DEA--Histoire de l'art--Paris 4, 2002. / Bibliogr. p. 90-91.

Univ., Diss.--Hannover, 2007.

Thèses (M.A.)--Université de Sherbrooke (Canada), 2001. / Titre de l'écran-titre (visionné le 20 juillet 2006). Publié aussi en version papier.

Thesis (doctoral)--Lunds Universitet, 1993. / Includes bibliographical references (p. 220-227) and index.

Thesis (doctoral)--Lunds Universitet, 1993. / Includes bibliographical references (p. 220-227) and index.

Thesis (Ph. D. in History)--Vanderbilt University, Aug. 2005. / Includes bibliographical references (p. 256-266).

L’œuvre rigoureuse de Bill Brandt, au service d’une incontestable poésie, s’écoule sur près d’un demi-siècle et résume à elle seule les quatre grands genres de la photographie que sont le reportage social, le portrait, le nu et le paysage. Né à Hambourg en 1904, le déni de ses origines allemandes l’amena à s’identifier pleinement à l’Angleterre où il vécut la plus grande partie de sa vie, laquelle prit fin à Londres en 1983. Cette thèse a pour objet de mettre en évidence la trajectoire éminemment moderniste de Brandt, lequel a exploité au maximum le caractère réflexif de la photographie afin de satisfaire au mieux sa quête identitaire. Cette dernière, en prise avec les traversées géographiques et culturelles vécues par le photographe, s’articule autour de registres plus ténus ayant trait à la mémoire ainsi qu’aux perspectives historiques et généalogiques. Aussi, cette reformulation personnelle s’est accompagnée chez Brandt d’une reformulation de son œuvre et de sa pratique du médium jusqu’à en repousser les limites intrinsèques : portée par une appétence scopique, elle a exploré les ressorts spatiaux et diégétiques de l’image avant de tendre vers une sérénité haptique et sculpturale alors que le photographe accédait à sa pleine reconnaissance artistique, proposant ainsi une relecture des apports modernistes. / Bill Brandt's quite rigorous works cover nearly half a century and encompass the four major kinds of photography (i.e. social photo-reportage, portraits, nudes and landscapes) with a true sense of poetry. Born in Hamburg in 1904, the denial of his German origins led him to fully identify himself with England where he lived most of his life in London until his death in 1983. This thesis aims at highlighting Brandt's modernist path as he constantly used the reflexive capabilities of photography as a way to satisfy his own quest for a native English identity. Beyond the geographical and cultural journeys experienced by the photographer before his arrival in England, the root causes of his quest actually lie in more tenuous matters related to memory as well as historical and genealogical perspectives. This personal quest for redefining his identity resulted in a progressive reshaping of his own works and practice of the medium to push back its inner limits: firstly driven by a scopic appetite, he then explored the many spatial and diegetic dimensions of image until finally evolving towards a more haptic and sculptural serenity as he was receiving a proper artistic recognition, hence offering a rereading of his modernist contributions.

This thesis analyzes a crucial period in the relations between the Federal Republic of Germany and the United States of America, through the use of US government internal documents. Willy Brandt brought forth a new vision of Ostpolitik that was starkly different from policies that the US had dealt with before, subsequently leaving the Nixon Administration largely unsure of how to react. The change in FRG economic positioning vis-à-vis the United States, and catalyst political events in the 1960’s, created the impetus for Brandt’s vision of OStpolitik, which culminated in the interim West German control of the Western Alliance’s Eastern Politics.

Also published as author's dissertation--Hannover, 2007. / Includes bibliographical references (p. 351-402).

This thesis looks at Stephen North's 1987 claim of the limits of ethnography in composition research and looks at modern, published research studies to see how they have heeded North's warnings. In 1987 Stephen North claimed that the future of ethnographic methodology in composition research was doomed unless those who would adopt this qualitative technique understood its limitations. North argued that each ethnography is only valuable as an individual study, that individual studies are not cumulative towards some absolute and discoverable positivistic model of knowledge. This warning of the problem and limitations of modern qualitative ethnography was issued over 2 decades ago; how have we done? Does the modern composition researcher who uses ethnographic methodology heed North's warning not to generalize, or do they just tip their hat at North and do it anyway? But regardless of North's dire predictions and warnings, it is apparent that ethnography as a research methodology (in its many disputed forms) is here to stay in composition studies. This thesis provides a sample of research ethnographies published since North's 1987 warning and looks at the methodologies, narrative style, and theoretical conclusions used by some current researchers. By using a close rhetorical analysis which compares the language choices and theoretical positions of those well-received studies against the idea of the non-cumulative nature of ethnographic study, I will contrast what modern researchers say they will do versus what is presented within their published work. Using North's and others' claims on the limitations of generalizable knowledge and hypotheses-testing fallacies of ethnographic methodology for research in composition studies, this thesis first defines the research questions, offers a definition of methodological terms in context of rhetoric and composition research, offers a background of critique, and applies this critique to a sample of post-North published dissertations and monographs.