Before the 1990's, African migrants did not perceive South Africa as an ideal migration destination. This changed after the end of the apartheid era. The new political climate in the country and the new migration movements linked to increased globalisation changed the situation significantly. South Africa became an attractive migration destination, particularly also for professional African migrants. In this dissertation a select group of black professional/skilled migrants from non-SADC countries, who are resident in Cape Town, are studied. It is shown that such transients defy any migration typology within the South African context. Their position in the world of economic migrants is not automatically one of cosmopolitanism, privilege and glamour. Their decision to migrate is also not necessarily voluntary. The explication and analysis of the context and circumstances of the migrants are conducted with specific reference to: - professional mobility vis a vis identity, culture and community - human mobility and globalisation - the demographics and legalities of immigration to South Africa - origin, identity and the construct of `home' - the `host' nation and perceptions, stereotypes and xenophobia - personal networks and adaptation - the notion of space becoming place. What is thus demonstrated and interrogated is that `belonging' in this world is a process of change and fluctuation. `Crossing borders' will mean different things to different people - especially also for skilled/professional migrants. Issues such as class, gender, race, citizenship, ethnicity and sexuality, play a role in how `belonging' is defined and how people assign meaning to movements across borders. / Anthropology and Archaeology / (MA (Anthropology))

This dimploma thesis deals with the contemporary context of the social and cultural relations in Bohemia in the second half of 19th century and at the begining of 20th century. The thesis highlights essential personalities of those times as they were seen through the prism of musical life within the boundaries of leading musical institutions of those times. Furhtermore the thesis refers to relations of these giants with Josef Suk and focuses on Suk's piano compositions in detail within the context of his complete works.

Jan Lomíček Doctoral thesis External and internal factors of Soviet Union image creation in interwar Czechoslovakia Abstract The doctoral thesis uses both Czechoslovak and foreign archival sources and period sovietica to analyse the most relevant inner and outer factors influencing the creation of a positive image of the Soviet Union in the eyes of interwar Czechoslovak public. On one hand, there were various mechanisms used by the Soviet propaganda. Here we can mention propagandist image of the USSR which was created according to Czechoslovak sympathizers' needs - pictorial periodicals, foreign broadcasting meeting listeners' demands etc. At the same time, the Czechoslovak public adopted the identical categories that were used by the Soviet side to describe the reality, such as work - education - equality - emancipation - freedom - new versus old - civilization - development - growth. Besides common propagandist means the USSR used also the foreigners' visits to confirm its idealized image. The approach to Czechoslovak citizens was improved after the Soviet travel agency Inturist had been launched. This agency should take care of the foreign visitors. However, the interwar travels to the USSR were not too common and frequent, which was caused both by the Soviet byrocracy and costs of such trips. The...

This study investigates language varieties, non-verbal behaviour and language attitudes as cultural barriers which inhibit successful communication between Blacks and Indians at Durban Institute of Technology. The investigation reveals that Indians and Blacks often misunderstand each other. Sometimes these groups feel misunderstood because they use different varieties of English. To compensate for these differences, participants use non-verbal strategies. However, non-verbal behaviour is culturally determined and people tend to transfer it to intercultural situations. One finds that this transfer leads to miscommunication and negative stereotypes. Furthermore, non verbal behaviour which does not meet the politeness criteria leads to negative attitudes and strained relations amongst peers and supervisors. The study suggests these solutions: the introduction of intercultural awareness campaigns for all employees and Zulu conversational skills for all Indians. For the whole South African community, the spirit of ubuntu should be cultivated between all racial groups to foster mutual respect. / Sociolinguistics / M.A.

