Philosophiae Doctor - PhD / This ethno a h explores the mean in s of personhood and agency in Maneberg a township located on the Cape Flats, in Cape Town South Africa. The township was a site of relocation for people who were classified coloured during the apartheid era and who were forcibly removed from newly declared white areas in the city in the 1960s I argue that despite the old apartheid state's attempts to reify the meaning of colouredness through racial legislation,\the residents of Manenberg created their own meanings of personhood, agency and community within the bureaucratic, social and economic interstices of the apartheid systems Yet at the same time they also reinstated the very structural processes at the heart of their racial and gendered subjugation. I indicate how the cohesiveness of the Rio Street community in Manenberg, the survival of its residents and their validation as respectable mothers, tough men and good daughters hinged on and effloresced from a moral economy that articulated with the structural location of coloured women in the apartheid economy and racial bureaucracy. I draw upon the writings of Fortes (1969), Giddens (1984) and Karp (1995) to elaborate upon the concept personhood in Manenberg. I show how the local understandings of personhood provide residents with agency, whilst connecting the latter to township history and apartheid social structure, thereby illustrating its limits. The concept personhood captures the duality of existence of Manenberg residents and maps out their negotiation and contestation about personhood and agency. I use Hobart (1990) and Kratz (2000) to indicate that lagency in Manenberg is complex and is situationally determined~Finally I utilise the theoretical insights of Donham (1999) to indicate that Manenberg's social, economic and historical location in the South African context allows for several notions of personhood to prevail in the township. These notions are grounded in the multiple, interconnected, hierarchically ordered, competing cultural and economic systems of production at the local, national and global levels. This complex location of Manenberg residents generates multiple constructs of inequality, power and agency that impinge upon each other and that are reflected in the contestations about personhood in diverse township spaces.

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This paper aims to analyze the important role of the reception of music in Marcel Proust's novel À la recherche du temps perdu. This analysis is founded on a theoretical framework inspired by critical theory and theory of critical ideology, where important theorists are Theodor W. Adorno, Fredric Jameson, and Slavoj Zizek. By drawing on these theorists, the firsts two analytical parts of this study shows how the reception of music in the novel creates supplements that reinforce hegemonic ideological consciousness, and how the reception of music also has a thematic role in revealing how these different ideological consciousnesses permeate social relations to both music and other people. In the final analytical part of the work, the study can further conclude that the Bildung of the novel, which constitutes the basic thematic structure of the whole novel, is based on breaking away from these two ideological consciousnesses, and freeing the music from the supplements that permeate the reception of the music in the novel, by making a sovereign gesture of liberation by exposing this process, so as to be able to take a critical approach to those ideological consciousnesses whose ideological theatricality prevents music, and in the long run involuntary memory, from mediating a true philosophical discovery of the nature of subjectivity

Le vêtement a toujours été à travers les temps un mode de distinction sociale. Influence par les valeurs dont est porteuse la société, il témoigne et est le reflet de ces valeurs. Il en fut de même au XIXe siècle lors de l'arrivée au pouvoir de la bourgeoisie. En s'imposant sur l'échiquier politique et économique de la France, et particulièrement de Paris, la bourgeoisie impose de nouvelles valeurs. Or, l’une des expressions les plus palpables de ce changement s'exprime dans la mode vestimentaire. L'essor de l'industrie textile, le développement considérable du marché de la confection et l’impact inouï des grands magasins vont être les premières conditions d'un processus qui généralisera à Paris entre 1820 et 1860, l'embourgeoisement des apparences. / Québec Université Laval, Bibliothèque 2013

