Thèses (M.A.)--Université de Sherbrooke (Canada), 2007. / Titre de l'écran-titre (visionné le 20 juin 2008). In ProQuest dissertations and theses. Publié aussi en version papier.

Ce travail de recherche aborde les stratégies épistolaires et communicationnelles de Bettina von Arnim (1785-1859), femme de lettres allemande, pour prendre part aux débats politiques et sociaux pendant la période du Vormärz. Transgressant les frontières sociales, idéologiques, rhétoriques et celles des genres littéraires, Bettina von Arnim a tenté d’influer sur le roi de Prusse, Frédéric Guillaume IV, au moyen de ses correspondances, de ses ouvrages et de son réseau. Bettina von Arnim a élaboré des stratégies de communication et de persuasion pour secouer un système ministériel rigide et réactionnaire, obtenir des réformes politiques et sociales et modeler le souverain selon son idéal du Volkskönig. Cette étude va s’attacher à montrer les mécanismes employés par Bettina von Arnim pour s’immiscer dans un domaine exclusivement masculin, la politique. / This research project explores the activities and works of Bettina von Arnim (1785-1859), a German literary scholar, taking part in the political and social debates of the period ‘Vormarz’. Covering all social boundaries, ideologies, rhetoric and literary styles, Bettina attempted to influence the King of Prussia, Frederick William IV, with her letters, writings and network. Bettina von Arnim fabricated a persuasive communication strategy to disrupt a rigid ministerial system, get political and social reforms, and influence the Sovereign according to her model of the ‘Volkskönig’. This study attempts to show the tactics employed by Bettina von Arnim to infiltrate an exclusively male political structure. / Diese Dissertation beschäftigt sich mit den Brief- und Kommunikationsstrategien von Bettina von Arnim (1785-1859), die vor allem durch ihre Korrespondenz an den politischen und sozialen Debatten im Vormärz teilgenommen hatte. Unter häufiger Missachtung der sozialen, ideologischen und rhetorischen Gewohnheiten sowie der traditionellen Literaturgattungen war Bettina von Arnim bestrebt, dem preußischen König Friedrich Wilhelm IV. Ratschläge zu erteilen. Bettina von Arnim hat Überzeugungsstrategien entworfen, um einen starren und reaktionären Beamtenapparat zu umgehen und wachzurütteln, politische und soziale Reformen zu erzielen sowie das Staatsoberhaupt in Richtung auf ihr Ideal eines Volkskönigs zu beeinflussen. In dieser Arbeit sollen die von Bettina von Arnim verwendeten Mechanismen untersucht werden, wodurch sie sich in die Politik, eine den Männern vorbehaltene Domäne, einzumischen versuchte.

Les communications entre la France et le Canada, au XVIIIe siècle, étaient caractérisées par un rythme annuel marqué par les saisons et les aléas de la traversée de l’océan Atlantique. Louis-Guillaume Verrier est le procureur général du roi au Conseil supérieur de Québec entre 1728 et 1758. Né en France et déménagé à Québec pour joindre le Conseil supérieur à l’âge de 37 ans, il nous a laissé environ 200 lettres qu’il a reçues au cours de ces 30 années. À la lecture de ces documents, on comprend l’importance d’une bonne organisation pour faire en sorte que les lettres parviennent à leur destinataire de façon efficace. Toutes sortes de personnes écrivent à Verrier, que ce soit des membres de sa famille proche ou de simples connaissances qui désirent obtenir un service pour leur proche au Canada. Les parents et amis du procureur général donnent des nouvelles de leur santé et souhaitent que celle de leur correspondant soit tout aussi bonne. Verrier reçoit aussi beaucoup de nouvelles en lien avec la politique européenne ou les affaires administratives et judiciaires de la métropole. Cela témoigne (indirectement) de sa volonté de rester au courant de ce qui se passe dans le monde qu’il a quitté et traduit à la fois un attachement pour sa contrée d’origine et les gens qu’il ne voit plus, mais également l’espoir d’y retourner un jour pour y poursuivre sa carrière. Habitant d’un monde atlantique, Louis-Guillaume Verrier appartient à la fois au Canada où il réside et à la France où les missives de ses proches le transportent chaque année. / Communications between France and Canada, in the 18th century, were defined by an annual rhythm marked by the seasons and the dangers of crossing the Atlantic. Louis-Guillaume Verrier was the king’s attorney-general at the Conseil supérieur of Québec between 1728 and 1758. Born in France, he moved to Québec to join the Conseil supérieur at the age of 37. He left us around 200 letters that he received during those 30 years. By reading these documents, we understand the importance of a good organization to make sure that the letters reach their addressee efficiently. All kinds of people write to Verrier, from close members of his family to mere acquaintances who wish to obtain services for a relative in New France. Family and friends of the attorney-general send news of their health and hope that their addressee’s is good too. Verrier also receives a lot of news concerning European politics and administrative or judiciary matters. This reflects (indirectly) Verrier’s desire to be kept informed of what goes on in the world that he left behind, pointing to his attachment to his motherland and the people that he no longer saw, but also a desire to return someday to continue his career. Living in an Atlantic world, Louis-Guillaume Verrier belongs at the same time to Canada, where he lives, and to France, where his relatives’ letters take him each year.

