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Si la transgression se rencontre dans l’historiographie, elle n’a cependant jamais donné lieu à une véritable théorisation. C’est l’objet de cette thèse d’en dresser une définition qui en fait la contestation d’une loi en appui sur une volonté, la conscience d’une possible sanction, la projection d’un au-delà normatif et une capacité de nuisance contre l’autorité. La validité du concept a été éprouvée en le confrontant aux rapports de police quotidiens rédigés dans le Nancy occupé de 1940 à 1944. L’objectif est d’étudier comment la transgression se transforme en un phénomène d’envergure au point d’apparaitre comme une nouvelle normalité. Dans un premier temps, l’analyse des conditions de la déviance dresse l’état des lieux d’une société provinciale en temps de guerre et les mutations physiques et humaines du territoire urbain. Les champs de la transgression dévoilent, ensuite, le caractère protéiforme de la désobéissance au niveau politique, des opinions, de la violence, de l’économie, des mœurs, des mobilités, des identités et des attitudes. On y croise à la fois les phénomènes de collaboration, de Résistance, de déportation, les comportements journaliers de survie aussi bien que les imaginaires et les représentations. Enfin, l’analyse approche le transgresseur à hauteur d’homme pour dresser une sociologie du crime, construire le portrait-type du déviant et approcher des figures singulières de résistants, de Justes, ou de conformiste critique. Au final, les 1550 jours d’occupation plongent Nancy dans un hors-temps où l’« a-normal » est la règle. L’angle de la transgression permet de comprendre les stratégies mises en œuvre par le corps social pour tenter de s’y adapter / Although transgression has already been dealt with in historiography, its theorising has never been fully and thoroughly achieved. This thesis aimt at providing a definition that will be read as the result of a law-challenging will combined with the awareness of looming threats, the ability to build up strategy beyond a normative framework together with the ability to undermine existing power. The concept has been tested and validated through 1940-1944 daily police reports that were written in then German-occupied Nancy. The aim is to study how transgression becomes and overwhelming phenomenon so that it almost looks like conventional normality. First, the study of the way deviance was implemented gives us information about war-time provincial society and about physical changes in urban landscape. Transgression thus reveals its multifaceted aspects in political disobedience, opinions, violence, economics, morals, transport, identity and behaviour. There we’ll follow the markers of collaboration with the nazis, resistance, deportation, survival behaviour as well as psyche and mental representations. Last the transgressor will be analysed on a human scale in order to build up a sociology of crime, draw up the typical profile of deviant people and make you closer to notable figures of resistants fighters, those entitled « Righteous among the nations » and meet conventional yet critical citizens. Those 1550 days in German-occupied Nancy give the opportunity to steep yourself into times when ab-normality was the rule. The view through the prism of transgression should allow us to better understand the strategies implemented by society to fit with the situation

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No description available.

Indiana University-Purdue University Indianapolis (IUPUI) / The First World War was a long stalemated war in which millions of men fought and died. Many studies have looked at the reasons soldiers fought and stopped fighting. In this study, the perceptions that Belgian soldiers had of their enemy, Germany, are looked at. The Belgian army was stationed on a small part of the front at the coast, the last part of Belgium that is un-occupied. The war can be divided into three phases: the first phase is the invasion until the Germans were stopped, the second begins with the stalemate and the development of trench warfare on the Western Front, and the third and last phase is the pushing back of the Germans and final victory. In the first phase with the invasion and brutality of the Germans in Belgium, Belgian soldiers formed a view of Germans as barbarians, capable of anything. With the second phase the perceptions started to diverge among the men, depending on experience and surroundings of the soldiers; some get use to their new environment, old and new conflicts resurfaced, Germans faded into the background. On the other hand the war was still going on, violence of war was all around them, and brothers in arms were killed. In the third phase soldiers became enthusiastic again because of the prospect of being able to go home. With the ending of the war old grudges were not settled. The Peace treaty was not what was expected. A lot of memorials built at the time reflected views of Germany that very explicitly highlighted their perceived misbehavior, especially at the beginning on the war. Naturally this led to tensions between Belgium and Germany. Many Belgians never forgot what happened during the war, nor let go of their views that were formed.