À l'été 2018, le chantier-école en archéologie de l'Université Laval a poursuivi sa deuxième campagne de fouille au site Anderson, situé à Limoilou, Québec. Au cours de cette campagne, plusieurs structures liées à la gestion des déchets domestiques ont été localisées dans l'arrière-cour de Hedley Lodge, demeure construite vers 1812 et détruite dans les années 1960. De ces structures, une fosse d'aisance non perturbée et datée du XIXe siècle s'est révélée particulièrement riche en contenu organique ainsi qu'en culture matérielle. Par les archives et certains artefacts personnels, les utilisateurs de la fosse ont pu être déterminés : il s'agit des familles Anderson et Pitl, qui ont occupé le site tout au long du XIXe siècle. Dans le cadre de cette étude, les nombreuses bouteilles d'alcool en verre ainsi que la verrerie de table font l'objet d'une analyse afin de déterminer le statut socio-économique des habitants. L'art de la table et la consommation d'alcool étant chargés d'un fort pouvoir évocateur, notamment durant la période victorienne, nous tentons de percevoir l'influence des normes de classe et des tendances à travers le choix des consommateurs en matière d'alcool et de verrerie de table. Par l'entremise d'une recherche approfondie des manuels sur l'étiquette, l'iconographie et les journaux d'époque, il fut possible de recontextualiser l'achat, la consommation et le rejet de ces artefacts, et ainsi s'immiscer à la table de ces deux importantes familles de Limoilou. On y découvre des tables bien remplies et au goût du jour, qui reflètent, chacune à leur manière, les positions sociales des deux familles et leur pouvoir d'achat. L'étude des pratiques du boire des Anderson et Pitl a également permis d'ouvrir une fenêtre sur un siècle en constante mouvance, où les avancées technologiques se répercutent sur une culture matérielle de plus en plus abondante et où l'ouverture sur le monde en expansion se reflète dans la variété de boissons enivrantes et sur la verrerie de table disponible aux consommateurs de Québec au XIXe siècle. / In the summer of 2018, the Université Laval historical archeology field school held its second season at the Anderson site (CeEt-950), located in Limoilou, Québec City. Several structures related to the management of household waste were located in the backyard of Hedley Lodge, a house built around 1812 and destroyed in the 1960s. Of these structures, an undisturbed privy dating from the 19th century contained important quantities of rich organic deposits and material culture. Using archives and some personal artefacts, it was determined that the users of the privy were the Anderson and Pitl families, present at the site throughout the 19th century. In this research, numerous glass alcohol bottles and table glassware were analyzed in order to determine the role of these artifacts in defining the socio-economic status of the inhabitants. Considering that l'art de la table and alcoholic consumption are loaded with a strong evocative meaning, especially during the Victorian period, our goal here is to identify the influence of class norms and trends on the choice of consumers in matters of alcohol and tablewares. Through extensive research of etiquette manuals, iconography, and newspapers, it was possible to recontextualize the purchase, consumption, and disposal of these artifacts, and thus join the table of these two important families of Limoilou. We discovered tables that had up-to-date tableware, each reflecting, in their own way, the social positions of the two families and their wealth. The study of the drinking practices of Anderson and Pitl sheds light on a century in constant flux, where technological advances had repercussions on an increasingly abundant material culture and where openness toward an ever-expanding world is reflected in the variety of alcoholic beverages and tableware available to 19th-century Québec consumers.

Ce mémoire porte sur la perception qu’ont les bourgeois de Québec des marginaux au cœur du XIXe siècle (1840-1880). Les cinq journaux avec le plus grand tirage, soit Le Canadien, le Journal de Québec, le Quebec Mercury, le Morning Chronicle et la Quebec Gazette, furent notre lentille grossissante pour atteindre cette perception. Ce mémoire se penche sur les différents éléments qui structurent le discours que l'on trouve dans ces journaux, dont le rang social, le sexe, l’âge ainsi que la race. Chacun d’eux fut analysé à travers trois formes de discours bourgeois que les historiens de la marginalité ont identifiées, afin de mieux en comprendre la portée, c’est-à-dire les discours religieux et philanthropique, le discours réformateur et le discours du contrôle ou de la régulation social. Il en ressort que la pauvreté est un facteur majeur de marginalisation, que les femmes et les enfants ont parfois droit à des traitements particuliers et que les étrangers et gens de race ou religion différentes sont les marginaux les plus ostracisés. / This thesis studies Quebec bourgeois’ view of the marginal elements of society between 1840 and 1880. The main sources for the study are Quebec City's five most important newspapers for the period under consideration: the Morning Chronicle, the Quebec Mercury, the Quebec Gazette, the Journal de Québec and Le Canadien. The thesis explores various elements that structured the bourgeois view, such as social classes, age, gender and race. To reach a better understanding, each element was analyzed by examining three forms of bourgeois discourse identified by historians of marginality: the religious and philanthropic discourse, the reforming discourse and the social control or social regulation discourse. Overall, the thesis demonstrates that poverty was the major consideration in the marginalization of many people, that women and children were often treated differently and that strangers and people of different races and religions were those who most experienced the ostracism of being on the margins of society.