Le règne du roi de France Charles VI (1380-1422) est caractérisé par plusieurs bouleversements, le premier étant la folie du roi, déclarée en 1392. En dépit des crises militaire, économique et sociale qui secouent le royaume, il s’agit néanmoins d’un temps fort pour la mise en place de l’État monarchique. L’instabilité permet en réalité à l'autorité royale de durcir ses positions et d’imposer plus efficacement son pouvoir, notamment en matière de justice. Ce renforcement s’appuie en grande partie sur le modèle du droit romain qui est étudié depuis le XIIe siècle par les officiers royaux, à savoir des membres importants de l’administration. Le présent travail analyse la façon dont les principes juridiques hérités de l’Antiquité sont reçus et engagés dans la littérature médiévale pour soutenir des réflexions en matière de justice. Il s’appuie pour cela sur l’étude des écrits de quatre officiers royaux influents : Nicolas de Clamanges, Jean de Montreuil, Laurent de Premierfait et Guillaume de Tignonville. Les concepts qui sont empruntés aux œuvres classiques s’expriment à travers une double affirmation : l’application plus sévère de la justice royale et le recours plus systématique à la peine de mort. Si les attentes des auteurs sont parfois incompatibles avec l’exercice d’une justice guidée par la clémence, les autorités royales tendent toutefois à sanctionner de façon plus rigoureuse. Les relations entre les théories juridiques et leur application sont complexes, mais tendent à converger vers une même voie, dans le cadre de l’affirmation de la souveraineté et de la lutte contre les crimes qui menacent la paix publique. / The reign of Charles VI (1380-1422) of France is characterized by several upheavals, the first one being the king's madness, declared in 1392. Despite the military, economic and social crises that shake the kingdom, it is nevertheless a strong time for the establishment of the monarchical State. The instability actually allowed the royal authority to strengthen its positions and to impose its power more effectively, especially in matters of justice. This strengthening is grounded on the Roman law, which had been studied since the 12th century by royal officers, important members of the administration. The present work analyzes the way legal principles inherited from Antiquity are received and engaged in medieval literature to support thoughts on justice. It is based on the study of the writings of four influential royal officers: Nicolas de Clamanges, Jean de Montreuil, Laurent de Premierfait and Guillaume de Tignonville. The concepts borrowed from the classical works are expressed through a double affirmation: a more severe application of royal justice and a more systematic use of the death penalty. If the authors expectations are sometimes incompatible with an exercise of justice guided by clemency, the royal authorities nevertheless tend to sanction more rigorously. The relationship between legal theories and their application is complex, but tends to converge towards the same path, in the context of the affirmation of sovereignty and the fight against crimes that threaten public peace.