Thèse réalisée en cotutelle avec l'Université Paris-Sorbonne. La version intégrale de cette thèse est disponible uniquement pour consultation individuelle à la Bibliothèque de musique de l’Université de Montréal (www.bib.umontreal.ca/MU). / Si la vie musicale en France sous l’Occupation est aujourd’hui un champ de recherche bien balisé, le parcours de l’un des compositeurs majeurs de cette période, Marcel Delannoy (1898-1962), n’a encore fait l’objet d’aucune étude approfondie. Appuyé sur un large éventail de sources, dont le riche fonds Delannoy conservé à la BnF, ce travail vise à combler cette lacune en situant Delannoy dans le contexte plus large d’une génération particulièrement exposée sous Vichy. Dans ce contexte coercitif mais favorable à la création musicale, plusieurs compositeurs de cette génération (notamment Poulenc et Honegger) sont en effet impliqués dans diverses activités qui révèlent leurs engagements et leur degré d’accommodation face à la situation d’Occupation. Pour rendre compte des activités de Delannoy sous Vichy, il s’est avéré nécessaire d’élargir la périodisation. D’abord parce que son principal projet et succès de la période, Ginevra, un opéra créé en 1942 à l’Opéra-Comique, est le fruit d’une commande d’État de 1938. Et plus généralement parce que ses choix musicaux et extra-musicaux, comme ceux de ses contemporains, ne peuvent être compris dans le seul contexte des 4 années d’Occupation. Delannoy, qui se fait connaître à la fin des années 1920, est un compositeur actif dans les entreprises de popularisation de la culture des années 1930, tandis que son style musical éclectique et accessible conquiert un large public. En 1942, son opéra Ginevra est très bien accueilli en raison de son inscription dans le genre français de l’opéra-comique, de ses emprunts éclectiques et de ses références à la musique du passé. Mais ce moment de grande médiatisation s’accompagne de plusieurs compromissions : critique musical d’un journal collaborationniste, membre du groupe Collaboration et de la délégation française invitée à Vienne pour la Semaine Mozart du Reich allemand (1941), Delannoy prend part à plusieurs projets de collaboration culturelle. À la Libération, ces compromissions lui sont reprochées : il est sanctionné par différentes instances officielles d’épuration et fait en outre l’objet d’une épuration plus informelle. Au croisement de l’histoire et de la musicologie, cette approche monographique qui situe le compositeur étudié dans sa génération vise plus largement à rendre compte des conséquences de l’Occupation sur les carrières des compositeurs, de leurs engagements et du rôle qu’ils ont tenu dans la politique musicale de Vichy et de l’occupant. / Although the French musical life during the Occupation is now a familiar field of research, no detailed study has been made of Marcel Delannoy (1898-1962), one of the most important composers of the period. Supported by a wide range of sources, including the large collection of Delannoy’s papers conserved at the BnF, the present work aims to fill this gap by situating Delannoy in the larger context of a generation of musicians that were especially visible during the Vichy years. In this context, both coercive and favorable to musical creation, several composers (notably Poulenc and Honegger) were indeed involved in a number of activities that reveal their commitments and the degree of adaptation when faced with the Occupation. To account for Delannoy’s activities under Vichy, it was necessary to extend the period under study: his principal project and success of the period, Ginevra (an opera premiered in 1942 at the Opéra-Comique), was the result of a 1938 State commission; more generally, his musical and extra-musical choices, much like those of his contemporaries, cannot be understood if they are restricted to the four years of the Occupation. Having made his name in the 1920s, Delannoy participated in the 1930’s ventures of cultural popularization, while his eclectic and accessible style won him a large public. In 1942, his opera Ginevra was very well received thanks to its ties to the traditional genre of French opéra-comique as well as its eclectic borrowings and references to the music of the past. Very much in the public eye, Delannoy also compromised himself in different ways: as a musical critic of collaborationist newspaper, as a member of the “Groupe Collaboration” and of the French delegation invited to Vienna for the Mozart Week of the German Reich (1941), he took part in several projects of cultural collaboration. It is because of these activities that the composer was penalized by professional and judicial purges following the Liberation, and also by a kind of more informal épuration. At the intersection of history and musicology, this monographic approach which places the composer in the context of his generation aims at a broader understanding of the Occupation’s consequences on composers’ careers, their political commitments, and the roles they played in the musical politics of Vichy and the German occupier.

Si la vie musicale en France sous l’Occupation est aujourd’hui un champ de recherche bien balisé, le parcours de l’un des compositeurs majeurs de cette période, Marcel Delannoy (1898-1962), n’a encore fait l’objet d’aucune étude approfondie. Appuyé sur un large éventail de sources, dont le riche fonds Delannoy conservé à la BnF, ce travail vise à combler cette lacune en situant Delannoy dans le contexte plus large d’une génération particulièrement exposée sous Vichy. Dans ce contexte coercitif mais favorable à la création musicale, plusieurs compositeurs de cette génération (notamment Poulenc et Honegger) sont en effet impliqués dans diverses activités qui révèlent leurs engagements et leur degré d’accommodation face à la situation d’Occupation. Pour rendre compte des activités de Delannoy sous Vichy, il s’est avéré nécessaire d’élargir la périodisation. D’abord parce que son principal projet et succès de la période, Ginevra, un opéra créé en 1942 à l’Opéra-Comique, est le fruit d’une commande d’État de 1938. Et plus généralement parce que ses choix musicaux et extra-musicaux, comme ceux de ses contemporains, ne peuvent être compris dans le seul contexte des 4 années d’Occupation. / Although the French musical life during the Occupation is now a familiar field of research, no detailed study has been made of Marcel Delannoy (1898-1962), one of the most important composers of the period. Supported by a wide range of sources, including the large collection of Delannoy’s papers conserved at the BnF, the present work aims to fill this gap by situating Delannoy in the larger context of a generation of musicians that were especially visible during the Vichy years. In this context, both coercive and favorable to musical creation, several composers (notably Poulenc and Honegger) were indeed involved in a number of activities that reveal their commitments and the degree of adaptation in the face of the Occupation. To account for Delannoy’s activities under Vichy, it was necessary to extend the period under study: his principal project and success of the period, Ginevra (an opera premiered in 1942 at the Opéra-Comique), was the result of a 1938 State commission; more generally, his musical and extra-musical choices, much like those of his contemporaries, cannot be understood if they are restricted to the four years of the Occupation.

