Canadians have developed a vocabulary of regionalism, a cultural shorthand that divides Canada into easily-described spaces: the Arctic, the Prairies, the Maritimes, and Central Canada, for example. But these artificial divisions obscure the history of edge places whose identity is drawn from more than one region. The region north of Prince Albert, Saskatchewan, is a place on the edge of the boreal forest whose self-representations, local history, and memorials draw heavily on a non-prairie identity. There, the past is associated with the forest in contrast to most Canadians' understanding of Saskatchewan as flat, treeless prairie. This dissertation presents the history of the north Prince Albert region within a framework that challenges common Saskatchewan and Canadian stereotypes. Through deep-time place history, layers of historical occupation in the study region can be compared and contrasted to show both change and continuity. Historical interpretations have consistently separated the history of Saskatchewans boreal north and prairie south, as if the two have no history of interchange and connection. Using edge theory, this dissertation argues that historical human occupation in the western interior found success in the combination of prairie and boreal lifeways.<p> First Nations groups from both boreal forest and open plain used the forest edge as a refuge, and to enhance resilience through access to resources from the other ecosystem. Newcomer use of the prairie landscape rebranded the boreal north as a place of natural resources to serve the burgeoning prairie market. The prairies could not be settled if there was not also a nearby and extensive source for what the prairies lacked: timber and fuel. Extensive timber harvesting led to deforestation and the rise of agriculture built on the rhetoric of mixed farming, not King Wheat. The mixed farming movement tied to landscape underscored the massive internal migrations from the open prairies to the parkland and forest edge.<p> Soldier settlement, long viewed as a failure, experienced success in the north Prince Albert region and gave a model for future extensive government-supported land settlement schemes. South-to-north migration during the 1920s was based on a combination of push and pull factors: drought in the Palliser Triangle; and a strengthening northern economy built on cordwood, commercial fishing, freighting, prospecting and fur harvesting, as well as mixed farming. The economy at the forest edge supported occupational pluralism, drawing subsistence from both farm and forest, reflecting the First Nations model. As tourism grew to prominence, the Saskatchewan dual identity of prairie/forest led to the re-creation of the north Prince Albert region as a new vacationland, the Playground of the Prairies. The northern forest edge drew thousands of migrants during the Great Depression. Historical analysis has consistently interpreted this movement as frantic, a reactionary idea without precedent. Through a deep-time analysis, the Depression migrations are viewed through a new lens. The forest edge was a historic place of both economic and cultural refuge and resilience predicated on the Saskatchewan contrast of north and south.

Canadians have developed a vocabulary of regionalism, a cultural shorthand that divides Canada into easily-described spaces: the Arctic, the Prairies, the Maritimes, and Central Canada, for example. But these artificial divisions obscure the history of edge places whose identity is drawn from more than one region. The region north of Prince Albert, Saskatchewan, is a place on the edge of the boreal forest whose self-representations, local history, and memorials draw heavily on a non-prairie identity. There, the past is associated with the forest in contrast to most Canadians' understanding of Saskatchewan as flat, treeless prairie. This dissertation presents the history of the north Prince Albert region within a framework that challenges common Saskatchewan and Canadian stereotypes. Through deep-time place history, layers of historical occupation in the study region can be compared and contrasted to show both change and continuity. Historical interpretations have consistently separated the history of Saskatchewans boreal north and prairie south, as if the two have no history of interchange and connection. Using edge theory, this dissertation argues that historical human occupation in the western interior found success in the combination of prairie and boreal lifeways.<p> First Nations groups from both boreal forest and open plain used the forest edge as a refuge, and to enhance resilience through access to resources from the other ecosystem. Newcomer use of the prairie landscape rebranded the boreal north as a place of natural resources to serve the burgeoning prairie market. The prairies could not be settled if there was not also a nearby and extensive source for what the prairies lacked: timber and fuel. Extensive timber harvesting led to deforestation and the rise of agriculture built on the rhetoric of mixed farming, not King Wheat. The mixed farming movement tied to landscape underscored the massive internal migrations from the open prairies to the parkland and forest edge.<p> Soldier settlement, long viewed as a failure, experienced success in the north Prince Albert region and gave a model for future extensive government-supported land settlement schemes. South-to-north migration during the 1920s was based on a combination of push and pull factors: drought in the Palliser Triangle; and a strengthening northern economy built on cordwood, commercial fishing, freighting, prospecting and fur harvesting, as well as mixed farming. The economy at the forest edge supported occupational pluralism, drawing subsistence from both farm and forest, reflecting the First Nations model. As tourism grew to prominence, the Saskatchewan dual identity of prairie/forest led to the re-creation of the north Prince Albert region as a new vacationland, the Playground of the Prairies. The northern forest edge drew thousands of migrants during the Great Depression. Historical analysis has consistently interpreted this movement as frantic, a reactionary idea without precedent. Through a deep-time analysis, the Depression migrations are viewed through a new lens. The forest edge was a historic place of both economic and cultural refuge and resilience predicated on the Saskatchewan contrast of north and south.