Anne-Louis Girodet Trioson's Portrait of C.[itizen] Jean-Baptiste Belley, ex-representative of the Colonies, is evidence of the changing ideological situation during the French Revolution. Girodet was one of the most learned and accomplished students of Jacques-Louis David who strove to surpass his teacher in two ways: 1) by painting David's Neoclassical style so well that his handling surpasses that of his master, and 2) by choosing subject matter never before explored by David. Girodet accomplishes both within this work. The Neoclassical handling of the image has been achieved with amazing clarity, and the central figure of an identified black man had never been displayed in the Salon previously. The work was without precedent and without progeny. It successfully transcends the boundaries of portraiture into the highest tier of the Academic hierarchy: History Painting. Lacking in the existing scholarship of this portrait as history painting is that the work is successful in fulfilling a didactic and moralizing function, bearing significance to the general public. Scholars have hitherto ignored the striking visual similarities between this and Grand Tour portraits of Englishmen earlier in the century. This portrait of Belley calls into question accepted post-colonial readings by not adhering to a strict Orientalist interpretation. His hybrid nature nullifies readings that he is merely a black man posed as a French one. Belley cannot be seen as simply African, nor Haitian, nor French, nor military man, nor politician; each of these aspects of his being add up to his individual identity. It was because of Belley's race that he was chosen for this portrait; his complex nature creates a dramatic painting relevant to varied members of the general public, his status as a black man allows for a politically relevant subject worthy of history painting, and the choice of Girodet's model of Grand Tour portraiture with its connotations of education, travel and social status—when applied to a black man—make this a revolutionary painting unparalleled in history.

Mid-eighteenth-century Caribbean free ports constitute crucial sites of both imperial domination as well as revolutionary potential in the development of the modern world. While Spain, France, and Britain’s establishment of Caribbean “free ports” from 1756-1784 marked a significant shift in European imperial political economy, few historians have investigated or compared the motivations for these reforms. Also, little scholarship exists on how various people throughout the Atlantic world reacted to these new free ports. However, this movement affected many of the dramatic political and economic changes made during the second half of the eighteenth century. Drawing on U.S., European, and Caribbean archives, this dissertation asserts that, for some, Caribbean free ports buttressed and revitalized various empires, while, for others, they helped combat these empires’ worst abuses. While varying over time and place, “free ports” generally describe places where merchants of all flags could enter and conduct commerce with each other. This policy constituted a meaningful economic reform within European imperial commercial regimes that often excluded foreign traders from colonial ports. This has prompted some scholars to describe the promulgation of free ports as an early moment of “liberalism.” Instead, I argue that Spain, France, and Britain used this same commercial “tool” to accomplish distinct goals, but all with the aim of directing rather than completely “opening” foreign trade. Spain established free ports in the colony of Santo Domingo in order to encourage Spanish and Canary Island settlers to populate a tenuous borderland region that was under threat of French conquest. Spain’s free ports thus successfully maintained Spanish territorial control in the region. French policy-makers, on the other hand, opened several ports in the Lesser Antilles and Saint-Domingue primarily to provide essential supplies of lumber, livestock, and foodstuffs to Caribbean planters which helped sustain France’s lucrative plantation regime. Finally, Whitehall passed the Free Port Act to export British manufactured goods and enslaved Africans to foreign markets, thereby “ruining” their rivals’ colonial trade and extending Britain’s commercial empire to foreign realms. While subject to different regulations, all these reforms drew on previous Dutch and Danish models, as well as on each other, in a spirit of jealous emulation. And while exhibiting distinct goals, all these (heavily-restricted) free-port policies sought to control colonial commerce and augment the relative wealth and power of their particular empire. Building off these imperial perspectives and goals, this dissertation then reveals these Caribbean free ports’ effects on other people in the Atlantic world. I argue that American revolutionaries viewed British free ports as an insufficient and illogical reform, thus heightening their disappointment of and distance from the mother country. Foreign free ports also served as key sources to replace British commerce, inspiring nascent revolutionaries that life outside the British commercial system was possible. Later, foreign free ports provided essential supplies for the American war effort and helped the nascent U.S. economy to survive. Moving to the intellectual realm, Caribbean free ports also provided material evidence for European philosophes who published influential works on political economy. People like Adam Smith and Abbé Raynal (and his co-authors of the famous Histoire des deux Indes) observed Caribbean free ports and used Dutch ones as models to demonstrate how more liberalized foreign commerce could foster mutual prosperity, consumer benefits, and some degree of non-antagonistic peace between polities. Free ports, therefore, were essential in the development of “classical liberalism” and doux commerce. Finally, this dissertation uncovers how many enslaved people used such ports to escape their enslavers and spread across the Greater Caribbean. These harbors attracted many foreign trading vessels through which enslaved people could receive essential information, gain money through petty commerce, or stow away. Contrary to imperial desires, free ports offered more opportunities for freedom-seekers and thus challenged the slave-based foundations of these Atlantic empires. As such, Caribbean free ports sit at the center of key debates and conflicts regarding the nature of empire, economic sovereignty, and the benefits and detriments of international trade in the eighteenth century and beyond.

