This dissertation addresses the development of the movement of Reconstructionist Judaism in the period between 1935 and 1959 through an examination of ideological writings and institution-building efforts. It focuses on Reconstructionist rhetorical strategies, their efforts to establish a liberal basis of religious authority, and theories of cultural production. It argues that Reconstructionist ideologues helped to create a concept of ethnicity for Jews and non-Jews alike that was distinct both from earlier "racial" constructions or strictly religious understandings of modern Jewish identity. / History

Cette thèse étudie le statut du dessin dans l'œuvre de Sergueï M. Eisenstein, à partir de l’étude des rapports entre dessin et montage, entre dessin et mise en scène et de l’examen de la nature intermédiale de l’œuvre d’Eisenstein. Dans le système de ce réalisateur le dessin est au cœur de son processus créatif et devient un milieu-médium à l’intérieur duquel des transferts, passages, transportations de formes, d’images et d’idées sont possibles. Eisenstein s’intéresse au dessin, à la fois, comme processus et comme méthode visuelle universelle de la créativité.On constate l’analogie entre la structure globale du film Ivan le Terrible et les axes essentiels de sa réflexion théorique, en particulier les principes de sa méthode créatrice (la pars pro toto, le MLB, la plasmaticité et le montage). Subordonnée à une architectonique spatio-temporelle rigoureuse, la structure du film est en même temps une structure ouverte, vivante en évolution perpétuelle, et cela tant à l’étape de sa conception qu’au niveau de sa perception et de sa post-analyse.Les analyses conduites dans cette thèse sur la production graphique d’Eisenstein, et à partir de celles-ci sur l’ensemble de ces travaux et de ces concepts, démontrent clairement la corrélation entre la structure de l’œuvre d’Eisenstein, en particulier pour celle du film Ivan le Terrible, et le fondement de son processus de pensée créative, processus qui traduit son propre rythme intérieur et la structure de sa conscience, les deux donnant l’impulsion à son expression artistique. Le dessin devient pour Eisenstein le milieu de réflexion sur lequel il s’appuie pour exposer la problématique du médium, mais aussi celle de l’histoire du cinéma en son lien avec l’histoire des médiums expressifs. Les dessins préparatoires constituent le médium visuel d’élaboration, de vérification et de mise en pratique de ses concepts théoriques dans une situation réelle de création de film.Eisenstein a ainsi constitué, à travers ce projet transversal et intermédial du film, un dispositif sphérique d’écriture de la méthode et de l’histoire générale du cinéma, en réalisant ainsi un modèle du « livre sphérique ». / This thesis studies the status of drawing in the work of Sergei M. Eisenstein, based on the study of the relationship between drawing and montage, between drawing and staging and the examination of the intermedial nature of Eisenstein’s work. In the system of this film director, the drawing is at the heart of his creative process and becomes an environment-medium in which transfers, passages, transportations of shapes, images and ideas are made possible. Eisenstein is interested in drawing, both as a process and as a universal visual method of creativity. An analogy exists between the overall structure of the film Ivan the Terrible and the essential axes of his theoretical reflection, in particular the principles of his creative method (pars pro toto, MLB, plasmaticity and montage). Subordinated to a rigorous spatial and temporal architectonics, the structure of the film is at the same time an open, living structure, in perpetual evolution, this as much at the stage of its conception as at the level of its perception and its post-analysis.The analyzes led in this thesis on the graphic production of Eisenstein, and from them on all his works and concepts, clearly demonstrate the correlation between the structure of the work of Eisenstein, and in particular that of the film Ivan the Terrible, and the foundation of his creative thought process, a process that reflects his own inner rhythm and the structure of his consciousness, both giving an impetus to his artistic expression. Drawing becomes for Eisenstein the medium of reflection on which he relies to develop the problematic of the medium, but also the one of history of cinema in its connection with the history of expressive mediums. The preparatory drawings constitute the visual medium of elaboration, verification and putting into practice of his theoretical concepts in a real situation of film creation.Eisenstein thus constituted, through this transversal and intermedial film project, a spherical system of writing of the method and the general history of the cinema, thus realizing the model of the "spherical book".