In this diploma thesis with the title Children in the Protectorate of Bohemia and Moravia I try to look at war period through children's eyes. At first I focus on children of Czech then German, Jewis and finaly Roma origin. I constantly deal with events, institutions and places that have essentially influenced their lives. In chapter about Czech children I pay attention to their education, Curatorium for youth education in Bohemia and Moravia, internment camps, the fate of children whose parents were imprisoned or executed and children from Lidice and Ležáky. In connection to German children I also don't forget the project Kinderlandverschickung. Next chapters deals with children of Jewish and Roma origin, their persecution and concentration camps. I attempt to capture daily reality of children in this period and in last two chapters deal with children's relationships with their parents and with other children.

Orientador: Pedro Paulo Abreu Funari / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-08-04T02:46:20Z (GMT). No. of bitstreams: 1 Silva_GlaydsonJoseda_D.pdf: 1833896 bytes, checksum: 0dc2ffab6a911066f09ab355ccba7cc9 (MD5) Previous issue date: 2005 / Resumo: Este trabalho tem por objetivo analisar os usos do mundo antigo, pela História e pela Arqueologia, como forma de estabelecer compreensões do mundo contemporâneo. Propõe uma reflexão acerca do papel do passado nos jogos de estratégia e afirmações identitárias, à medida que percebe os estudos sobre a Antigüidade muito próximos das representações coletivas na contemporaneidade. Parte da premissa de que o saber sobre o passado, sua e escrita e suas leituras, são poderes e geram poderes. Do ponto de vista temático, trata da apropriação do passado gaulês, romano e galo-romano na França durante o Regime de Vichy (1940-1944). Mas trata, também, da inserção do objeto num contexto mais amplo, europeu, na medida em que analisa as instrumentalizações da Antigüidade pelo Nazismo e pelo Fascismo. Aproxima-se do objeto com uma análise das figurações da Gália e dos gauleses na historiografia francesa, principalmente a partir do século XIX. Trata do estatuto dos historiadores ao se relacionarem com os poderes do Estado, especificamente, no caso, de Jérôme Carcopino, notável romanista que foi ministro da educação sob Vichy. Por perceber na sociedade francesa atual uma presença muito marcante da Antigüidade, como forma de legitimação de direitos, advindos da origem, analisa-se, também, as formas de apropriação do mundo antigo pelas extremas direitas, representadas no trabalho pelo Front National e pelo grupo Terre et Peuple / Abstract: The purpose of this research work is to analyze the uses of the ancient world by the fields of History and Archaeology as a way to establish understandings of the present world. As ancient studies are very close to present time collective representations, this study proposes a reflection on the role of past in strategy and identity affirmation games. It has as a premise the notion that knowledge of the past, its writing and its interpretations, are powers and create powers. In terms of subject, this study focuses on the appropriation of the Gaul, Roman and Gaul-Roman past during the Vichy Regime (1940-1944). It also analyzes the subject within a greater European frame, for it focuses on the 'instrumentalizations¿ of Antiquity by the Nazi and Fascist regimes. It analyzes, especially from the 19th century on, the characterizations of Gaul and Gaul people in French historiography. It focuses on historians¿ status while they related to State powers, as in the case of Jérôme Carcopino, remarkable scholar in Roman studies, who was Minister of Education under the Vichy regime. As Antiquity is present everywhere in modern French society, this research work also analyzes the different forms of appropriation of the ancient world by extreme Right parties, represented in the text by the Front National party and the Terre et Peuple grou / Doutorado / Historia Cultural / Doutor em História

The Reichsleiter Rosenberg Task Force of 1940, initiated a systematic confiscation of items belonging to Jews throughout Europe. Because of this task force and Hitler's decrees, Jews across Europe were labeled as stateless, and were stripped of ownership and rights to property. Not only did these actions devastate Jews economically, but intellectually and artistically as well. In parts of occupied France, this task force was legitimized by Vichy laws under the label of the Commissariat Générale aux Questions Juives (General Commission for Jewish Issues) and enabled Nazi officials to closely watch Jewish musicians and stop them from performing their music, profiting from anyone else performing it, and to halt any public performance of Jewish compositions. This dissertation exhibits the lost legacy of one such Jewish musician, Józef Szulc. It discusses him as a musician of great importance in the ongoing recovery of Jewish culture, music, and life during World War II. His musical output has historical notoriety, as seen through reviews and performance history. The study of Vichy laws and their effect on Jewish musicians in Paris during the Nazi occupation provides the socio-political context for Szulc's life. It also provides the most plausible reason why his contribution to French vocal music was almost entirely lost. Szulc's success with his operetta compositions created a trajectory of performances that lasted well into the late 1920s and early 1930s.