Nous considérons quelques écrivains et critiques littéraires chez qui la lecture de la philosophie d'Henri Bergson, du vivant de celui-ci, a fait naître une réflexion intense et rigoureuse quant à sa signification et à son avenir. Charles Péguy, Marcel Proust, Jacques Rivière, Albert Thibaudet et Jean Paulhan – l'antibergsonien Julien Benda leur servant de contrepoint – éprouvent la nécessité de contester la quiétude de Bergson ou la manière qu'il a de refermer son problème. Ils restent néanmoins fidèles à ce problème, apparaissant dès lors surtout soucieux de recommencer le bergsonisme, de repartir de sa table rase. Bergson leur semble trahir inconsciemment ses propres principes : soit qu'il échoue à faire attention aux découpages propres du réel et qu'il cède à de faux problèmes, soit qu'il cède plutôt à de fausses solutions et laisse ses lecteurs dans l'incertitude, initiant malgré lui une « crise de la durée ». Ils ont le sentiment de pouvoir être bergsoniens mieux que Bergson, indissociablement avec et contre lui. Il leur semble surtout que l'accomplissement du bergsonisme comme philosophie ne puisse se faire que dans une œuvre de littérature : soit qu'ils trouvent dans Bergson une théorie inattendue de l'urgence d'écrire, soient qu'ils voient dans la littérature, notamment romanesque, la réalisation vraie de l'intention bergsonienne, ou le moyen d'atteindre une philosophie enfin durable. L'heure n'est plus à mettre la vérité du morceau de sucre dans sa dissolution, mais bien à laisser l'eau du temps gonfler les arêtes de la fleur de papier japonais – et refaire d'elle l'occasion de retrouvailles, de soi avec soi et de soi avec tous les autres. / I consider a few literary writers and critics whose reading of Henri Bergson's philosophy was careful and passionate enough to make them reflect on its true meaning and possible future. Each in their own way, Charles Péguy, Marcel Proust, Jacques Rivière, Albert Thibaudet and Jean Paulhan – Julien Benda working here as a counterpoint – needed to criticize Bergson's tranquillity and rejected part of the solutions he offered. They nevertheless stayed true to his fundamental problem, thus offering more of a new beginning to bergsonism than a condemnation. They felt that Bergson unconsciously betrayed his own principles: either because he failed to pay attention to the true divisions of reality and was led to the formulation of fake problems, or because he accepted fake solutions on the contrary, and therefore left his readers in distress. In the latter case, they argued, the philosophy of duration did nothing but increase the destructive effect of time. They felt that they could be better bergsonians than Bergson. More importantly, they came to the idea that bergsonism as a philosophy could only be accomplished within the pages of a literary work. Some discovered in Bergson an unexpectedly positive theory of language. Some saw in the writing of novels the true realization of Bergson's intention. Others understood literature as the only way to escape the anguish created by philosophy and to slow down the pace of history. The truth of sugar lies not in its dissolving, unlike Bergson suggested, and one should rather let the water of time swell the edges of Proust's flower of japanese paper. In it lies the possibility of finding oneself again, as well as regaining a community.

