine and George-Étienne Cartier, the young politician is seduced by the idea of a new political nation bringing together the two founding peoples of Canada. Chapleau's nationalist thought was characterized by a dual ideal: to defend the interests of French Canadians while preserving the unity of Canadian Confederation. At the time of the Great Depression of 1873, the politician manages to adapt his thinking to the difficult economic context and triumphs over his opponents, particularly the Castors, this group of ultramontane Conservatives dissidents of Chapleau's policies that they accuse of being allied to the Liberals. Once on the federal scene, Chapleau hopes to reaffirm the alliance between the two major nations in Canada, but finds himself confronted with the Riel Affair, which is shaking the whole country. From that moment, the political thought of the man is no longer in sync with the context in which he finds himself, which explains his many personal defeats in the years that follow. The realization of his political project is thus unfinished at the end of his life.