Bibliography: leaves 274-303. / vi, 303 leaves ; 30 cm. / Title page, contents and abstract only. The complete thesis in print form is available from the University Library. / This study places the radicalisation of art music in early post-War France in its broader socio-cultural and political context. / Thesis (Ph.D.)--University of Adelaide, Performing Arts, 2000

This thesis concentrates on the cause, structure, location and context (rather than the function) of factions within the French Parti Socialiste, from the Congress of Epinay, in June 1971, until Mitterrand's election as Socialist President of the Republic, on May 10th, 1981. It argues that factionalism results from a complex, interrelated cleavage structure: groups are differentiated according to a number of salient variables, of which the most important are personality (accentuated by the presidentialised Fifth Republic); ideology/policy; strategy/tactics; organisational interests and different historical origins. Factional relations are a product both of the intra-party consequences of the party's external objectives, and the internal dynamic created by factional competition itself. The party is thus an evolutive, rather than a static entity. [continued in text ...]

This thesis has its starting-point in a recognition that, so far, Maurice Blanchot's work has been considered as posing its critic an impossible problem. In recognising this, however, it does not seek merely to provide advance justification for its own shortcomings. On the contrary, it sets out to demonstrate that the impossibility of accounting for Blanchot's work arises not simply because he is a 'difficult' author, but because his sole ambition has been to call into question the entire categoric framework of possibility in terms of which we seek to approach him. The task it seeks to fulfil is thus to locate the gradually occurring break with traditional categories which is at the heart of Blanchot's work. On the basis of close attention to the variants between his finished works and the original texts which constitute them, it seeks to transform his work from the forbidding, self-sufficient universe it is generally taken to be, and, by replacing Blanchot in his neriod, to show how he brings about a gradually evolving transmutation of the forms and structures within which literature is traditionally contained. The period it examines lies between the appearance of Thomas l'obscure in 1941 and that of L'Espace littéraire in 1955. More precisely, by detailed study of L'Arrêt de mort and of the development of his criticism from La Part du feu to L'Espace littéraire, it seeks to reveal how, in the domain of fiction and in that of criticism, Blanchot sets about subverting the very structure of language, preparing the way for the new literary idiom which is his today, and in which fiction and theory coexist in a single philosophical discourse of great originality.

Paule Maurice (1910-1967) is the little known composer of Tableaux de Provence: Suite for Saxophone and Orchestra, one of the most frequently recorded and studied classical saxophone compositions in history. A more in depth study of Paule Maurice reveals a talented composer and dedicated professor whose career at the Conservatoire National Supérieur de Musique de Paris and l'Ecole Normale de Musique de Paris spanned over twenty-five years until her untimely death at age fifty-seven. Maurice composed for theatre, ballet, French National Radio, orchestra, voice, piano, flute, clarinet, and saxophone. There is question as to the whereabouts of many of her manuscripts. This thesis attempts to bring to bear the life and accomplishments of a talented French composer not well remembered in music history. / by Anthony Jon Moore. / Thesis (M.A.)--Florida Atlantic University, 2009. / Includes bibliography. / Electronic reproduction. Boca Raton, Fla., 2009. Mode of access: World Wide Web.

Thesis (Ph. D.)--Massachusetts Institute of Technology, Dept. of Architecture and Planning, 1997. / Includes bibliographical references (v. 3, leaves 470-517). / This dissertation is an historical inquiry into the role played by new building materials in the formation of architectural modernism in France. It proceeds on the theoretical assumption that a "material" is not a technical given -- a securely defined entity in the physical and linguistic senses -- but an architectural construct whose "inherent properties" are a matter of interpretation. It suggests that within a specific architectural culture, the conceptions and uses of a material are defined by concerns that are not only constructional but involve architectural doctrines, building practices, aesthetic projects, and cultural strategies. Since the publication of Sigfried Giedion's Bauen in Frankreich. Bauen in Eisen. Bauen in Eisenbeton (1928), reinforced concrete has been commonly accepted as the common denominator of French modernism. The dissertation questions this interpretive assumption, focusing on the changing conceptions of the material as an index of transformations in French architecture and architectural culture. It covers a period that spans from the Universal Exhibition of 1889 to the early 1930s, a period which saw the development of reinforced concrete in French architecture, from its emergence within architectural discourses to its inscription within early modernist historiography. Through a close examination of contemporary books and periodicals, unpublished sources, and graphic documents, the dissertation explores the theories and works that framed the critical relationship of new material to French modernism. Inaugurated with the late nineteenth-century demise of metal as the leading material in architectural theory, the preeminence of reinforced concrete in French architecture was marked by the dispersion of rationalist tenets into competing architectural programs. The First World War was a pivotal event in this process. Of principal importance were the positions of Auguste Perret and Le Corbusier. While Perret insisted on continuity with prewar practices, emphasizing the role of craft production, Le Corbusier embraced the rupture brought about by the societe machinique, shifting towards the idea of industrialized construction. These positions were key to the technical and aesthetic definition of the modem house, from the function of the concrete frame to the nature of external revetments. They also led the way to the cultural and ideological debates that ensued on the nationality of the material and the sources of modem architecture. In the late 1920s the return of metal merely underscored the "rhetoric of materials" in the definition of French modernism. / by Réjean Legault. / Ph.D.