Notre thèse envisage la production écrite en classe de français comme une pratique scolaire novatrice lorsqu’elle est accomplie au sein d’un espace-atelier et réalisée par l’entremise du jeu, de la mise en scène et du montage d’un spectacle. Pour ce faire, nous avons mis en œuvre une pièce de théâtre, Caligula d’Albert Camus, comme moyen d’enseignement-apprentissage, en l’accompagnant d’une gamme d’outils –dispositif ou unité didactique, vidéo de la pièce, carnet de bord, etc., – favorisant en parallèle une recherche-action sur terrain. Notre travail questionne en outre la possibilité d’une telle expérience menée dans un lieu peu commun, le Sud de l’Algérie, dans l’oasis de Bou-Saâda, et auprès d’un groupe d’apprenants d’une classe de 2e année Langues Étrangères au lycée. Nos objectifs sont de cultiver la compétence écrite chez l’apprenant oasien via l’écriture théâtrale, de lui donner goût à l’apprentissage de la langue et de conférer une certaine dynamique à cet apprentissage en lui permettant de créer et de voir représenté ce qu’il écrit sur le plateau. Au-delà d’une simple acquisition de compétences rédactionnelles, nous avons pu constater des mutations dans les représentations scolaires et sociales de la langue française chez le groupe-apprenant, issu d’une société sudiste conservatrice, chez qui la langue-cible a un statut différent de celui dont elle bénéficie au Nord, ce qui renvoie, par là même, à l’histoire, à la géographie et au plurilinguisme du pays. / Our thesis considers the written production, in a French class, as an innovative school practice when it is accomplished in a workshop space, and realized through the play, staging, and editing of a show. In order to do this, we have implemented a play, Caligula by Albert Camus, as a way of teaching and learning, accompanied by a range of tools - a teaching device or unit, a video of the play, Logbook, etc., - promoting, at the same time, an action research on the ground. Our work also questions the possibility of such an experiment conducted in an unusual place, the South of Algeria, in the oasis of Bou-Saâda, and with a group of learners 2nd Year, Foreign Languages in high school. Our aims are to improve the written skills of the oasis learner through theatrical scripture, to give him a taste to learn the language; and to give a certain dynamic to this learning by allowing him to create and see represented what 'He writes on the set’. Beyond a simple acquisition of editorial skills, we have seen changes in the academic and social representations of the French language in the learner group, from a conservative Southern society, in which the target language has a different status has the respect to the North, evoking the history, geography and multi-linguals of the country.

Albert Einstein published the English translation of Relativity: The Special and General Theory in the midst of two big events in 1920: the confirmation of the two theories of relativity and spacetime in 1919 and the Nobel prize in physics in 1921. The new global celebrity wanted to make the theories intelligible and readable for an international English-speaking audience, an audience that also included antagonistic scientists and even anti-Semites. The aim of this thesis is to do a rhetorical analysis of Einstein’s character, his ethos, in Relativity, with a specific focus on creation of credibility in regard to his historical context: scientific ideals, values and norms as well as the political and cultural tendencies in Europe during the early 20th century. This was done firstly by identifying the implied auditor. Secondly, based on the material, I have identified three stereotypes or characters – the professional idealist, the mentor and the internationalist –  which emphases different features and capacities that are crucial for the credibility of the text. Thirdly, by using these stereotypes and in regard to the specific historical context, I investigated how Einstein developed his primary ethos into a secondary ethos in the text. The rhetorical analysis of Einstein’s Relativity shows that his ethos stands in relation to the social and cultural perception of the virtuous epistemic scientist; to fight prejudices regarding being a Jewish-German theoretical physicist; and, noteworthy, a way to produce a well-needed international space – a crucial alternative to continue the positivistic knowledge production counter to the nationalistic project.

Science and technology is regularly featured on radio, in newspapers, and on television, but most people only get firsthand exposure to ‘cutting-edge’ technologies in museums and other exhibitions. During this period, the Science Museum was the only permanent national presentation of science and technology. Thus, it is important to acknowledge the Museum’s history and the socio-political framework in which it operated. Understanding the delays in the Museum’s physical development is critical, as is understanding the gradual changes in the Museum’s educational provision, audience, and purpose. While the Museum was the main national exhibition space, the Festival of Britain in 1951 also provided a platform for the presentation of science and technology and was a statement of Britain’s place within the new post-War world. Specifically, within its narrative, the Festival addressed the relationship between the arts and the sciences and the influence of science and technology on daily life. Another example of the presentation of science was the quest for a planetarium in London - a story that involves the Science Museum, entrepreneurs, and Madame Tussauds. Comparing the Museum’s efforts with successful planetarium schemes isolates several of the Museum’s weaknesses - for example, the lack of consistent leadership and the lack of administrative and financial freedom - that are touched on throughout the work. Since most of this history is unknown, this work provides a fundamental basis for understanding the Museum’s current position, for making connections and comparisons that can apply to similar problems at other institutions, and for learning lessons from the struggles that can, in turn, be applied to other institutions.

Benjamin Britten is one of the foremost contemporary English composers. He has successfully revived English opera, dead since Purcell, and this is one of his most significant contributions to the contemporary music world. Therefore, the purpose of this document is to give the reader some insight into Britten' s operatic style. The first chapter contains a sketch of Britten's life with particular reference to his operas, along with general characteristics of his writing. The following chapter has been devoted to a closer consideration of four of his2 operas: Peter Grimes, ;Theof. Lueretia, Albert Herring, and Gloriana. Since an analysis of entire operas would exceed the limitations of this paper, the soprano role has been selected as representative of Britten's operatic style. The vocal score of Turn of the Screw was not available for this study, and his other operas do not contain soprano roles. With each analysis a brief synopsis of the plot is included as a background for the musical analysis. Following the plot is a general treatment of the outstanding style features of the role. In order to present another facet of Britten's writing, the specific analysis of each soprano role is handled from a thematic standpoint. That is, the role is scrutinized for important recurring motives, the significance of these motives is noted, and examination made of their relationship to the opera as a. whole. Reti's Thematic Process in Mlusic has proved an invaluable guide to this type of analysis.