Le 9 avril I656, le Canadien informait ses lecteurs qu'il avait reçu "le prospectus d'un journal qui devait être publié aux Trois-Rivières par Doucet et Cie". Il annonçait ainsi la naissance du Bas-Canada fondé par Georges-Isidore Barthe le 3 avril I856. Georges-Isidore, fils du capitaine Joseph Barthe et de Marie Tapin, était né à Restigouche au Nouveau-Brunswick le 16 novembre 1834. H fit ses études primaires dans sa paroisse et vint poursuivre ses études classiques au Séminaire de Nicolet. Par la suite il opta pour le droit et après avoir fait une partie de sa cléricature à l'étude de Napoléon Bureau de Trois-Rivières et l'avoir terminée à celle de George et Andrew Robertson de Montréal, il est admis au barreau le 16 octobre I856. La fondation du Bas-Canada marquait donc la première expérience de Barthe dans le monde du journalisme. Cependant Georges-Isidore recevra une précieuse collaboration de son frère Joseph-Guillaume. Ce dernier, de dix-huit ans son aîné, a vu le jour à Carleton le 16 mars 1816. Après des études classiques à Nicolet, il s'initia aux éléments de la médecine qu'il abandonna pour le droit. En 1837, à 21 ans, mêlé au mouvement insurrectionnel, il donna â la presse et en particulier au Fantasque de Nicolas Aubin quelques odes patriotiques qui lui valurent d'être emprisonné à Montréal le 2 janvier 1839, sous l'accusation d'avoir écrit en faveur de Papineau et des exilés des Bermudes. Remis en liberté, il se fit inscrire au barreau. / Québec Université Laval, Bibliothèque 2012

This thesis is focused on a study of translation strategies in Guillaume Oyono Mbia's plays. By using the sociological, formalistic and semiotic approaches to literary criticism to inform the analysis of the source texts and by applying descriptive models outlined within the framework of descriptive translation studies (DTS) to compare the source and target texts, the study establishes the fact that in his target texts Oyono Mbia, self-translating author, has produced a realistic and convincing portrait of his native Bulu culture and society depicted in his source texts by adopting the same default preservation and foreignizing strategy employed in his source texts. Oyono Mbia's works, his translation strategies and translational behaviour are situated in the context of the prevailing trend and attitude (from the sixties to date) of African writers writing in European languages and it is posited that this category of writers are in effect creative translators and that the strategies they use in their original compositions are the same as those outlined by translation scholars or effectively used by practitioners. These strategies enable the writer and the translator of this category of African literature to preserve the "Africanness" which is the essence and main distinguishing feature of that literature. Contrary to some scholars (cf. Bandia 1993:58) who regard the translation phenomenon evident in the creative writings of African writers writing in European languages as a process which is covert, semantic and secondary, the present study of Oyono Mbia's translation strategies clearly reveals the process as overt, communicative and primary. Taking Oyono Mbia's strategies as a case in point, this study postulates that since for the most part, the African writer writing in a European language has captured the African content and form in his original creative translation, what the translator simply needs to do is to carry over such content and form to the other European language. / Linguistics / D.Litt. et Phil. (Linguistics)

This thesis is focused on a study of translation strategies in Guillaume Oyono Mbia's plays. By using the sociological, formalistic and semiotic approaches to literary criticism to inform the analysis of the source texts and by applying descriptive models outlined within the framework of descriptive translation studies (DTS) to compare the source and target texts, the study establishes the fact that in his target texts Oyono Mbia, self-translating author, has produced a realistic and convincing portrait of his native Bulu culture and society depicted in his source texts by adopting the same default preservation and foreignizing strategy employed in his source texts. Oyono Mbia's works, his translation strategies and translational behaviour are situated in the context of the prevailing trend and attitude (from the sixties to date) of African writers writing in European languages and it is posited that this category of writers are in effect creative translators and that the strategies they use in their original compositions are the same as those outlined by translation scholars or effectively used by practitioners. These strategies enable the writer and the translator of this category of African literature to preserve the "Africanness" which is the essence and main distinguishing feature of that literature. Contrary to some scholars (cf. Bandia 1993:58) who regard the translation phenomenon evident in the creative writings of African writers writing in European languages as a process which is covert, semantic and secondary, the present study of Oyono Mbia's translation strategies clearly reveals the process as overt, communicative and primary. Taking Oyono Mbia's strategies as a case in point, this study postulates that since for the most part, the African writer writing in a European language has captured the African content and form in his original creative translation, what the translator simply needs to do is to carry over such content and form to the other European language. / Linguistics and Modern Languages / D.Litt. et Phil. (Linguistics)