This thesis is a study of the organisations, behaviour and attitudes of a group of parliamentarians, conventionally described as the "Right", between 1905 and 1919. The Right is defined as comprising those deputies and senators who belonged to parliamentary groups which were almost united in opposing the law of Separation of the Churches and the State. It is pointed out in the Introduction that categories, suggested by writers such as Goguel, Rémond and Thibaudet, which attempt to describe more meaningfully the divisions in French politics are not particularly useful for the purposes of this study. Members of the Right were, before the passing of the law of Separation, in varying degrees conservative on the religious issue. They were united in opposition to the ministries of the years 1899 to 1906. They shared the same antipathies but lacked a positive aim. The Right could be described as a coalition as long as a bond of mutual sympathy lasted. After 1905 it rapidly disappeared. Section I contains a description of the electoral and parliamentary organisations of the Right and the effects upon them of four general elections. Those groups, which had no representatives in parliament, the most celebrated being the Ligue de l'Action Française, are outside the scope of this study. The parliamentary and electoral organisations were weak, divided and undemocratic. In 1905 most of them were of recent formation. They were formed during a period when there was a sharp division in French politics. The blurring of this division and successive electoral defeats took much of the life out of them. Only the electoral organisations had formal constitutions and these provide useful illustrations of the nature of the organisations. They were oligarchic and their importance depended on the stature of their leaders. At elections they approved rather than sponsored candidates. The parliamentary groups met infrequently and had no control over their members. But group membership is a useful guide to the political tendencies of deputés. The Senate groups became, after 1906, more eclectic and therefore a less useful guide to the opinions of their members. The major national issue of the election campaign of 1906 - the religious question - separated the Right from all other political tendencies. In 1910 the three main issues - the question scolaire, income tax and proportional representation - were confused and submerged by discussions about Briand and his policy of apaisement. On the main issues in 1914 - the Three Years Law and proportional representation (the question scolaire and income tax were of lesser importance) - the attitudes of the Right were shared by men of other political tendencies. The major issue of 1919, anti-socialism, provided common ground for all members of the Right and the Centre. Thus between 1905 and 1919 the Right became progressively less isolated in election campaigns. In Section II those issues on which the Right is usually thought to have distinctive views are examined. The most obvious of these is the clerical question. The difference of opinion within the Right on this question and the decline in its parliamentary importance are described. The formation of the bloc national marks the symbolic end to the isolation of the Right on the religious issue. It lived on as a divisive factor in politics but it no longer had the same primary importance that it possessed in 1905. On the constitutional question the Right was divided within itself as well as from its opponents. Republican, plebiscitary, corporative, bonapartist and monarchist ideas were defended by different sections. Since neither monarchist restoration nor major constitutional revision was a serious possibility curing this period, constitutional discussion was academic. But the ideas of members of the Right usefully illustrate the way they approached basic political problems. Under the heading "External Affairs" the views of the Right on colonial and foreign affairs are considered. Apart from a certain amount of polemical extremism and hints of racialism, the views of the Right varied in degree and not in kind from those of the Centre. The nationalists, who were noisy patriots, were more concerned about the enemy within than the enemy without. Few paid much attention to the practical difficulties which occured in the daily conduct of affairs. In Section III a diversity of subjects are treated under the general heading of "Interest". No group had a monopoly of deputies engaged in a particular activity. General patterns of personal interests emerge but they give no precise indication of individual political views and behaviour. The behaviour of the groups of the Right towards the ministries is described as this forms a background to (although it was not directly related to) discussions on social and financial measures. It also illustrates the evolution of the parliamentary tactics of the Right from disapproval of all anticlerical ministries to obvious preference for some ministries and eventually during the First World War, to support for governments. Some deputies and senators of the Right expressed views on the way in which society should be organised and on possible methods of resolving social discord. These are examined as an introduction to the reactions of the Right to trade unions and strikes. The attitude of the Right on the social question became progressively more negative. The preservation of the status quo became the primary consideration. The social and financial reforms, proposed by the Left to redistribute power and wealth within the community, were opposed by the Right. But there were divisions within the Right on the lengths to which opposition should be carried. Moreover the Right was never isolated in its opposition to these measures. The reason why the bills nationalising the Western railway, introducing old age pensions and income tax were delayed for so long was opposition in the Centre rather than on the Right of the Chamber and Senate. The passing of these bills and their acceptance by public opinion had a somewhat similar effect to the passing of the law of Separation. It removed them from public discussion and they lost their political importance. The thread running through the period 1905 to 1919 is the growing realisation by most of the Right that they had much in common with the Centre. There was something of a realignment in parliament and the country, with socialism replacing clericalism as the great divisive force. This realignment should not be overstressed. In parliament the most significant feature about the Right as a whole was not their shared beliefs and common tactics (which were minimal) but the fact that they were all in some way left out of the regime. Even in the Chambre bleu horizon there was a minority on the Right of the Chamber, as large as the opposition of the Right at the end of 1906, which was hardly represented in the cabinets of 1919 to 1924. More space is given to describing opinions rather than activities because the important initiatives taken by members of the Right were very few in number and present no difficulties. For most of the period the Right was a relatively passive opposition. External circumstances moulded attitudes and organisations. These circumstances are mentioned only briefly.