Notre analyse de l’imposante toile de Francisco Goya L’Assemblée de la Compagnie Royale des Philippines dite La Junte des Philippines (1815) vise à sortir cette œuvre de l’isolement où les études antérieures l’ont en grande partie maintenue. Nous désirons réinsérer ce tableau au cœur des dynamiques artistiques et économiques mondiales à l’orée du XIXe siècle. Le regard lucide que nous portons sur le tableau de Goya s’appuie sur une approche historique issue de la pensée postcoloniale actuelle. Par un renversement de perspective depuis la salle de réunion vers l’empire espagnol, nous plaçons l’œuvre dans une trame de relations mondiales entre la métropole et ses colonies. La Junte des Philippines révèle alors un point de vue particulier sur l’impérialisme espagnol en déclin. Loin d’être close sur elle-même, l’œuvre articule une série de thématiques qui répondent aux exigences artistiques de l’époque, notamment de la bourgeoisie libérale. Le traitement qu’opère La Junte de la commémoration d’une rencontre d’actionnaires met au jour une conception visuelle du capitalisme mercantile et financier présent en Espagne et en Angleterre. L’intrigue artistique que déploie Goya possède une signification d’envergure historique qui contribue à la valeur d’actualité de La Junte des Philippines. / This thesis is a study of Francisco Goya’s imposing painting The Assembly of the Royal Company of the Philippines, more commonly known as The Junta of the Philippines (1815). It seeks to remove the work from the isolation in which previous studies have largely kept it confined and to situate it at the core of the global artistic and economic nexus that marked the early nineteenth century. My account is informed by a historical approach that is anchored in current postcolonial theory. By inverting the painting’s perspective, to open it from the assembly room onto the Spanish Empire, I place the work at the centre of a rich web of global relationships that link the metropole and its colonies. Seen in this light, the Junta of the Philippines evinces a particular point of view of the Spanish Empire in decline. Far from being closed in on itself, the work articulates a series of themes that respond to the artistic demands of the time, namely those of the liberal bourgeoisie. Goya’s depiction of a meeting of stockholders expounds a particular visual conception of British and Spanish merchant and financial capitalism. The artistic intrigue that Goya weaves in The Junta of the Philippines reverberates on a broad historical scale that confirms the painting’s present-day relevance. / Nuestro estudio sobre la imponente pintura de Francisco Goya La Asamblea de la Compañía Real de Filipinas llamada La Junta de Filipinas (1815) pretende sacar esta obra del aislamiento donde los estudios anteriores lo mantuvieron en gran parte. Deseamos reinsertar este cuadro al corazón de las dinámicas mundiales artísticas y económicas al lindero del siglo XIX. La mirada lúcida que damos al cuadro de Goya se apoya en un enfoque histórico nacido del pensamiento poscolonial actual. Por una caída de perspectiva desde la sala de reuniones hacia el imperio español, colocamos la obra en una trama de relaciones mundiales entre la metrópoli y sus colonias. La Junta de Filipinas revela entonces un punto de vista particular sobre el imperialismo español en decadencia. Lejos de ser cerrada, la obra misma articula una serie de temáticas que responden a las exigencias artísticas de la época, particularmente de la burguesía liberal. El tratamiento que opera La Junta de la conmemoración de un encuentro de accionistas da a luz una concepción visual del capitalismo mercante y financiero presente en España y en Inglaterra. La intriga artística que despliega Goya posee un significado de envergadura histórica que contribuye al valor de actualidad de La Junta de Filipinas.