Notre thèse se concentre sur la question des mécanismes de restructuration du système du monde de l’art à Bruxelles à la fin du XIXe siècle. Nous cherchons à démontrer comment une nouvelle scène artistique construite autour du cercle des XX à Bruxelles, dont l’épanouissement sera pris en charge par l’animateur d’art Octave Maus, produit un art qui est influencé par les enjeux sociaux et politiques portés par un milieu défini de manière sociale, culturelle et générationnelle.<p>Nous avons ainsi voulu replacer le groupe des XX dans son contexte économique, politique et social. La diversification des approches et des sources était donc un aspect essentiel de nos recherches. Plusieurs voies d’approche ont été empruntées, telles que l’histoire culturelle, la sociologie de l’art, l’histoire du marché de l’art, l’analyse politique ainsi que l’étude de la visual culture. <p>Dans un premier temps, nous analysons l’émergence de la nouvelle scène artistique construite autour du groupe des XX. Nous débutons par une analyse plus monographique du parcours de Maus afin de définir les qualités essentielles de l’animateur d’art qu’il incarne, ainsi que son rôle dans la reconfiguration du milieu culturel. Ensuite, notre étude se concentre sur la mobilisation d’un public autour des salons et la mise en place d’un nouveau marché de l’art aux XX. <p>Dans un second temps, notre étude se penche sur les œuvres créées par les XX et sélectionnées par le public d’amateurs fidèles au groupe. Nous éclairons cette production artistique en y décelant les influences des questionnements et des prises de position sociales et politiques du public des XX, défini précédemment. L’analyse iconographique et stylistique des œuvres s’accompagne d’un travail sur ce milieu culturel, et particulièrement sur ses positions face aux débats sociaux de l’époque. Cette étude aboutit, d’une part, à une description approfondie du public des XX, et, d’autre part, à une meilleure compréhension de l’originalité de la production esthétique des artistes du groupe. /<p><p>This PhD thesis concentrates on the mechanisms by which the artistic world in Brussels was reorganized at the end of the 19th century. The research focuses on the places, institutions, publics, art markets and aesthetic developments that characterized the new artistic scene constructed around the “Salon des XX”. The purpose of this study is to demonstrate that this artistic circle, led by Octave Maus, produced an art influenced by social, political and economic issues. Another aim has been to analyze the public that defended the artists by studying its social, cultural and generational nature.<p>This thesis, which is divided into two parts, for the first time explores the circle of the XX in its economic, political and social environment. The diversification of sources and scientific methods was therefore an essential aspect of the research. Different methods were applied such as, for example, the cultural history, the sociology of art, the history of the art market, political sciences and the visual culture.<p>The first part of this study is about the emergence of a new artistic scene founded around the “Groupe des XX”. The first objective was to investigate the personal and professional path followed by Octave Maus, the manager of the XX, who played a major role in the evolution of the cultural world. Subsequently the research focuses on the mobilization of a particular public and the creation of a new art market around the XX’s exhibitions.<p>The second part of this thesis considers the works of art created by the artists of the “Groupe des XX” and chosen by the public for private collections. New light is shed on this artistic production by the study of the social and political position of the XX’s public, considered as a social group. Hence the iconographic and stylistic analysis of the works goes together with a study of the XX’s milieu, and in particular with its political action. The present thesis, and the method that aims to study the works in parallel with the public’s social nature, lead to a better understanding of the cultural milieu and, at the same time, of the originality of the XX’s artistic creation. <p><p> / Doctorat en Histoire, art et archéologie / info:eu-repo/semantics/nonPublished