Proceeding from the premise that the meaning of performances flows from contextual, textual, and nonverbal elements, this dissertation explores layers of meaning arising from performances of selected South African struggle songs, poems and plays. In particular, it focuses on performances of the Mayibuye Cultural Group which functioned as an adaptive mechanism in the changing sociopolitical landscape of the 1980s and early 1990s, and on contemporary performances. The analysis of the songs, poems and play underscores the importance of nonverbal elements for the interpretation of performances, and proposes that performances functioned as debate and as a discursive presence in the public sphere. In particular, the performances glorified a masculine conception of the struggle and of South African society which highlighted the fragile gender politics in South Africa, and functioned as a vibrant mechanism for the expression of sanctioned criticism especially for the marginalised and for those at the fringes of power. / Anthropology / M.A. (Anthropology)

Avec d’une part les bouleversements de l’ordre mondial après la chute du système bipolaire, avec d’autre part et de manière corrélative l’extension considérable des échanges internationaux, le développement sans précédent des moyens de communications et la mondialisation économique (touchant évidemment aussi le domaine culturel), la fin du XXe siècle a inauguré une nouvelle donne dans les relations culturelles internationales qui revêtent désormais une signification capitale et, jusque-là, inédite. Dans le nouveau contexte mondial les relations culturelles internationales se sont attribué de nouveaux enjeux : elles ont pour objet non seulement la diffusion de la culture nationale en direction de la communauté internationale, mais aussi une impérative, voire vitale résistance aux dangereuses conséquences de la mondialisation, grâce au développement du dialogue interculturel et à l'affirmation des différentes cultures. Sous l'influence de ces nouveaux enjeux, les États du monde ont été obligés de réviser leur conception de la politique culturelle internationale et de perfectionner leur diplomatie culturelle nationale.Cette thèse de doctorat a pour objet la politique culturelle internationale de la France et de la Russie, que l’auteur étudie à travers le prisme des relations culturelles intergouvernementales franco-russes de 1991 à 2004. L’étude du renouveau du système des relations culturelles bilatérales après l’effondrement de l’Union soviétique tend à répondre à trois séries de questions, sur le plan national, mais aussi sur le plan des relations bilatérales et multilatérales (russo-européennes) :• quelle place la politique culturelle internationale a-t-elle prise dans la nouvelle conception nationale de la politique étrangère en France et en Russie ? quels sont les objectifs et les priorités de la France et la Russie concernant les relations culturelles internationales ? et quels sont les instruments dont la France et la Russie se sont dotées pour leur réalisation dans le contexte actuel de la mondialisation ?• quelle place les relations culturelles bilatérales ont-t-elles prise respectivement dans la conception de la politique culturelle internationale des deux pays ? quels sont les objectifs et les moyens de coopération culturelle bilatérale ? quels sont les résultats du renouveau des relations culturelles bilatérales ? et, finalement, comment peut-on caractériser les relations culturelles contemporaines franco-russes ?• quels sont les enjeux des relations culturelles franco-russes en vue de l’évolution de la relation Russie/Union européenne élargie ? et quelles sont les éventuelles perspectives de leur développement ? / On the one hand, together with the global disruptions following the end of the bi-polar political system and on the other hand and in close correlation with the considerable extension of the international exchanges, the unprecedented development of the means of communication and the economic globalization (obviously with regard to the cultural field), the end of the 20th century has launched a new deal in international cultural relations which now take on a major meaning which has remained unprecedented. In this new global context, the international cultural relations have set themselves new goals: they now not only aim at the circulation of the national culture towards the international community but also appear as an urgent even vital resistance to the dangerous impact of globalization, thanks to the development of intercultural dialogue and the affirmation of the different cultures.Under the influence of these new objectives, the world states have been forced to review their conception of international cultural policies and improve their national cultural diplomacy.This thesis mainly deals with the international cultural policies of France and Russia and its author focuses on Franco-Russian intergovernmental cultural relations from 1991 until 2004. The study of the renewal of the bilateral cultural relations after the collapse of the Soviet Union aims at answering three sets of questions, from a national perspective but also on bilateral and multilateral relations (Russo-European that is)• What place have the international cultural policies of France and Russia held in the new national conception of foreign affairs in France and Russia? What are the objectives and priorities of France and Russia as regards to international cultural relations? And what are the instruments used by France and Russia for their achievement in the current global context?• What place have cultural bilateral relations taken respectively in the conception of the international cultural policies of both countries? What are the goals and means used in the cultural bilateral cooperation? What are the results of the renewal of bilateral cultural relations? And finally, how can we characterize the contemporary Franco-Russian cultural relations?• What is at stake in the Franco-Russian cultural relations with a view to the evolution of the relation between Russia and the extended European Union? And what are the potential perspectives in their development?

