and Prague's role within it. It also looks at the cultural relationship between Chapman's journey to Czechoslovakia. The second chapter focuses on the clash bet Chapman and the Czechoslovak intermediaries of US culture such as Josef Škvorecký, Lubomír Dorůžka, and Jan Zábrana and the competing versions of African American poetry, especially in Abraham Chapman's anthology of Black diaspora poetry Černošská : světová antologie

David Harrison Macon (1870-1952) is often memorialized for his showmanship rather than his banjo playing. To compartmentalize such a significant American musician yields a wide gap within scholarship about Macon, country music history and the banjo. Macon’s banjo playing, documented through over two-hundred and fifty recordings made between the 1920s and 1950s, represents an array of cultures, eras, ethnicities, and styles all preserved in the repertoire of one of the most prolific country musicians of the 20th century. This study reveals Macon’s playing by considering such factors as influences that preceded his professional tenure, identifying elements within his playing from specific stylistic origins, and by technically notating selections from Macon’s canon that represent those influences. To understand the instrumental playing of one of early country music’s most important figures broadens understanding of banjo influences from the nineteenth century which laid the foundation for the instrument’s renaissance in the twentieth century.

This thesis analyzes and documents the splint armor material from Valsgärde 8 and Vendel I,X, and XI. This armor is then contextualized in the warrior institutions, weapon-systems, and fighting techniques of warbands from Central Sweden. Analogies for the splint armor are sought after with the closest parallels being found around the Black Sea area, associated with Byzantine, Sassanid, and Steppe-Nomadic martial cultures. The systems of exchange between these two regions are then analyzed in order to inform as to where this armor came from, whyit is there in Central Sweden, and what this can tell us about the development of military contacts between Central Sweden and the Black Sea area during the Vendel Period. / Denna uppsats berör analysen och dokumentationen av det Vendeltida skenpansarmaterialet från Valsgärde 8 och Vendel I, X och XI, där skenpansarna sätts i kontext med krigarinstitutioner, vapensystem och stridstekniker från krigsband i Centrala Sverige. Analogier för dessa skenpansar med närmaste paralleller har påträffats i Svartahavsområdet och associeras med Bysantinska, Sasanidiska och stäppnomadiska krigarkulturer. Utbytessystem mellan dessa två regioner analyseras för att få förståelse för var denna typ av rustning härrör ifrån, varför den har hamnat i Centrala Sverige och vad de kan säga om utvecklingen av militära kontakter mellan Centrala Sverige och Svartahavsområdet under Vendeltiden.

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Leben und Werk des berühmten Mäzens König Alfons X. von Kastilien sind vielfach gelobt und getadelt worden. In den letzten Jahrzehnten hat die Forschung dabei insbesondere auf den Widerspruch hingewiesen zwischen dem großen Interesse Alfons’ an orientalischem Wissen und einem friedlichen Wissensaustausch an seinem Hof einerseits und der Unterdrückung religiöser Minderheiten unter seiner Herrschaft andererseits. Doch wie und wo beeinflussten das im Werk Alfons’ dargestellte Weltbild seine politischen Handlungen gegenüber Nicht-Christen (insbesondere gegenüber den Mauren)? Welche Vorstellung und Ausübung von Toleranz war in der Regierungszeit Alfons’ vorherrschend und inwiefern vertrat Alfons den Geist seiner Zeit? Diese Fragen sind geeignet, Zweifel an dem behaupteten Widerspruch zu wecken. Nach seinen Weltanschauungen konzipierte Alfons sein Königreich als Ganzes, wobei die drei religiösen Gruppen in einer klar hierarchisierten Gesellschaftsordnung ihren jeweiligen Platz mit einer jeweils unterschiedlichen Bedeutung zugewiesen bekamen. Sowohl in seiner idealisierten als auch in der realen Gesellschaft war Toleranz für Alfons X. von Kastilien überwiegend eine pragmatische Haltung. Im gesellschaftlichen Bereich verteidigten Mudejaren, Sepharden und Christen des mittelalterlichen Spaniens ihre Identitäten, die sie bedroht sahen, weil die kulturellen Verflechtungen im Laufe der Jahrhunderte sehr stark geworden waren. Und im Ringen um die Bildung und den Erhalt eigener Identität stellen Pragmatismus und Toleranz keinen Widerspruch dar, sondern sind vielmehr Bedingung und Folge des „Zusammenlebens“. / The life and the works of famous patron King Alfonso X of Castile have often been praised and critized. In the last decades, research has particular referred to the contradiction between Alfons’great interest in oriental knowledge und a peaceful exchange of knowledge at his court on the one hand and the oppression of religious minorities under his rule on the other hand. But how and where did the conception of the world as presented in Alfons’ work affect his political actions against non-Christians (especially against the Muslims)? Which conception and practice of tolerance were predominant in his reign and to what extent did Alfons represent the spirit of his time? These questions are suitable to cast doubts on the maintained contradiction. According to his view of the word, Alfonso considered his kingdom as a whole, in which the three religious groups were assigned to their respective place with a different meaning to each in a clearly hierarchical social order. In his idealized as well as in the real society, tolerance was predominantly a pragmatic attitude for Alfonso X of Castile. Within the social field, the Islamic Moors (Mudéjares), Sephardics Jews and Christians of medieval Spain defended their identities which they considered to be threatened, because cultural interconnections had become very strong in the course of centuries. And in the struggle for the formation and preservation of one’s own identity, tolerance and pragmatism do not mean contradiction, but rather a condition and consequence of "living together".