L’intérêt porté aux filmographies de cinéastes russes aussi différents qu’Andreï Tarkovski, Andreï Zviaguintsev et Kira Mouratova aboutit à la découverte d’une quête esthétique commune propre aux trois réalisateurs : l’élaboration d’une image cinématographique modelée par le temps autant dans sa matérialité filmique que dans sa puissance métaphorique. Cette approche artistique semble cristallisée dans le terme "kinoobraz" théorisé par Andreï Tarkovski qui s’impose dès lors comme un médium entre la recherche théorique et le champ d’expérimentation analytique de ce travail. Le terme russe "kinoobraz" traduit en français par « image cinématographique » recèle autant de problèmes que de potentiel théorique et analytique. La nature de cette recherche consiste donc en une appropriation, une réinvention et une mise à l’épreuve d’une notion ("kinoobraz"), trois opérations menées simultanément dans un parcours multiple. D’abord, une étude à la fois historique et théorique des conceptions russo-soviétiques de l’"obraz" (théologie des icônes orthodoxes à travers les textes de Pavel Florensky, l’"obraz" selon Sergueï Eisenstein, le "kinoobraz" de Tarkovski) révèle toute une série de résonances conceptuelles avec les théories françaises du figural (à partir du texte "Discours, figure" (1971) de Jean-François Lyotard). Cette confrontation entre la généalogie russe du "kinoobraz" et les propriétés esthétiques du figural, alimentée par la pratique de l’analyse filmique comparée, permet la redéfinition du "kinoobraz" comme un outil opératoire d’analyse. Ainsi, la mise à l’épreuve du "kinoobraz" dans le champ d’expérimentations analytiques sur le corpus de référence composé des films d’Andreï Tarkovski, Andreï Zviaguinstev et Kira Mouratova explore la spécificité temporelle de la matière filmique et du dispositif cinématographique. / Focusing on the cinema of three Russian different filmmakers such as Andreï Tarkovski, Andreï Zviaguintsev and Kira Mouratova, we discover a common aesthetic thread: the development of a film image molded by time both in film's materiality and in its metaphorical power. This artistic approach is crystallized by the term kinoobraz theorized by Andreï Tarkovski, whose ideas and films serve as a link between the theoretical research and the analytic experimentation of the present work. The Russian word "kinoobraz" is usually translated into English as “film image” but this translation does not reveal its full theoretical and analytic potentials. Our research aims at giving this notion its proper place, its reinvention and its use as a tool, all three conducted simultaneously on parallel tracks. Our exploration of this notion includes both historical and theoretical study of the Russian and Soviet conceptions of "obraz" through the theology of orthodox icons found in Pavel Florensky’s texts, its definition by Sergueï Eisenstein, and Tarkovski’s refinement as "kinoobraz". This study reveals a series of conceptual resonances with the French theories of figural (starting with Jean-François Lyotard’s work "Discours, figure" (1971)). The juxtaposition of the Russian genealogy of "kinoobraz" and the aesthetic traits of figural, nurtured by comparative film analysis, allows us to redefine kinoobraz as an analytic tool. Using this tool in the analytic experimentation based on the reference corpus of the films of Andreï Tarkovski, Andreï Zviaguintsev and Kira Mouratova leads us to a deeper understanding of the time specificity of the film matter and the cinematic "dispositif".

[pt] Livros particularizados pela importância e predomínio da fotografia são frequentemente definidos como livros fotográficos ou fotolivros. São fenômenos caracterizados principalmente pela maneira como relacionam as imagens fotográficas entre si e com outros sistemas de signos (texto verbal, pintura, desenho, tipografia, projeto gráfico etc.), e pela forma como exploram a materialidade do livro. Em nossa tese, a montagem é o princípio por meio do qual os livros fotográficos são construídos e estruturados. Ela consiste no principal processo que regula as relações entre as partes que compõem essas obras. Quatro importantes fotolivros brasileiros, publicados na segunda metade do século XX, são observados nesta pesquisa. São eles Viagem pelo Fantástico, de Boris Kossoy (1971); Amazônia, de Claudia Andujar & George Love (1978); São Paulo Anotações, de George Love (1982); e Silent Book, de Miguel Rio Branco (1997). Utilizamos a teoria eisensteiniana para descrever esses trabalhos e verificamos que, como um princípio, a montagem pode ser observada, em vários níveis, como reguladora das relações que estruturam os fotolivros. Cada imagem fotográfica ocorre como uma montagem e, por sua vez, participa das justaposições que acontecem nas páginas, dípticos e trípticos. As partes que definem a obra, sequenciadas, atuam umas sobre as outras obedecendo a princípios semelhantes em novas escalas. O processo ocorre sucessivamente e produz a obra como uma imagem (no sentido proposto por Eisenstein). / [en] Books particularized by the importance and predominance of photography are often defined as photographic books or photobooks. They are phenomena characterized mainly by the way they relate photographic images to each other and to other sign systems (verbal text, painting, drawing, typography, graphic design, etc.), and by the way they explore the materiality of the book. In our thesis, montage is the principle by which photographic books are built and structured. It is the main process regulating the relations between the parties of these works. Four important Brazilian photographic books, published in the second half of the 20th century, are observed in this research. They are Viagem pelo Fantástico [Journey into the Fantastic], by Boris Kossoy (1971); Amazônia, by Claudia Andujar and George Love (1978); São Paulo Anotações [São Paulo Notes], by George Love (1982); and Silent Book, by Miguel Rio Branco (1997). We describe and analyze these works according to Eisenstein s theory. We verify that, as a principle, the montage can be observed structuring these photobooks in several levels. Each photographic image works as montage and, in turn, it participates in the juxtapositions on the pages, diptychs and triptychs. Sequenced, the parts defining the work act on each other obeying similar principles at new scales. This process occurs successively and produces the work as an image (in the sense proposed by Eisenstein).

