1ère partie de la: Thèse--Lettres--Paris IV, 1979. / Autre forme du titre général : "Le Culte de la fortune à Rome et dans le monde romain" Bibliogr. p 483-488. Index.

Texte remanié de la 2e partie de la: Th.--Lettres--Paris IV, 1979. / Autre forme du titre général : "Le Culte de la fortune dans le monde romain" Bibliogr. p. 307-308. Index.

Texte remanié de: Thèse de Doctorat--Université Jagellone, Cracovie, 1977. / Mention parallèle de titre ou de responsabilité : Ikonografia Fortuny w cesarstwie rzymskim : i w P.N.E.-IV w. N.E. Notes bibliogr.

Xenophon. who marched so many perilous Persian parasangs as a soldier-of-fortune and survived. has probably penned the most exciting, if not the best, memoirs by a mercenary to date. Moreover, for the military historian wishing to inquire into the human as well as the political aspects of hoplitemercenary service, the Anabasis is the only in depth eye-witness account of an ancient Greek mercenary venture available. Of course the Anabasis is partisan and, at times, the contemporary reader cannot help but think that Xenophon's imagination is running away with him a bit. Nevertheless, his inside view of the complex relationships between mercenary-captains, the employers who employ them, the troops who follow them, the Spartans who use them, and those who mistrust them, has much more than just a passing value. Throughout mercenary history the balance between these groups has always been delicate, and, needless to say, the vicissitudes tend to follow the same pattern. Mercenary service was, and still is, a rather uncertain and dangerous vocation. We only have to read, for example, Colonel Mike bare's Congo memoirs to realise this. Apart from Xenophon himself and the mercenary-poet, Archilochos, the ancient literary sources generally supply little by way of data on such matters as recruitment, conditions of service, and the basic hopes, fears, and habits of those many individual hoplites who took up the mercenary calling as a way of life. And so, in order to capture the spirit of mercenary soldiering and thus pursue more closely the pertinent questions of motives, money and the military value of professional hoplitemercenaries, this thematic inquiry also draws upon first-hand testimonies afforded by more recent mercenary soldiers. In so doing, the inquiry has aimed at a synthesis of the available material, both ancient arid modern, and thus, one hopes, has achieved a net positive result in which not only the mercenary-captains are better illuminated, but, also, the rank and file of a mercenary army are partially rescued from obscurity and given a voice.

Cette thèse a pour objet les textes de Walker Evans (1903-1975), publiés de son vivant et signés de son nom. Figure majeure de la photographie américaine, dès l'exposition "American Photographs", au Museum of Modern Art (MoMA) de New York en 1938, et le livre éponyme, Evans a d'abord voulu devenir écrivain. Sauf une décennie fondatrice pour son oeuvre photographique, du début des années 1930 au début des années 1940, il n'aura, de sa vie, cessé d'écrire. Il a cependant peu théorisé sur la photographie, et ne s'y est résolu que tard. Un essai est consacré à la relation d'Evans, photographe, à l'écriture ; une anthologie réunit la plupart de ses écrits et propos, chaque texte bénéficiant d'une introduction qui le présente et l'analyse,s'appuyant notamment sur les Walker Evans Archive conservées au Metropolitan Museum of Artde New York ; un volume iconographique reproduit des publications d'Evans alliant ses textes et des images. Critique pour le magazine Time (1943-1945), au côté de son ami Agee, puis collaborateur du magazine Fortune (1945-1965), Evans invente dans ce périodique une forme de portfolio juxtaposant texte court qu'il rédige et images, les siennes ou celles d'autres, sur dessujets relevant souvent d'une culture vernaculaire. Il signe par ailleurs dans la presse des critiques,notamment sur la photographie. À partir de la fin des années 1960, alors qu'il enseigne à l'université Yale de New Haven, il publie plusieurs textes essentiels pour l'histoire du médium,dont un entretien avec Leslie Katz, au moment de sa seconde rétrospective au MoMA en 1971.Evans y fonde l'expression "style documentaire", qui qualifie sa photographie, et entraîne avec elle tout un pan de la création contemporaine. Hors Atget, les références qu'il donne pour son art sont littéraires, Flaubert et Baudelaire, ou James, Proust, Nabokov – indiquant l'importance qu'eurent toujours à ses yeux l'écriture, et le style. / This thesis aims to provide a critical study of the texts Walker Evans (1903-1975) signed and published during his lifetime. One of the most important photographers of the United States, from his exhibition "American Photographs," at the Museum of Modern Art(MoMA) of New York, and the eponymous book, in 1938, Evans first wanted to become a writer. With the exception of one decade, from the early 1930s to the early 1940s, when hefocused solely on photography and produced the core of his work, never in his life did Evansstop writing. However, he did not theorize about photography but sparingly, and quite late in life. An essay is considering the relation of the photographer to writing ; a selective anthology gathersmost of his texts, each with an introduction which presents and analyses its contents, in the light of sources from the Walker Evans Archive at the Metropolitan Museum of Art in New York; an iconographical volume reproduces Evans's publications combining his texts and images. Evanswrote as a critic for Time Magazine (1943-1945) beside his friend Agee, then contributed to Fortune(1945-1965). He there invented the form of portfolios combining a short text he would write and images, either by him or by others, often times on vernacular subjects. Furthermore, he would sign critical essays in various periodicals, particularly on photography. From the end of the 1960s, while he was teaching at Yale University, he would publish a few theoretical writings which are decisive for the history of the medium, notably the interview with Leslie Katz which was published at the occasion of Evans's second retrospective at MoMA, in 1971. Here Evans coined the phrase "documentary style", which qualified his own photography, and would apply to manyworks by contemporary artists. At get being his main reference for photography, the other references he mentions are principally literary: Flaubert and Baudelaire, or James, Proust, Nabokov. They indicate how concerned the photographer was, always, with writing, and style.