La notion de l'absurde a pris dans la pensée et le langage courant un très grand nombre de significations, parfois très éloignées les unes par rapport aux autres. Il est arrivé à au moins deux reprises que le terme « absurde » soit entendu dans le sens d'un courant : dans la philosophie absurde théorisée par Albert Camus en 1942, et dans le Théâtre de l'absurde (Beckett, Ionesco, etc.), qui lui a connu son apogée dans les années cinquante. Ces deux mouvements pourraient être envisagés comme l'expression d'un seul et même courant, l'absurde, qui prend ses racines dans une Europe ébranlée par les horreurs de la guerre et l'affaissement de la religion chrétienne. Pour les contemporains, l'hostilité et le désordre de l'univers, de même que la solitude irrémédiable de l'individu apparaissent comme des vérités à la fois douloureuses et difficile à ignorer. Roman Polanski (1933-), cinéaste à la fois prolifique et éclectique, ouvre à l'absurde de nouveaux horizons, ceux du septième art. L'analyse de son oeuvre (et des éléments autobiographiques qui la sous-tendent parfois) met à jour d'indéniables parentés avec les figures-clés de l'absurde que sont Camus, Kafka, Nietzsche et les dramaturges européens de l'après-guerre. Ces parentés se repèrent tout autant dans les thématiques récurrentes de ses films que dans leurs obsessions formelles. / The idea of absurd has taken a huge amount of different meanings in thought and current speech. Some of these meanings may present important differences with others. There is at least two occurrences where the word “absurd” has been understood as a current: first, in the philosophie absurde, theorized by Albert Camus in 1942, and second, in the Theater of the Absurd (Beckett, Ionesco and others), who had his hours of glory during the 1950s. These two movements can be seen as two branches of a single current, the Absurd, who has its roots in Europe after World War II. The horrors of the conflict and the loss of faith in Christianity pushed the intellectuals and artists of this period to become very sensitive to ideas such as hostility (of men, of world...) and loneliness. Roman Polanski (1933-), film director well-known for the eclecticism of his work, showed very notable acquaintances with Absurd in many of his movies. The analysis of his art (and of the autobiographical elements that sometimes appear in it) proves a clear relation with important figures of the Absurd current, such as Camus, Kafka, Nietzsche, and European playwrights of the post-war era. This relation can be observed in themes as well as in the mise en scène of Polanski's films.

TITLE: About definition of the folk fairy-tale genre and about elaboration of the Snow-white theme in collections of chosen german authors (J. K. A. Musäus, A. L. Grimm and J. and W. Grimm) SUMMARY: This diploma thesis is concerned with the fairy-tale genre, which is defined as the folk fairy-tale, Snow-white theme and elaborations of this theme in collections of J. K. A. Musäus, A. L. Grimm and the Brothers Grimm. In context of the historico-literary period and in connection with the folk fairy-tale genre all processing are analysed and compared with each other. Märchen (1971) of Max Lüthi and Deutsche Märchen vor Grimm (1942) of Albert Wesselski are the fundamental publikations for this thesis. The main result is that the caption »Sneewittchen« of the Brothers Grimm correspondes closest to the folk fairy-tale genre, while »Richilde« of J. K. A. Musäus and »Schneewittchen« of A. L. Grimm as author's fairy-tale should be called. KEYWORDS: Fairy-tale genre, folk fairy-tale, collections of german authors, Snow-white theme, Johann Karl August Musäus, Albert Ludwig Grimm, Brothers Grimm

The main objective of this research is to study the affinities between Brazilian writer Graciliano Ramos (1892-1953) and French philosopher and writer Albert Camus (1913-1961). More precisely, we tend to explores the reflections of camusian revolt in three Ramos' prose works: Barren Lives (1938), Anguish (1936) and São Bernardo (1933). The literary and philosophical direction of existentialism is outlined at the beginning of the thesis. Therefore, the first chapter is devoted to an explanation of Camusian existentialism and his philosophical concept of revolt, not only in his philosophical works, but also in his novels. The subsequent chapter focuses on the life and work of Graciliano Ramos. Thereafter the three aforementioned Ramos' novels are analyzed in order to uncover in them motives of existentialism solitude, anguish, revolt against society ─ all of the more or less interlinked by the problem of incommunicability. Powered by TCPDF (www.tcpdf.org)