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Ce mémoire s’intéresse aux collecteurs de fonds de tierce partie que l’on définit comme des individus qui vont entreprendre, seuls ou en équipe, d’amasser des fonds en mobilisant leurs ressources personnelles pour le compte d’un organisme de charité auquel ils ne sont pas affiliés. Nous utilisons des données recueillies auprès de 20 collecteurs de fonds de tierce partie issus de deux organismes de charité québécois pour tenter de comprendre qui sont les collecteurs de fonds de tierce partie. Plus précisément, notre recherche est circonscrite au profil des collecteurs de fonds de tierce partie et à leur action, la collecte de fonds de tierce partie (CFTP). La question de recherche est exploratoire : qui sont les collecteurs de fonds et comment les distinguer entre eux? La méthodologie utilisée pour la collecte et l’analyse des données est une adaptation éprouvée de la théorie ancrée. De notre analyse, une typologie à sept segments a émergé. Chaque segment représente un profil de collecteurs de fonds de tierce partie qui se distingue des autres à l’égard de cinq catégories discriminantes: les motivations, l’action, l’énergie et les besoins. Les sept segments sont représentés par des archétypes : l’altruiste, l’égoïste, la victime, le complice, l’expérimentateur, le capable et l’entrepreneur. La contribution théorique de notre recherche réside dans la proposition d’une typologie des collecteurs de fonds de tierce partie et par un premier effort de modélisation du processus de collecte de fonds. La contribution pratique prend forme avec une section consacrée à l’usage de la typologie spécifiquement destinée aux organismes de charité.

Zugl.: Heidelberg, Univ., Magisterarbeit

This thesis takes up J. G. Ballard's contention, that 'the act of intercourse is now always a model for something else,' to show that Don DeLillo uses a particular sexual, cultural economy of adultery, understood in its many loaded cultural and literary contexts, as a model for semantic reproduction. I contend that DeLillo's fiction evinces a promiscuous model of language that structurally reflects the myth of the adulterous triangle. The thesis makes a significant intervention into DeLillo scholarship by challenging Paul Maltby's suggestion that DeLillo's linguistic model is Romantic and pure. My analysis of the narrative operations of adultery in his work reveals the alternative promiscuous model. I discuss ten DeLillo novels and one play - Americana, Players, The Names, White Noise, Libra, Mao II,Underworld, the play Valparaiso, The Body Artist, Cosmopolis, and the pseudonymousAmazons - that feature adultery narratives. I demonstrate that these narratives resist conservative models of language, space, and sex by using promiscuity as a method of narrative control. I argue that DeLillo's adultery narratives respond subversively to attempts to categorise his work, and that he extends the mythologised rhetoric of the adulterous triangle by adopting sexual transgression as a three-sided semantic structure that connects language, sex, and space. I refer to theories of narrative, postmodernity, space, desire, and parody to show that DeLillo's adultery narratives structurally influence his experiments with linguistic meaning. My analysis reveals that contradiction performs at several spatial, sexual, and dialogical levels to undermine readings that suggest DeLillo's language models pure meaning. I identify the sexualised fissure within DeLillo's semantic style that is exposed by the operation of contradiction. I believe this gap distinguishes DeLillo from postmodern fiction's emphasis on the placeless, because it is a meaningful space that emphasises the reproductive adulteration of signification. I expose several sites of dialectic rupture, including the hotel/motel room, oppositional and metaphorical description, the journey, the image, and the secret. I contend that sex in these transgressive narratives is a model for something else: promiscuous meaning. This thesis demonstrates that DeLillo's fiction charts the typography of the mythical third side of the adulterous triangle in order to respond to language's own promiscuity.

After 1885, Richard Strauss began to create program music due to Alexander Ritter¡¦s suggestion. Among these works, the most important were the 7 tone poems. Tone poem ¡mDon Quixote¡n was composted according to the play created by the Spanish writer Cervantes. Richard Strauss not only expressed the story by leading motive and tone painting, but also satirized the society. Furthermore, he unleashed his angry by the meaning of the story. My essay is divided into two major parts. The first is the biography of Richard Strauss as well as the characteristic of this tone poem. The second is the analysis of variation structure, motive development, tone painting skill, orchestration timbre and harmony disposition. I still discuss the rhythm, skill and terminology in advanced.

Texte remanié de: Th. doct.--Langue et littérature françaises--Nancy 2, 2003.

Texte remanié de: Thesis Ph. D.--University of Connecticut. / Bibliogr. p. 229-242.

Texte remanié de: Thèse de doctorat--Littérature comparée--Paris 4, 2003. / Vol. 2 : Bibliogr. p. 211-246. Index nominum.

Drawing from a variety of multimedia and archival materials, my dissertation involves a three-figure examination of Bob Dylan, T.S. Eliot, and Don DeLillo. These three figures are linked, (as some other critics have noted) through scattered intertextual allusions. But I argue that a more telling correlation exists in the manner in which all three managed to rise to the apex of their respective fields. I examine this phenomenon and in so doing, my project seeks out a composite theoretical model, better suited to explain the multiform artistry of Dylan and to account for the related transformative cultural navigation of Eliot and DeLillo at key points their careers. My dissertation sheds light on these authors drawing on Bourdieu’s model of “the field of cultural production” and Bolter and Grusin’s concept of “remediation:” how print, photography film, and other media appropriate, influence, and reconstitute each other. I reconfigure their concept to focus on individual agency and situate these three as consummate remediators of their own and each other’s work, their individual legacies, and ultimately the very “field of cultural production” itself. This reading recasts our understanding of each author: I position Dylan as a major contemporary literary figure; Eliot as a consummate public performer and recording artist; and DeLillo as a visionary cultural remixer. This analysis provides fresh perspectives on the idea of authorship, canonicity and textuality, as it suggests that a vigorous literary analysis requires us to move beyond a specific medium associated with an author toward a dynamic field of multimodal intertextuality. Literary research and pedagogy in the media-saturated 21st century classroom demand a canon unbound. Such a canon, I argue, should include figures like Dylan, as it should also provoke a fuller, more vital engagement with “the literary tradition” within which we place figures like Eliot and DeLillo. My work, situated at the crossroads between American literature, cultural studies, and the emerging field of the digital humanities, thus produces a more nuanced understanding of the authors in question, the canonical heritage to which they contribute, and the scholarly methods by which we appraise and teach their works. / text

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