The purpose of this thesis is to examine those works of Maurice Constantin-Weyer and of Georges Bugnet set in the Canadian West. Because both writers were fascinated by the exotic challenge of the western wilderness, it seems appropriate to apply to their works the myth of Antaeus, this giant representing, in his apparent invulnerability, the primeval forest and, by extension, the aborigine who inhabits it; the intruder who learns to master them both is therefore Hercules. The main theme of the novels is thus seen as one of struggle. Historically, we are also concerned with delimiting the Canadian West and explaining the rise of the Metis, a people whose very existence created problems which both authors set out to interpret. Constantin-Weyer’s avowed purpose in the Epopée canadienne is to paint a vast fresco of the Canadian West. The works of the series falls into two categories: novels allegedly based on history and novels of adventure, his essays being classified with the latter. In the first chapter his two historical novels are examined and evaluated. Vers l'Ouest meets with Walter Scott's standards for the historical novel, but it might also be classified as a roman de moeurs because of the predominance of exotic -description. La Bourrasque, on the other hand, is an anomaly in the ensemble of the Epopée canadienne. Louis Riel, its chief protagonist, had been dead only thirty-nine years when the book was published, yet Constantin-Weyer did not hesitate to present the participants in the Rebellion in an outrageous and shocking fashion, naming them by name. Hence, chapter two is devoted to an investigation of the problem of the author's misanthropy. In the light of historical scrutiny, the outrageous portraits are indeed found to be defamatory. Moreover, the novel often twists or suppresses the facts for sensational effect -- a clear violation of the basic rule governing the historical novel. Nor can the work be justified as a roman de moeurs, since descriptive passages and local color are almost totally absent. The novel's violence of tone can, in some measure, be traced to the influence of Naturalism, and its misanthropy to the hardships of the author's ten years in Canada. We contend that the hatred and bitterness of this novel was a catharsis for the writer, a conclusion supported by the fact that no subsequent work of his displays the vindictive tone of La Bourrasque. In chapter three, Constantin-Weyer’s novels of adventure are examined with particular attention given to the exoticism of his teeming and colorful panorama of the Canadian West, and to the Life-Love-Death theme which unifies the Epopée. Perusal of these novels uncovers two main facts: that Constantin-Weyer was an incorrigible braggart and that an aura of eroticism permeates his writing. His perception of the hundred intimate dramas of the forest and his flair for depicting the wild animal in its daily Life-Love-Death struggle make him one of the best animaliers in Canadian letters. His anthropomorphism transfigures not only the animals of the forest but inanimate natural forces as well, and it is this capacity for erotic empathy which constitutes a novel and heretofore unknown quantity in the Canadian literature of French expression. Georges Bugnet is in many ways the antithesis of Constantin-Weyer. Though a teacher and journalist, he shunned the more populated areas of his adopted country to settle in the very heart of the forest. To him, nature in Canada was a goddess to whom sacrifice was due. Chapter four explores his literary and philosophical views, especially his concept, --amounting to an original myth in Malinowski's sense, -- of nature in Western Canada. Bugnet was in temperament a classicist, by design a realist, and an avowed anti-romantic, yet elements of Romanticism pervade his verse which is essentially a vehicle for his metaphysical ideas. The latter part of this chapter assesses his prose poem Le Pin du maskeg, a synthesis of his literary and metaphysical creeds. Chapter five evaluates his two chief novels. Nipsya, an early work on the problem of the Metis and the relationship of man with Nature, is essentially à roman à thèse, the life of its characters being continually sacrificed to an abstract scheme. His last novel, La Forêt, one of the four or five best French-Canadian novels, triumphs over his earlier didactic tendencies. Its characters spring to life and dictate their own destiny, portraying the presumptuous Europeans who try to master an impassive land by brute strength rather than awe and understanding. Within this struggle, a lesser takes place: that between man and wife as they become aware of their innate incompatibility. To these and others of Bugnet's characters, Antaeus' flaw remains hidden. Constantin-Weyer and Bugnet are alike in their strong attraction to a pristine land, their predilection for Naturalism and their preoccupation with the theme of struggle -- that of man with nature and of man within himself. But the similarities are far outweighed by their differences. Constantin-Weyer, following in Cooper's tradition of exoticism, adds to it verve, humor, color and passion, qualities which won for Canada an enthusiastic audience in France. The underlying eroticism we detect is his original contribution to French-Canadian literature. Bugnet, on the other hand, deficient in these qualities, more than redeems himself by an uncompromising discipline, a sincerity and a certain mystic perception which brought forth a work of lasting value — La Forêt. / Arts, Faculty of / Central Eastern Northern European Studies, Department of / Graduate