With such an indicative adjective as ¡§fortunate¡¨ in its title, Daniel Defoe¡¦s Roxana interests readers in how fortunate the heroine is and in what sense she is called fortunate. Finishing reading the story of Roxana, readers are also concerned about why the fortunate mistress ends up in calamity. Therefore, this thesis sets out to explore how Roxana fortunately becomes powerful and to explain why she ironically ends up a tragedy. In terms of the financial prosperity she achieves, it is apparent that Roxana can never make it without the fortunate blessing of her remarkable beauty. Being a beautiful woman, she attracts one powerful man after another, and this attraction is the source of her large fortune. In other words, this thesis focuses on the influence and power of personal beauty, and more importantly, on how Roxana uses her beauty to manipulate those powerful men to benefit herself greatly. Her power comes from the exertion of the power of her beauty. Although Roxana is fortunately beautiful, her fortune, however, is decided by her character too. Roxana¡¦s tragedy results from an ambitious mind, that cannot, however, reconcile itself to her chosen style of life. As a result, although she is living a seemingly comfortable life, her unbalanced and disturbed state of mind leads to nothing but a tragic ending. In sum, this thesis, adopting textual analysis, aims at tracing Roxana¡¦s power and tragedy in association with the most formative element of the story, her beauty. Recent research has shown that being beautiful translates into being privileged and favored in many respects, and Roxana¡¦s story bears out these findings in the eighteenth century. In addition, although Roxana¡¦s final tragic ending renders her a failed social climber, she is, however, truly a fortunate mistress, who, riding on the Wheel of Fortune, can always fortunately rise whenever she is unfortunately reduced. In other words, Roxana¡¦s beauty, power and tragedy are all her fortune and how they interrelate is the principal concern of this thesis.

Texte remanié de: Thèse de doctorat--Histoire moderne--Paris 4, 2005. / Bibliogr. p. 521-544. Notes bibliogr. PUPS = Presses de l'Université Paris-Sorbonne.

Inaug.-Diss.--Heidelberg. / Bibliography: p. 71-[73].

Although researchers have determined that immigrants are valuable to our society and produced several studies that seek to explain immigrant benefits, little has been done to study whether or not immigrant-founded firms outperform native firms. This report determines whether or not immigrant entrepreneurs are good investments from societal, financial and market perspectives. It analyzes the impact of immigrant founders on 2017 Fortune 500 company performance from a societal, investment and market perspectives. To compile the data set, it utilizes immigration classification from the Center for American Entrepreneurship’s report on 2017 Fortune 500 company founders as a means of categorizing firm immigration status. In order to be included in the sample, there were several requirements: firms had to have a publicly listed security with a Capital IQ identification ID. These criteria resulted in 463 firms. Financial performance and innovation data were gathered through Capital IQ. The analysis seeks to prove or disprove immigrant impact on performance in three categories. The first category, social impact, determined whether or not immigrant-founded firms are good societal investments. The second category, financial impact, determined whether or not immigrant-founded firms are good financial investments. The final category, market stability, determined whether or not immigrant-founded firms are good for overall market stability. There were no statistically significant results for the dependent variables that were regressed. The was a range of R Values, regressions we run with both robust precision adjustments, and Winsor control methods were tested to no avail. This leads to the conclusion that immigrant-founded firms are not better investments than native founded firms at the Fortune 500 level. This held true in all models for each of the 3 theses compiled.

Ma thèse développe le problème de la compatibilité de responsabilité morale et des thèses causales (déterminisme et indéterminisme.) Ce problème est traité en analysant l’importance supposée de deux conditions de la responsabilité: le pouvoir d’agir autrement et le contrôle sur les sources causales du comportement. La condition de possibilités alternatives est envisagée en faisant référence aux exemples à la Frankfurt, tandis que la condition de la source est supportée par les exemples de manipulation. Mon analyse refuse ces deux conditions. L’examen des œuvres de P.F. Strawson et de J. Feinberg montre, à mon avis, qu’il est impossible de définir les conditions de la responsabilité sans prendre position dans le champ de l’éthique normative. Ainsi, j’en viens à analyser la notion d’obligation morale, et je propose finalement un approche contractualiste, basé sur la théorie de T.M. Scanlon. / My thesis develops the problem of the compatibility between moral responsibility and the physical causation of human decisions. This problem is dealt with the supposed relevance of two different conditions of responsibility: the power to choose otherwise and the control over the source of behaviour. The alternative-possibilities condition is examined by reference to the Frankfurt-type examples, while the source-condition is supported by the manipulation examples. My analysis rejects both of those argumentations. The examination of P.F. Strawson’s and J. Feinberg’s works show, in my opinion, that it is impossible to define the conditions of responsibility without embracing some sort of normative ethical theory. So I came to analyse the notion of moral obligation and finally I propose a contractualist approach, based on the works by T.M. Scanlon.