At the beginning of the twentieth century, the primitive played a crucial role in the emerging European modernist aesthetic. While art historians have been exploring the role of primitivism in modern art for decades, this area of research has received little attention in musicology. In this dissertation I examine how primitivism is constructed in modern French culture as manifest in three of the most important avant-garde stage works of the first part of the century: the Ballets Russes's Le Sacre du printemps (1913) and Les Noces (1923), and the Ballets Suedois's La Creation du monde (1923). Relying on primary sources such as reviews, other historically relevant documents, as well as the art historical literature, I trace the evolution of the cultural role of primitivism in pre- and post-World War 1 French culture. / French critics of Le Sacre viewed the work as a portrayal of Russian "Otherness" against which they could assert or question their own identity. Whereas the primitivism of Le Sacre was understood to be radical, excessive, even prophetic and apocalyptic, the primitivism of Les Noces was perceived as a manifestation of the classicist "call to order" and as an emblem of American-style mechanization. That it was also understood in terms of the post-war avant-garde's emphasis on classical ideals of austerity, dryness, and sobriety reflects the Purists' belief that machines heralded the new classicism. / Jazz was the ultimate symbol of both primitivism and modernity, and was initially hailed by the avant-garde as a revivifying source for the French tradition. In their attempt to neutralize the racial and political threats perceived to be inherent in jazz, the avant-garde emphasized its rationality, precision, and economy. La Creation du monde represents the avant-garde's complete assimilation of jazz and l'art negre into the French classical tradition.

The purpose of this study is to define the French sonatina of the twentieth century, to expose those works which are most suitable for concert performances, and to provide a resource for teachers and performers. Of the seventy-five scores available to the writer, five advanced-level piano sonatinas of the twentieth century were chosen as the best of those by French composers, in attractiveness and compositional craftsmanship: Maurice Ravel's Sonatine (1905), Maurice Emmanuel's Sonatine VI VI(1926), Noel Gallon's Sonatine (1931), Alexandre Tansman's Troisieme Sonatine (1933), and Jean-Michel Damase's Sonatine (1991). The five works were analyzed, with a focus on compositional techniques used to create unity in the work. In comparison to the classical model of the late-eighteenth and early-nineteenth centuries, the French sonatina of the twentieth century exhibits four new features. First, it is more expansive in length and has greater philosophical depth. Second, there is an emphasis on unity at the motivic and thematic levels in which the development of material, based on the techniques discussed, occurs throughout a movement instead of being limited to a "development" section. Third, the formal structures are more flexible, allowing for cyclic quotations and the accommodation of varying styles. Fourth, the advanced technical skills indicate that these compositions are intended not as pedagogical pieces but as concert works. Chapter I introduces the topic, stating the purpose and need of the study. Chapter II presents a brief history of the sonatina, with particular attention given to the sonatina line France, and background information on each of the five composers. Chapters III through VII are each devoted to an analytical discussion of one of the five sonatinas. Conclusions based on the analyses are given in Chapter VIII. Appendices included an annotated listing, by composer, of all French sonatinas which were involved in the research and a selected discography.

No description available.

Based on Thesis (Ph. D.)--University of London, 2002. / Includes bibliographical references (p. [161]-170) and index. "List of recordings and websites": p. [171]-172.