Pour respecter les droits d’auteur, la version électronique de cette thèse a été dépouillée de certains documents visuels. La version intégrale de la thèse a été déposée à la Division de la gestion des documents et des archives. / Notre recherche doctorale porte sur la critique d’art latino-américaniste. Cette génération de critiques d’art est née à la fin des années 1960. Elle a atteint son apogée dans la seconde moitié de la décennie suivante et a connu un déclin progressif au cours des années 1980 et de la première moitié des années 1990. Le latino-américanisme est un type de continentalisme, c’est-à-dire un mouvement de promotion de l’identité historique, politique et culturelle des pays d’Amérique latine en vue de la protection d’intérêts communs dans le cadre des relations internationales. Dans la seconde moitié du 20e siècle, il est d’ailleurs indissociable de la guerre froide, des mouvements anticolonialistes et anti-impérialistes et des utopies révolutionnaires largement disséminées dans les milieux artistiques et intellectuels d’Amérique latine. En effet, la critique d’art latino-américaniste s’est caractérisée principalement par son engagement dans le débat sur la spécificité de l’art latino-américain, son histoire et ses aspirations théoriques, esthétiques et politiques pour l’avenir. Nous éloignant de l’histoire des idées au profit du cadre plus large de l’histoire sociale, dans cette thèse doctorale nous nous intéressons particulièrement à la constitution et à la progressive consolidation des réseaux de sociabilité intellectuelle qui ont créé les conditions de possibilité pour le développement de ce projet critique. Il s’agit de la multiplication des espaces de rencontre et de débat en Amérique latine, ainsi qu’au sein d’institutions culturelles internationales et d’organisations multilatérales, avec notamment la réalisation de projets éditoriaux et muséologiques collectifs ayant fortement favorisé l’intégration culturelle latino-américaine. L’analyse de ces espaces et de ces projets est au cœur de nos réflexions. / This doctoral research focuses on the Latin Americanist art criticism. This generation of art critics originated in the late 1960s. It peaked in the second half of the following decade and experienced a gradual decline during the 1980s and first half of the 1990s. Latin Americanism is a type of continentalism, a movement for the promotion of the historical, political and cultural identity of the countries of Latin America with the aim of protecting common interests within international relations. In the second half of the 20th century, it was strongly linked to the Cold War, anti-colonialist and anti-imperialist movements and revolutionary utopias widely disseminated in artistic and intellectual circles in Latin America. Furthermore, Latin American art criticism was characterized mainly by its engagement in the debate on the specificity of Latin American art, its history and its theoretical, aesthetic and political aspirations for the future. Moving away from the history of ideas in favour of the broader framework of social history, this doctoral thesis is particularly interested in the constitution and the progressive consolidation of the networks of intellectual sociability which created the conditions of possibility for the development of this critical project. This involves the multiplication of meeting and debate spaces in Latin America, as well as within international cultural institutions and multilateral organizations, with the realization of collective editorial and museological projects that have strongly favoured the integration of Latin American cultures. The analysis of these spaces and these projects is at the heart of our reflections.