Cette thèse se donne pour ambition d'éclairer un aspect méconnu de l'oeuvre et de la pensée de Sergueï Eisenstein, en se concentrant sur la relation privilégiée qu'il entretient durant toute sa vie avec l'art de Daumier. Tout en traversant l'oeuvre graphique, théâtrale, cinématographique et théorique d'Eisenstein, cette recherche entend également révéler Daumier sous un nouveau jour, en faisant découvrir la réception dont il jouit en Russie et en U.R.S.S. Il s'agira par la même occasion d'exposer et d'interroger le regard stimulant et original qu'Eisenstein porte sur l'art de Daumier. Ce parcours se voudra nécessairement transdisciplinaire. / The aim of this PhD thesis is to cast a new light on Eisenstein's work and thought, by focusing on his privileged relationship with Daumier's art. As we will come across Eisenstein's graphic, theatrical, cinematographical and theoretical work, we will unveil Daumier's still unknown reception in Russia and in U.S.S.R. By the same token, we will expose and discuss Eisenstein's challenging and modern vision of Daumier. The methodology chosen here is necessarily transciplinar.

Il faut reprendre à nouveaux frais la question de la métaphore, (re)définir les contours de la figure d'analogie, pour la sortir de la confusion où l'ont jetée la coupure instituée avec la comparaison et, plus largement, sa théorisation comme substitution d'un mot à un autre, mais aussi pour mettre à l'épreuve la notion de métaphore au cinéma. Il s'agit donc de questionner l'unité du " processus métaphorique ", de trouver le bon niveau permettant de rendre compte de ses pouvoirs, de sa dynamique, et pour cela de refuser l'approche mutilante, sans cesse renaissante, de la rhétorique traditionnelle aussi bien que celles qui diluent sa richesse dans les mécanismes de l'inconscient ou les processus interprétatifs des seuls lecteurs ou spectateurs. La métaphore fait alors apparaître des traits qui indiquent à quel point il est légitime de discerner des formes iconiques à côté des formes linguistiques : elle peut notamment être comprise comme un montage d'expériences, de situations éprouvées, au moins fictivement. Pour arriver à cette conception de la métaphore comme dialogue entre séries d'objets de pensée, comme prédication paradoxale, il paraît nécessaire de renverser l'approche traditionnelle qui consiste à faire de la métaphore conventionnelle le modèle de la théorie, et de la métaphore vive un cas particulier, mais aussi d'interroger les liens entre métaphore, symbole et concept et de souligner comment, depuis Aristote, le modèle proportionnel, authentiquement analogique, est systématiquement écrasé par le modèle sémiotique. Ainsi rénovée, cette conception de la métaphore apparaît fructueuse pour l'analyse des œuvres, comme La Ligne Générale d'Eisenstein.