Le sujet de cette thèse est la politique culturelle grecque dans l'Europe occidentale ainsi que le développement des efforts sur l'approche et l'intégration dans la famille européenne, du lendemain de la Seconde Guerre mondiale jusqu’à l’adhésion de la Grèce à la CEE. Dès sa fondation, pour l’État néo-hellénique, son passé historique et glorieux constituait le point central de référence. Dans ce cadre, la question qui se pose est celle de savoir quand et pourquoi le leadership politique décida d’exploiter ce passé au niveau politique. La politique culturelle utilise l’histoire et la civilisation d’une nation au profit de la politique. Dans la plupart des cas quant à la Grèce, les ‘messages’ de la politique culturelle ont pour ‘destinataires’ les Européens, phénomène notamment visible pendant la période des négociations d’adhésion. Couvrant l’ensemble de ces tentatives, à partir d’un niveau théorique par un groupe d’intellectuels (par exemple Tsatsos, Canellopoulos) à un niveau pratique par le monde politique (par exemple Caramanlis), l’ampleur de cette période, comprenant plus de trente ans, permet d’examiner et de mettre en valeur l’évolution des relations entre la Grèce et l’Europe ainsi que les initiatives et l’organisation de la politique culturelle de manière globale, dans un contexte européen et international. La politique culturelle extérieure que la Grèce exerça face aux Européens jusqu’en 1979, renvoie aux idées d’identité nationale, au sentiment d’appartenance, voire à l’image approfondie de l’Europe, mais, parallèlement, dans la mesure où elle fait partie de la politique européenne de la Grèce, inextricablement liée à l’histoire de l’intégration européenne. / This thesis discusses Greek cultural policy in Western Europe as well as its place in the country’s effort to participate in European integration from the aftermath of the Second World War until the accession of Greece to the EEC. From its foundation, the neo-Hellenic state used its historic past as a central point of reference. In this context, the question arises as to when and how the political leadership decided to project this past on the level of its political relations with the post-war European institutions. Cultural policy uses the history and civilization of a nation for the benefit of politics. In most cases involving Greece, the 'messages' of its cultural policy were 'addressed' to the Europeans, a phenomenon that is particularly visible during the period of accession negotiations. This was projected both at the intellectual level (for example by people such as Tsatsos, Kanellopoulos) and at the realm of practical politics by the political world (for example Karamanlis). This study, extending to a period longer than thirty years, examines the development of cultural relations between Greece and Europe, the initiatives and organization of Greek cultural policy within a European and international context as well as the role of cultural policy and Greece’s cultural arguments in the effort to achieve accession to the EEC.The foreign cultural policy that Greece exercised towards the Europeans until 1979 refers to national identity, the sentiment of belonging, the cultural connotations of the European project. Thus, to the extent that it is part of Greece's European policy, it is inextricably linked to the history of European integration.