Le musée contemporain ne se caractérise plus seulement comme un lieu voué à préservation, conservation et présentation des collections mais comme un lieu inscrit dans des réseaux, comme le montre l’étude de la politique de diffusion : celle-ci est l’objet de ma thèse en sciences de l’information et de la communication intitulée « La diffusion culturelle à l’échelle internationale : les enjeux de la politique du prêt des œuvres et des expositions du Mnam-Cci (Centre Georges Pompidou) pendant la période 2000-2007 ».Le Mnam-Cci est l’un des plus importants musées au monde grâce à sa collection d’art moderne et contemporain. Il offre non seulement des expositions temporaires mais aussi de nombreuses activités culturelles : cinémas, conférences, concerts, spectacles. Sa collection se compose de 60 000 œuvres, est empruntée auprès des musées du monde entier.Compte tenu de la richesse de la collection, la politique du prêt des œuvres est l’une des stratégies importantes du musée. Dans la perspective d’une étude muséologique, l’analyse de la politique du prêt des œuvres nous paraît des plus pertinentes.La première partie de la thèse met en évidence les mécanismes de la circulation des œuvres et celles des expositions dans un contexte des territoires à l’échelle internationale. La deuxième partie de la thèse décirt la circulation des biens culturels à l’heure de la mondialisation. La dernière partie de la thèse montre le développement de la stratégie communicationnelle à l’échelle internationale à travers la politique de diffusion.C’est ainsi que ce travail montre la diffusion culturelle à l’échelle internationale par l’intermédiaire de la politique du prêt des œuvres et des expositions du Mnam-Cci. / A contemporary museum isn’t any longer a place that is only dedicated to collecting, preserving, and presenting the collections, but a place which is integrated into a network, as the studies of strategies of diffusion are showing. This is the subject of my thesis worked in the field of communication and information science with the title: “International diffusion of culture: the lending strategies of works of art and exhibitions at the National Museum of Modern Art (Georges Pompidou Center) during 2000 and 2007”.The National Museum of Modern Art (Pompidou Center) is one of the most important museums of the world thanks to its modern and contemporary collections. The Pompidou Center does not only present temporary exhibitions, but also a range of other cultural activities: cinema shows, concerts, conferences and spectacles. Its collection comprises 60, 000 pieces of works of art which are borrowed by museums all over the world.Taking its rich collection into consideration, the lending strategies of works of art are one of the important drivers of the museum. The analysis of these lending strategies is crucial from a museology standpoint.The first part of the thesis deals with the circulation mechanism of works of art and the exhibitions in the context of international territories. The second chapter of the thesis looks at the circulation of cultural goods in the context of globalization. The last part of the thesis deals with the development of international communication strategies via the strategy of diffusion.That is how this work shows an international diffusion of culture via the lending strategies of works of art and exhibitions at the National Museum of Modern Art (Pompidou Center).