Notre analyse de l’imposante toile de Francisco Goya L’Assemblée de la Compagnie Royale des Philippines dite La Junte des Philippines (1815) vise à sortir cette œuvre de l’isolement où les études antérieures l’ont en grande partie maintenue. Nous désirons réinsérer ce tableau au cœur des dynamiques artistiques et économiques mondiales à l’orée du XIXe siècle. Le regard lucide que nous portons sur le tableau de Goya s’appuie sur une approche historique issue de la pensée postcoloniale actuelle. Par un renversement de perspective depuis la salle de réunion vers l’empire espagnol, nous plaçons l’œuvre dans une trame de relations mondiales entre la métropole et ses colonies. La Junte des Philippines révèle alors un point de vue particulier sur l’impérialisme espagnol en déclin. Loin d’être close sur elle-même, l’œuvre articule une série de thématiques qui répondent aux exigences artistiques de l’époque, notamment de la bourgeoisie libérale. Le traitement qu’opère La Junte de la commémoration d’une rencontre d’actionnaires met au jour une conception visuelle du capitalisme mercantile et financier présent en Espagne et en Angleterre. L’intrigue artistique que déploie Goya possède une signification d’envergure historique qui contribue à la valeur d’actualité de La Junte des Philippines. / This thesis is a study of Francisco Goya’s imposing painting The Assembly of the Royal Company of the Philippines, more commonly known as The Junta of the Philippines (1815). It seeks to remove the work from the isolation in which previous studies have largely kept it confined and to situate it at the core of the global artistic and economic nexus that marked the early nineteenth century. My account is informed by a historical approach that is anchored in current postcolonial theory. By inverting the painting’s perspective, to open it from the assembly room onto the Spanish Empire, I place the work at the centre of a rich web of global relationships that link the metropole and its colonies. Seen in this light, the Junta of the Philippines evinces a particular point of view of the Spanish Empire in decline. Far from being closed in on itself, the work articulates a series of themes that respond to the artistic demands of the time, namely those of the liberal bourgeoisie. Goya’s depiction of a meeting of stockholders expounds a particular visual conception of British and Spanish merchant and financial capitalism. The artistic intrigue that Goya weaves in The Junta of the Philippines reverberates on a broad historical scale that confirms the painting’s present-day relevance. / Nuestro estudio sobre la imponente pintura de Francisco Goya La Asamblea de la Compañía Real de Filipinas llamada La Junta de Filipinas (1815) pretende sacar esta obra del aislamiento donde los estudios anteriores lo mantuvieron en gran parte. Deseamos reinsertar este cuadro al corazón de las dinámicas mundiales artísticas y económicas al lindero del siglo XIX. La mirada lúcida que damos al cuadro de Goya se apoya en un enfoque histórico nacido del pensamiento poscolonial actual. Por una caída de perspectiva desde la sala de reuniones hacia el imperio español, colocamos la obra en una trama de relaciones mundiales entre la metrópoli y sus colonias. La Junta de Filipinas revela entonces un punto de vista particular sobre el imperialismo español en decadencia. Lejos de ser cerrada, la obra misma articula una serie de temáticas que responden a las exigencias artísticas de la época, particularmente de la burguesía liberal. El tratamiento que opera La Junta de la conmemoración de un encuentro de accionistas da a luz una concepción visual del capitalismo mercante y financiero presente en España y en Inglaterra. La intriga artística que despliega Goya posee un significado de envergadura histórica que contribuye al valor de actualidad de La Junta de Filipinas.

In this thesis I chose the topic of the history of modern Italian literature, namely the period of neorealism. Literary production exceeds its framework and passes into another kind of art, into filmmaking. So thesis gains interdisciplinary character. Furthermore, for me, this period significant for its ethical and aesthetic values of the human society. The first part summarizes important books about the life of Pier Paolo Pasolini. In the central part is based on mutual comparison works, novels and films, the opinions of experts works drawn from secondary literature. It is currently the focus of work: analysis of novels and film sequences through which it speaks to us. In the last part of the thesis contents Pasolini's book dedicated to collection of essays bearing his poetic intention to intervene in language, literature and film layers of Italian culture.
 Pasolini's scope goes beyond individual disciplines, interconnects arts and beyond "mere" national scope. It opens up new issues in the community in which he later become fateful. The thesis is dedicated to the first half of Pasolini's life that affected him during processing works analyzed below: Ragazzi di vita and Una vita violenta, Accattone and Mamma Roma. The rest of his life is not addressed, it does not impinge subject of interest and...

The diploma thesis "Rural section of the Bohemia newspapers in 1856 - 1876" analyses the thematic content and news frequency from the countryside and places that the German written newspapers Bohemia published during the introduced period. In the beginning the thesis describes the historical, cultural and political connection in the Czech countries, it focuses mainly on Czech-German relationship and national problems that grew after the year 1848. It introduces the media area of this period as well. The main titles and newspapers distributed in Prague and German places have been mentioned there. Bohemia played the main role in integration of German population especially till 50s. Consecutively, it grows the number of other titles and periodical, so Bohemia loses its strong position. Quantitative and qualitative analysis of the rural section should prove weakening of the rural news and the changes of its structure and content. Powered by TCPDF (www.tcpdf.org)