Text in English with abstracts and keywords in English, Afrikaans and Sesotho / This was a practice-led study, in which I critically engaged with my own video artwork alongside the video works of three other artists. Selected works of Penny Siopis, Anders Weberg, Maja Zack and mine deal with the notions of memory and trauma. I investigated which visual strategies and techniques derived from film theory are employed in video art to simulate traumatic memories from war conflicts. This research analysed specific theories of Gilles Deleuze and Sergei Eisenstein to identify how certain film strategies are used in video art to simulate grievous historical events. I explored the way that these events shape postmemory, as theorised by Marianne Hirsch and Cathy Caruth. The theories of Susan Sontag and Jean Baudrillard describe how memory relies on imaginative investment and interpretation, creating a simulation of the past, in which affect takes precedence over accurate and factual portrayal of traumatic events. / Hierdie studie was ’n praktykgeleide studie waartydens ek my eie videokunswerk tesame met diè van drie ander kunstenaars krities ondersoek het. Gekose werke uit my eie stal, diè van Penny Siopis, Anders Weberg en Maja Zack handel oor die begrippe herinnering en trauma. Ek het ondersoek ingestel na die visuele strategieë en tegnieke voortspruitend uit filmteorie wat in videokuns aangewend word om traumatiese herinneringe van oorlogkonflikte te simuleer. Hierdie navorsing het die spesifieke teorieë van Gilles Deleuze en Sergei Eisenstein ontleed ten einde te identifiseer hoe bepaalde filmstrategieë in videokuns gebruik word om smartlike historiese gebeure te simuleer. Ek het die wyse nagevors waarop hierdie gebeure post-herinneringe modelleer, soos deur Marianne Hirsch en Cathy Caruth geteoretiseer. Die teorieë van Susan Sontag en Jean Baudrillard beskryf hoedat herinneringe op verbeeldingryke belegging en interpretasie steun om ’n simulasie van die verlede te skep waarin affek voorkeur kry bo die akkurate en feitelike voorstelling van traumatiese gebeure. / Seno e ne e le thutopatlisiso e e eteletsweng pele ke tiragatso, moo ke dirisaneng ka tshekatsheko le tiro ya me ya botsweretshi jwa bidio ke e bapisitse le ditiro tsa bidio tsa batsweretshi ba bangwe ba le bararo. Ditiro tse di tlhophilweng tsa ga Penny Siopis, Anders Weberg, Maja Zack le tsa me di samagana le dintlha tsa kgopolo le manokonoko. Ke sekasekile gore go dirisitswe ditogamaano le dithekenini dife tsa pono tse di tswang mo tioring ya difilimi mo botsweretshing jwa bidio go etsisa dikgopolo tsa manokonoko a dikgotlhang tsa ntwa. Patlisiso eno e lokolotse ditiori tse di rileng tsa ga Gilles Deleuze le Sergei Eisenstein go supa ka moo ditogamaano dingwe tsa filimi di dirisiwang ka gona mo botsweretshing jwa bidio go etsisa ditiragalo tse di botlhoko tsa hisetori. Ke tlhotlhomisitse ka moo ditiragalo tseno di bopang segopotso sa morago go ya ka tiori ya Marianne Hirsch le Cathy Caruth. Ditiori tsa ga Susan Sontag le Jean Baudrillard di tlhalosa ka moo kgopolo e ikaegang ka peeletso ya ikakanyetso le thanolo ka gona, e etsisa dilo tsa maloba, moo e leng gore ditlamorago e nna tsona ditlapele go feta pontsho e e nepagetseng le ya nnete ya ditiragalo tse di bakileng manokonoko. / Art and Music / M.V.A.

We generalize the work of Gelbart, Miller, Pantchichkine, and Shahidi on constructing p-adic measures to the case of totally real fields K. This measure is the Mellin transform of the reciprocal of the p-adic L-function which interpolates the special values at negative integers of the Hecke L-function of K. To define this measure as a distribution, we study the non-constant terms in the Fourier expansion of a particular Eisenstein series of the Hilbert modular group of K. Proving the distribution is a measure requires studying the structure of the Iwasawa algebra.

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This dissertation is a historical and theoretical study of a number of discourses examining colour and cinema during the period 1909 to 1935 (trade press, film reviews, publications on film technology, manuals, catalogues and theoretical texts from the era). In this study, colour in cinema is considered as producing a number of aesthetic and representational questions which are contextualised historically; problems and qualities specifically associated with colour film are examined in terms of an interrelationship between historical, technical, industrial, and stylistic factors, as well as specific contemporary conceptions of cinema. The first chapter examines notions concerning the technical, material, as well as perceptual, origins of colour in cinema, and questions concerning indexicality, iconicity, and colour reproduction, through focusing on the relationship between the photographic colour process Kinemacolor, as well as other similar processes, and the established non-photographic colour methods during the early 1910s, with an in-depth analysis of the Catalogue of Kinemacolor Film Subjects, published in 1912. The second chapter examines notions concerning the stylistic, formal and narrative functions of colour in cinema, featuring a survey of the recurring comparisons between colour and sound, found in the writing of film history, in discourses concerning early Technicolor sound films, film technology, experimental films and experiments on synaesthesia during the 1920s, as well as Eisenstein’s notions of the functions of colour in sound film montage. The third chapter examines the question of colour and meaning in cinema through considering the relationship between colours and objects in colour film images (polychrome and monochrome, photographic and non-photographic) during the time frame of this study.