Mémoire numérisé par la Direction des bibliothèques de l'Université de Montréal.

En soulignant les similitudes entre la révolution virtuelle à celle qui eue lieu au dix-neuvième siècle, avec la mécanisation des transports et de l'image, l'installation vidéo intitulée Transcénique stéréo questionne les impacts des technologies numériques sur notre façon d'être et de se déplacer dans le monde. Le pouvoir libérateur du récit, qui émerge de l'acte de se déplacer et de se représenter ces déplacements, est opposé à la cartographie comme outil de possession et de contrôle. Différentes technologies de l'image analogique sont étudiées afin de comprendre leur mode opératoire et d'en retracer les applications à l'ère du numérique. Finalement, les notions de prise de vue et de montage cinématographique sont analysées afin de comprendre comment ces techniques peuvent être applicable à l'image numérique, et ce, dans l'espoir d'en saisir son « essence ».

This thesis explores the late-Henrican polity through the archive and perspective of William Paget, Henry VIII's secretary at the end of his reign. Paget's papers as secretary (1543-1547), that form the basis of the thesis, are an extensive, unique and relatively under-used source. From this starting-point Paget's role as secretary is explored and he is revealed as the personal servant of the king, whose natural environment was the court. As such he was an influential source of counsel and perhaps the key patronage-broker at court. In this context Paget also had a significant influence over the operation of the dry stamp at the end of the reign. Equally, Paget's role in shaping the function of the secretary and his relations with the recently formed privy council was of considerable importance, providing the template for later Tudor secretaries. Diplomacy in the uncertain world of the 1540s was one of Paget's primary concerns and his priorities can be seen as trying to provide security and stability for the realm. This is revealed not only in his 'Consultation' of August 1546 but also in his diplomacy with the French, the Schmalkaldic League and the Papacy. In this he sometimes found himself at odds with the king and leading a privy council united in a desire for peace. Politically Paget has traditionally been cast as an ambitious politique, the 'master of practices' and part of the earl of Hertford's reform party. Whilst acknowledging Paget's close relations with Hertford this thesis questions the factional interpretation of the last years of the reign and argues that the predominant concern of Paget and his fellow privy councillors was a peaceful succession in which unanimity rather than conflict was the key-note.

'William Cecil and the British succession crisis of the 1560s' reconsiders the nature of the early Elizabethan polity and Cecil's place in it. Conventional historiography maintains that as principal secretary Cecil was a moderate, cautious, and religiously neutral politician, content to follow Elizabeth I's direction in policy. More recently, Professors Patrick Collinson and John Guy have challenged this interpretation of the Elizabethan polity. Based on a thorough survey of the archives, my thesis explores Cecil's political creed in the 1560s. Three years of research have helped to paint a radically different picture of Cecil to the one traditionally represented: he was a councillor prepared to redefine his relationship with a monarch who refused to abide by the rules of monarchy and select a successor. The eight chapters of the thesis blend two complementary themes. First, that Elizabethan in the 1560s experienced a British succession crisis and not, as Professor Collinson has maintained, an English domestic succession crisis. And second, that the political situation in Britain and Europe - the determination of the continental catholic powers to use Mary Stuart's claim to the English throne as a weapon against protestant England - had a profound impact on the mentality of protestant Englishmen and debate in England. It persuaded Cecil to press for a pre-emptive strike against the French in Scotland (chapter two), which he defended by appealing to the feudal-imperial power of the English monarch; he used the same argument to justify the 'first trial' of Mary Stuart in 1568 (chapter seven). In this British context, Elizabeth's refusal to secure England's future led to parliamentary action in 1563 and a Cecil plan for interregnum by privy council in the event of Elizabeth's death, twenty-two years before its re-emergence in 1585 (chapter four). The régime could not find a diplomatic solution to the marriage between Mary and Lord Darnley in 1565 (chapter five): parliament debated the succession in 1566 and Cecil disobeyed the queen by pressing for a settlement (chapter six). Cecil's approach to the crisis was innovative, and his political creed is profoundly important to any assessment of politics in Elizabeth I's reign.

The purpose of this study is to suggest the influence of certain characters in eighteen works by English Renaissance authors upon the Byronic Hero, that composite figure which emerges from Byron's Childe Harold's Pilgrimage, the Oriental Tales, the dramas, and some of the shorter poems.

John Dalberg Acton, a German-educated historian, rose to prominence in late Victorian England is an editor of The Rambler and a leader of the Liberal Catholic Movement. His struggle against Ultramontanism reached its climax at the Vatican Council, 1869-1870, which endorsed the dogma of Papal Infallibility and effectively ended the Liberal Catholic Movement. Acton's position on the Vatican Decrees remained equivocal until the Gladstone controversy of 1874 forced him to take a stand, but even his statement of submission failed to satisfy some Ultramontanists. This study, based largely on Acton's published letters and essays, concludes that obedience to Rome did not contradict his advocacy of freedom of conscience, which also placed limits on Papal Infallibility.