Komponistinnen, Interpretinnen, Klangkünstlerinnen, Improvisatorinnen, Musikologinnen oder Musiktheoretikerinnen, die während der letzten ungefähr zwei Jahrhunderte in französisch- und deutschsprachigen Gebieten tätig waren: Ihren Aktivitäten war ein Forschungsprojekt mit zehn 2017–2019 in Paris, Leipzig, Berlin und Wien durchgeführten Arbeitstreffen gewidmet. Die drei Bände 12.1–3 der Reihe Schriften online: Musikwissenschaft dokumentieren im Wesentlichen die dort gehaltenen Vorträge. / Women composers, performers, sound artists, improvisers, musicologists and music theorists who have been active in French and German speaking regions over the last two centuries. The research project was dedicated to their activities with ten conferences held in Paris, Leipzig, Berlin and Vienna in 2017-2019. The three volumes 12.1-3 of the series Schriften online: Musikwissenschaft essentially document the lectures held there. / Compositrices, interprètes, artistes sonores, improvisatrices, musicologues ou théoriciennes de la musique qui ont été actives dans les régions francophones et germanophones au cours des deux derniers siècles environ. Le projet de recherche a été consacré à leurs activités, avec dix conférences organisées entre 2017 et 2019 à Paris, Leipzig, Berlin et Vienne. Les trois volumes 12.1-3 de la série Schriften online : Musikwissenschaft documentent les conférences qui y ont été présentées.

Komponistinnen, Interpretinnen, Klangkünstlerinnen, Improvisatorinnen, Musikologinnen oder Musiktheoretikerinnen, die während der letzten ungefähr zwei Jahrhunderte in französisch- und deutschsprachigen Gebieten tätig waren: Ihren Aktivitäten war ein Forschungsprojekt mit zehn 2017–2019 in Paris, Leipzig, Berlin und Wien durchgeführten Arbeitstreffen gewidmet. Die drei Bände 12.1–3 der Reihe Schriften online: Musikwissenschaft dokumentieren im Wesentlichen die dort gehaltenen Vorträge. / Women composers, performers, sound artists, improvisers, musicologists and music theorists who have been active in French and German speaking regions over the last two centuries. The research project was dedicated to their activities with ten conferences held in Paris, Leipzig, Berlin and Vienna in 2017-2019. The three volumes 12.1-3 of the series Schriften online: Musikwissenschaft essentially document the lectures held there. / Compositrices, interprètes, artistes sonores, improvisatrices, musicologues ou théoriciennes de la musique qui ont été actives dans les régions francophones et germanophones au cours des deux derniers siècles environ. Le projet de recherche a été consacré à leurs activités, avec dix conférences organisées entre 2017 et 2019 à Paris, Leipzig, Berlin et Vienne. Les trois volumes 12.1-3 de la série Schriften online : Musikwissenschaft documentent les conférences qui y ont été présentées.

Komponistinnen, Interpretinnen, Klangkünstlerinnen, Improvisatorinnen, Musikologinnen oder Musiktheoretikerinnen, die während der letzten ungefähr zwei Jahrhunderte in französisch- und deutschsprachigen Gebieten tätig waren: Ihren Aktivitäten war ein Forschungsprojekt mit zehn 2017–2019 in Paris, Leipzig, Berlin und Wien durchgeführten Arbeitstreffen gewidmet. Die drei Bände 12.1–3 der Reihe Schriften online: Musikwissenschaft dokumentieren im Wesentlichen die dort gehaltenen Vorträge. / Women composers, performers, sound artists, improvisers, musicologists and music theorists who have been active in French and German speaking regions over the last two centuries. The research project was dedicated to their activities with ten conferences held in Paris, Leipzig, Berlin and Vienna in 2017-2019. The three volumes 12.1-3 of the series Schriften online: Musikwissenschaft essentially document the lectures held there. / Compositrices, interprètes, artistes sonores, improvisatrices, musicologues ou théoriciennes de la musique qui ont été actives dans les régions francophones et germanophones au cours des deux derniers siècles environ. Le projet de recherche a été consacré à leurs activités, avec dix conférences organisées entre 2017 et 2019 à Paris, Leipzig, Berlin et Vienne. Les trois volumes 12.1-3 de la série Schriften online : Musikwissenschaft documentent les conférences qui y ont été présentées.