Cette thèse propose une nouvelle édition critique de la seconde pentade de la Bibliothèque Historique, l’une des nombreuses parties de l’histoire universelle de Diodore de Sicile (Ier siècle avant J.-C.) qui nous est parvenue à l’état de fragments ; elle l’assortit d’une traduction et d’un commentaire, largement historique, mais aussi philologique, linguistique ou stylistique. La tradition indirecte qui, par sa compilation, permit la transmission d’extraits de l’œuvre originale, qui recouvrent ici une période allant de la fin de la période mythologique (livre VI) à la première médique (fin du livre X), est relativement homogène, et divisée en deux branches : d’un côté, les Excerpta Constantiniana, l’encyclopédie que Constantin VII Porphyrogénète entreprit au Xe siècle, compilent un nombre très important de fragments de Diodore, appréciés surtout pour la teneur morale de l’histoire qu’ils délivrent ; de l’autre côté, quelques auteurs chrétiens et byzantins citent Diodore dans leurs œuvres : ce sont pour la plupart des chroniqueurs intéressés par le récit de son histoire universelle. Les notices et les notes de commentaire tâchent de rétablir à chaque fois ces reliquiae dans leur contexte historique précis ainsi que dans le projet historiographique général de l’œuvre, afin de cerner, dans la mesure du possible, la méthode employée par l’historien sicilien, et de cibler l’intérêt particulier que revêt son œuvre, au-delà d’une valeur documentaire indéniable que le lecteur moderne peut apprécier. / This thesis offers a new critical edition of the second pentade of the Library of History, one of the many parts of Diodorus of Sicily’s universal history (first century B.C.), which was transmitted to us in fragments; along with this study comes a translation and a mainly historical, but also philological, linguistic and stylistic commentary. The indirect tradition, thanks to its compilation work, made the transmission of some of the text’s original parts possible; these parts go, historically, from the end of the mythological period (book VI) to the first Persian war (end of book X). It is relatively homogeneous and divided into two separate parts: on the one hand, the Excerpta Constantiniana (an Encyclopedia that Constantine VII Porphyrogenitus wrote in the Xth century) includes a large number of Diodorus’ fragments, mainly used for the moral enlightening they provide with. On the other hand, a few Christian and Byzantine authors have quoted Diodorus in their work (mainly chroniclers interested in his view on universal history). All introductory notes and other notes included in this analysis try to always link these reliquiae with their precise original and historical context, as well as with the general historiographical project of Diodorus’ work, in order to understand the method used by the Sicilian historian and to underline the specific interest of his work, putting aside its unquestionable value as a documentary, which the modern reader will certainly be able to appreciate.

Im Jahr der Wiederkehr des 350. Todestages von Heinrich Schütz können die „Denkmäler der Tonkunst in Dresden“ leider kein neues Werk des Dresdner Hofkapellmeisters vorlegen, aber dafür eines aus seinem unmittelbaren Umfeld: Die „10 Opitzianischen Lieder“ aus der „Aelbianischen Musenlust“ von Constantin Christian Dedekind. Diese großangelegte Sammlung von 157 Liedern aus dem Jahr 1657 vereinigt Texte der damals bekanntesten deutschen Dichter: u.a. von Martin Opitz, Paul Fleming, Johann Rist, Andreas Tscherning, Simon Dach, David Schirmer, Mit den meisten stand Heinrich Schütz auf der Suche nach gut vertonbaren deutschen Texten in Verbindung. Dedekind lernte Schütz 1647 kennen, wurde von diesem 1654 als Sänger in die „Hofcantorey“ aufgenommen, war Schüler und Schwiegersohn von Christoph Bernhard und wurde 1671 von Schütz gebeten, ihm bei dessen letztem großem Motettenwerk, dem „Schwanengesang“, bei der Instrumentierung zu helfen. 1624 hatte Martin Opitz das „Buch von der deutschen Poeterey“, ein Standardwerk der Barockepoche, veröffentlicht als einen wesentlichen Beitrag zur Schaffung einer deutschen Nationalliteratur. 1627 übertrug er eine der frühesten italienischen Opern, die „Dafne“ von Ottavio Rinunccini von 1597, für Schütz ins Deutsche, für eine Festaufführung in Torgau.So ist die „Aelbianische Musenlust“ eng mit dem Elbtal bei Dresden verbunden, zeigt doch der Titelkupfer die bekanntesten Felsen der Sächsischen Schweiz.

<p>The conditions for art in Romania have gone through big changes since the collapse of the regime in December of 1989. Under the Communist regime the artists had to work within a dualistic system completely unlike the one that developed in the West during the same period.</p><p>Similar to the other countries of the former Eastern block, the communist Romanian state had understood the great potential that art has as a form of propaganda. Thus the regime secured full control over the art that would be allowed into the public space. In response to the confines set on the artistic expressions, a non-official art began to develop alongside the official art of the state.</p><p>These two layers of Romanian art history were dissolved when Ceausescu’s regime finally came to an end in 1989. The underground art was suddenly available to an audience, while the official art was discredited. Out of the chaos that followed, a new Romanian art was born. During the 1990’s many Romanian artists started to process the past to try to understand their present situation, while others investigated Romanian identity as perceived from the outside.</p><p>The main focus of this paper has been to look at the conditions for contemporary Romanian art under Communism, and how they have changed since 1989.</p><p>My research has been based on literature such as The History of the Romanian People (1970), Primary Documents (2002) and Actionism in Romania during the Commuinist Era (2002), as well as on my own interviews with artists Constantin Mara, Ion Grigorescu, Matei Lazarescu, Kuki Constantinescu and Stefan Constantinescu.</p>