Cette thèse retrace l’histoire des expositions temporaires à caractère artistique organisées aux Galeries nationales du Grand Palais (GNGP) entre 1966 et 2005. Les analyses sur le contexte historique, politique et social et sur la politique artistique internationale en France révèlent que le pouvoir publique contribue à cette histoire des expositions dès l’origine : il soutient et institutionnalise des expositions temporaires en tant qu’action culturelle de l’État. La mise en oeuvre des expositions est coordonnée principalement par trois organismes publiques : la Réunion des Musées nationaux (RMN), l’Association française d’Action artistique, et les administrations pour l’art contemporain. Sous le titre de grande exposition prestigieuse, chacune de ces expositions a été un moyen pour illustrer une célébration commémorative, une belle relation diplomatique avec l’étranger et une présentation de recherches scientifiques et de politique de patrimoine. De la volonté d’échanges artistiques avec des musées étrangers a résulté l’internationalisation des expositions temporaires, la professionnalisation de la RMN en la matière. Le développement des recherches en histoire de l’art en collaboration avec ces musées étrangers est une conséquence évidente. Toutes ces orientations apparentent les Galeries nationales du Grand Palais à une institution culturelle phare au centre de la capitale en affirmant leur place parmi les grands musées parisiens. Ce travail se focalise également sur la gestion organisatrice, introduite dans la pratique de l’organisation d’expositions aux GNGP notamment pour : l’entretien et la muséographie des collections, le financement des expositions et l’accueil des publics. On constate aussi une professionnalisation des métiers concernant l’organisation d’expositions, pendant ces années. Cette thèse présente le développement de grandes expositions organisées dans un cadre institutionnel, le goût des grands publics pour des expositions artistiques. Elle nous permet également de comprendre l’évolution des expositions temporaires muséales dans la seconde moitié du XXème siècle. / This thesis presents an investigation on the history of temporary art exhibitions at the Galeries nationales du Grand Palais (GNGP) between 1966 and 2005. The analysis of the historical, political and socialistic background and the international artistic policy of France show that the government has played a central role in the development of art exhibitions at the GNGP : the government has encouraged and institutionalized art exhibitions as one of its cultural policy. These exhibitions were mostly planned by three public institutions; Réunion des Musées Nationaux (RMN), Association française d’Action artistique, and the institution for contemporary arts. Each exhibition named as a major representation has been taken place for the commemoration and the presentation of friendly diplomatic relations with foreign countries. Some exhibitions announced academic achievements in art history and outcomes of museum and cultural heritage policies. The enhancement policy of the cultural exchange with foreign museums has led to the internationalization of artexhibitions, and the development of the RMN specialized for the planning of international art exhibitions. This policyalso contributes to the art history research development through the academic collaboration with foreign museums. These grand exhibitions that took place at the GNGP have contributed to make the GNGP as a major cultural institution in the centre of capital city, comparable to other main museums of Paris. This works also discusses the introduction of management for running exhibitions at the GNGP. First, this management included the systematic care and presentationof collections, then the funding of exhibitions and even more the reception of visitors. Moreover, during these years, there has arisen a professionalization of jobs related to art exhibition planning and operation. This thesis presents the development of grand art exhibitions organised in the frame of the public administrations, public audiences for fine arts exhibition, and also allows the understanding of the development of the temporary museum exhibitions held in thesecond half of the twentieth century.

本博士論文では、戦間期から戦後にかけての宝塚歌劇団と、アメリカのトランスナショナルな関係性について焦点をあて、アメリカと継続的な接点があった宝塚女性演者に着目をする。宝塚演者のような特殊性を持つ女性たちに焦点を当てることは、当時の新たな日本人女性像を見出すことを可能にする。同時に、トランスナショナルな視点を用いた結果、彼女たちが日本人女性としてのアイデンティを国内だけではなく、国外とのやり取りを通じて構築していたという事実を明らかにする。 / This project is one of the first attempts to explore the transnational history of Takarazuka by following the complex processes by which Americans and Japanese used Takarazuka to explore the contours of Japanese identity and femininity in the period from the late 1930s to the 1950s. Especially, through this dissertation, I will focus on the voices of Takarazuke females whose historical voices have barely been featured in the previous research. By using transnationalism as a main analytical theme, I argue that these females used the given opportunities to recreate their own identities, especially through the difficulties of negotiating the boundaries during the time when the role of Japanese women was continuously transforming. / 博士(アメリカ研究) / Doctor of Philosophy in American Studies / 同志社大学 / Doshisha University

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