A presente dissertação problematiza a construção do personagem Barão de Itararé, criado pelo jornalista Apparício Torelly (1895-1971), ou simplesmente Apporelly, em meio à paródia à grande imprensa que caracterizou o seu semanário humorístico A Manha (1926-1959). O período selecionado para proceder este estudo compreende a gênese do personagem, entre o surgimento do A Manha em maio de 1926 no Rio de Janeiro e a prisão do jornalista pela repressão do governo Getúlio Vargas em dezembro de 1935, quando encerra-se um ciclo da publicação. O Barão de Itararé popularizou-se como uma espécie de projeção de Apporelly nas páginas do periódico e, por intermédio deste personagem, o jornalista desenvolveu uma contundente sátira às elites brasileiras. O objeto de estudo aglutina estas três perspectivas, o homem, o seu jornal e o personagem que o representa, por indissociáveis que são, em torno dos quais se desenvolve a análise. Trata-se de uma pesquisa histórico-documental com caráter exploratório e descritivo, que procura situar este objeto no seu tempo e espaço, considerando-se não apenas o período do recorte proposto, mas também os antecedentes intrínsecos às relações sócio-culturais da sociedade de então. No mesmo sentido, busca-se identificar o papel da imprensa neste período, bem como o jornalismo praticado pela mesma e os traços do humor paródico intrínseco à obra de Apparício Torelly. Compreende-se, nestes aspectos, a base teórica para identificar a relação entre o objeto e a grande imprensa da época. Estes pressupostos reunidos são confrontados junto à análise do corpus, formado por 20 matérias selecionadas ao longo da trajetória do personagem no intervalo estipulado, calcando-se na teoria do personagem e na narratologia enquanto ferramental polarizador dos âmbitos teórico e metodológico propostos. A pesquisa apontou que, ao longo destes dez anos, A Manha realmente fundou-se em uma categórica paródia à grande imprensa da época, apropriando-se dos mais variados aspectos desta para conformar as bases da sua sátira. Igualmente, o personagem inserido neste âmbito é construído como uma representação dos setores sociais hegemônicos de então, cuja participação nos principais momentos históricos e aproximação com a imprensa da época, revelavam as relações de poder intrínsecas à participação destes agentes sociais nos eventos que orientavam os rumos do país. Neste sentido, este personagem inicia sua carreira como proprietário de um grande jornal, o nosso querido diretor, transformando-se no militar que comanda a Revolução de 1930, o marechal-almirante, para, então, tornar-se herói de uma batalha que não ocorreu, o Barão de Itararé, estendendo sua paródia satírica às mais diversas representações das oligarquias nacionais. A sátira do Barão, por sua vez, será ainda mais amplificada com as condecorações subseqüentes, que o elevariam a Duque, Grão-Duque e Imperador. Trata-se de um percurso linear, no qual as características progressivamente vão somando-se umas às outras, em uma construção hiperbólica do mesmo personagem. De modo complementar, inferiu-se que este personagem metaforicamente representava uma fantasia que o homem Apporelly vestia nas páginas d’A Manha, através do qual se transfigurava em uma espécie de bufão-mor da cena política brasileira. / This thesis searches the character Baron of Itararé’s construction by journalist Apparício Torelly (1895-1971), or simply Apporelly, amid the parody to the great press that characterized his humorous weekly publication A Manha (1926-1959). The period selected for this thesis to developing understand the character's genesis, among the appearance of A Manha in May of 1926 in Rio de Janeiro and the journalist's prison by Getúlio Vargas government's repression in December of 1935, when he closes up a cycle of the publication. The Baron of Itararé became popular as a type of projection of Apporelly in the pages of the newspaper and, through this character, the journalist developed a fierce satire to the Brazilian elites. The study object, then, agglutinates these three perspectives, the man, his newspaper and the character that represents him, impossible to dissociate, around which grows the analysis. It is treated of a historical-documental research with exploratory and descriptive character, which tries to place this object in its time and space, not just considering the period of the proposed cutting, but also the intrinsic antecedents to the partner-cultural relationships of the society of this epoch. In the same sense, it tries to identify the paper of the press in this period, as well as the journalism practiced and the lines of the parodic humor intrinsic to Apparício Torelly's work. It is understood, in these aspects, the theoretical base to identify the relationship between the object and the great press of the time. These gathered presuppositions are confronted to the analysis of the corpus close to, formed by 20 matters selected along the character's path in the stipulated interval, being stepped on in the character's theory and in the narratology while polarizer tools in theoretical and methodological extents proposed. The research showed that, along these ten years, A Manha was really founded in a categorical parody to the great press of the time, appropriating most varied aspects of this to conform the bases of its satire. Equally, the character inserted in this extent is built as a representation of the hegemonic social sections of this period, whose participation in the main historical moments and approach with the press of the time, revealed the intrinsic relationships of power to these social agents' participation in the events that guided the ways of the country. In this sense, this character begins his career as owner of a great newspaper, our dear director, becoming the military that commands the Revolution of 1930, the marshal-admiral, for, then, to turn hero of a battle that didn't happen, the Baron of Itararé, extending his satirical parody to the most several representations of the national oligarchies. The Baron's satire, for its time, will still be more amplified with the subsequent decorations, which would elevate him to Duke, Grain-duke and Emperor. It is a lineal course, in which the characteristics progressively are going being added each other, in a hyperbolic construction of the same character. As a complement, it was inferred that this character metaphorically represented a fantasy that the man Apporelly dressed in the pages of A Manha, through which he was transfigured in a type of biggest buffoon of the Brazilian political scene.

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Texte remanié de : Thèse de doctorat : Philosophie : Aix Marseille 1 : 2002. / Bibliogr. p. [917]-934. Notes bibliogr. Index.

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