The conditions for art in Romania have gone through big changes since the collapse of the regime in December of 1989. Under the Communist regime the artists had to work within a dualistic system completely unlike the one that developed in the West during the same period. Similar to the other countries of the former Eastern block, the communist Romanian state had understood the great potential that art has as a form of propaganda. Thus the regime secured full control over the art that would be allowed into the public space. In response to the confines set on the artistic expressions, a non-official art began to develop alongside the official art of the state. These two layers of Romanian art history were dissolved when Ceausescu’s regime finally came to an end in 1989. The underground art was suddenly available to an audience, while the official art was discredited. Out of the chaos that followed, a new Romanian art was born. During the 1990’s many Romanian artists started to process the past to try to understand their present situation, while others investigated Romanian identity as perceived from the outside. The main focus of this paper has been to look at the conditions for contemporary Romanian art under Communism, and how they have changed since 1989. My research has been based on literature such as The History of the Romanian People (1970), Primary Documents (2002) and Actionism in Romania during the Commuinist Era (2002), as well as on my own interviews with artists Constantin Mara, Ion Grigorescu, Matei Lazarescu, Kuki Constantinescu and Stefan Constantinescu.

Texte remanié de: Tesi di dottorato--filologia mediolatina. / Edition du texte original latin d'après plusieurs manuscrits et de sa traduction italienne en regard, précédées d'une introduction en italien, et suivie d'un autre état de rédaction en latin. bibliogr. p. XXXIX-XLI. Notes. Index.

Dissertação (mestrado)—Universidade de Brasília, Instituto de Psicologia, Programa de Pós-Graduação em Processos de Desenvolvimento Humano e Saúde, 2017. / Submitted by Raquel Almeida (raquel.df13@gmail.com) on 2017-05-22T20:20:00Z No. of bitstreams: 1 2017_RaquelRodriguesCapucci.pdf: 4059585 bytes, checksum: 923baff1371fa3c00ebb96213304e9a3 (MD5) / Approved for entry into archive by Raquel Viana (raquelviana@bce.unb.br) on 2017-05-29T23:43:45Z (GMT) No. of bitstreams: 1 2017_RaquelRodriguesCapucci.pdf: 4059585 bytes, checksum: 923baff1371fa3c00ebb96213304e9a3 (MD5) / Made available in DSpace on 2017-05-29T23:43:45Z (GMT). No. of bitstreams: 1 2017_RaquelRodriguesCapucci.pdf: 4059585 bytes, checksum: 923baff1371fa3c00ebb96213304e9a3 (MD5) Previous issue date: 2017-05-29 / Além de compartilharem da mesma origem cultural e terem se nutrido do materialismo histórico-dialético, Vigostski e Stanislavski abordaram o tema da experiência humana, na vida e na arte. O termo perejivanie (переживание) foi amplamente abordado nas obras dos dois autores: por Stanislavski, para designar a experiência do ator na construção da personagem; por Vigotski, em seus estudos sobre o desenvolvimento humano, e para compreender a formação da personalidade como drama. Partimos de uma questão norteadora para a composição deste trabalho: quais são as relações entre a perejivanie e os processos criadores na arte e na vida? Este trabalho promove uma análise conceitual e um diálogo entre as obras de Vigotski e Stanislavski explorando a perejivanie e os processos criadores na arte e na vida, a partir de uma interlocução entre a psicologia e a arte. Os objetivos específicos foram: 1) analisar o conceito de perejivanie articulado aos processos criadores na arte: construção da personagem em Stanislavski e formação do ator em Vigotski; e 2) problematizar as relações entre perejivanie e processos criadores na formação dramática da pessoa na obra de Vigotski em diálogo com o desenvolvimento da pessoa (ator) em Stanislavski: a ética e a estética. Acessamos, também, as obras dos autores em outros idiomas, como o espanhol e o inglês, a fim de lidar com questões de tradução e compreender seus escritos de forma mais próxima ao original em russo. Assim como os atores no palco, nós estamos sempre atuando. A cada cena que se estrutura em nossa vida, somos compelidos a encarnar os papéis que nos constituem, vivendo as contradições inerentes à experiência humana. Encarnamos esses papéis para a plateia das nossas relações, enquanto vivemos o conflito entre o interno e o externo, que sempre nos gera a dúvida: ser ou não ser? Nesta perspectiva, podemos dizer que o teatro é o microcosmo da vida, onde as relações são tensionadas ao máximo e permitem analisar a intrincada trama das determinações humanas, transformadas em verdade poética. O presente trabalho constatou a necessidade de um olhar sobre a perejivanie na arte em uma perspectiva dialética com os estudos psicológicos sobre a perejivanie na vida, entendendo as relações entre a psicologia e a arte a partir do prisma da complementariedade, e não como campos de estudo separados. Tendo em vista que os estudos sobre o desenvolvimento dos sentidos do termo perejivanie são ainda recentes, particularmente quanto a sua compreensão no limiar entre arte e psicologia, esta dissertação vislumbra horizontes a respeito do tema, abrindo possibilidades para estudos futuros mais aprofundados. / In addition to sharing the same cultural origin and nourishing themselves with historical-dialectical materialism, Vigostski and Stanislavski addressed the theme of human experience in life and art. The term perejivanie (переживание) was widely discussed in the works of both authors: Stanislavski used it to designate the actor’s experience in character construction, and Vygotsky used it in his studies on human development, to understand personality development as drama. With that in mind, the following question guided this work: how does perejivanie relate to the creative processes in art and in life? This dissertation promotes conceptual analysis and a dialogue between the works of Vygotsky and Stanislavski, exploring the problem of perejivanie and the creative processes in art and life, based on an interlocution between Psychology and Art. Its specific objectives are: 1) to analyze the concept of perejivanie articulated to the creative processes in Art: the construction of character in Stanislavski and actor training in Vygotsky; 2) to approach the relations between perejivanie and creative processes in the dramatic development of the individual in the work of Vygotsky in dialogue with actor training in Stanislavski: ethics and aesthetics. We also analyzed texts in other languages, such as Spanish and English, in order to deal with translation issues and understand the authors’ writings more closely to the original in Russian. Just like actors on stage, we are always acting. In each scene that is structured in our lives, we are compelled to incarnate the roles that constitute ourselves, living the inherent contradictions to human experience. We embody these roles for the audience of our relations, while we live the conflict between the internal and the external, which always generates the doubt: to be or not to be? In this perspective, we can say that theater is a microcosm of life, where relations are tensioned to the maximum, which allows us to analyze the intricate web of human determinations, transformed into poetic truth. This study identifies the need for a look at the perejivanie in art from a dialectical perspective with the psychological studies on the perejivanie in life, understanding the complementary relations between Psychology and Art. Since studies on the meanings of the term perejivanie are still recent, particularly in relation to understanding it in the threshold between Art and Psychology, this study broadens horizons for the subject, leaving room for further studies.

My dissertation looks at a pivotal point in the history of the news image (c.1840 to 1860), when wood engraving and steam-powered printing presses transformed the genre into a mass medium that reached hundreds of thousands of readers. Using the format of the monograph and the work of French artist Constantin Guys, I argue that despite the advent of photography and other reproductive visual techniques, drawing formed the backbone of the new authority of the mass-produced news image. To make this case, I locate Guys’s drawings within a wide range of other tactics of transcription that made the printing of text and image possible––including stenography and printing telegraphy––to contextualize the strange persistence of this manual medium within the increasingly mechanized armature of the illustrated newspaper. As a study of the formation of trust in the news image at a moment of momentous technological change, my project identifies a vital origin point for pressing questions related to the truth and objectivity of the news in our contemporary moment, and places mid-nineteenth-century drawing at its center.

One of the main objectives of this thesis is not only to map the life of Czech sculptor Vladimir Astl, but also explore various inspirational sources he might have used when creating social oriented pieces. Those are critical in is work. Typical avatars of plastics with social context are Žízeň (Thirst), Smutek (Sadness) or Stará žena (Old Woman), all of them from the period of 1905 - 1910. The initial chapter shortly discusses social problem which existed during the verge of 19th and 20th century and immediately influenced increasing use of social topics in art. Next chapter elaborates on these topics in more detail and focuses on changes of French society which were closely tied to the occurence of ambitious ideas to build monuments celebrating work of men. This chapter also discusses sculpture in France in more depth with focus on labor-oriented pieces from August Rodin, Jules Dalou and Henri Bouchard. The work of mentioned sculptors was dedicated to monuments celebrating labour. These formed a common inspiration source for social related themes in Czech sculpture of the turn of the 19th and 20th century. Next chapter continues to describe the foreign social tendencies and introduces a Belgian sculptor Constantin Meunier who made a significant impact on Czech lands with his pieces being...