In this thesis I consider Henry Scheffer's Entrée de Jeanne d’Arc à Orléans, le 8 mai 1429 (1843) in relation to female audiences of the July Monarchy. As a part of the larger Galerie des Batailles in the Musée Historique instituted in 1837 by Louis-Philippe, Entrée de Jeanne d'Arc has been addressed relative to the political objectives of the monarchy. Limited scholarship surrounding the Galerie des Batailles has focused on its evolution from royal apartments in the château de Versailles to public museum. However, the broadening of audiences during the July Monarchy and potential points of engagement between viewer and artwork have remained largely overlooked, especially in relation to Scheffer's Entrée de Jeanne d'Arc. Though feminist scholars have addressed the formation of the female spectator in post-revolutionary France, women in the art world during the July Monarchy remain understudied. This thesis discusses the expanding of audiences to whom Salon artists and Louis-Philippe were trying to appeal. The emergence of books and periodicals directed towards women during the July Monarchy, as well as the renewed interest in historicism affected female viewers' interaction with Scheffer's Entrée de Jeanne d'Arc. Additionally, the unrecognized fervor surrounding women of the July Monarchy who sought to emulate noble women of the past reflects these opportunities for women viewers. The emergence of contemporary women who were associated with the historical heroine, including Marie d'Orléans, expanded women's understanding of their place in history and their engagement in political, religious, and literary change within the public sphere. I attempt to show how all of these overlooked contextual circumstances empowered the viewing position of the female viewer in relation to Scheffer's Entrée de Jeanne d'Arc.

From the time of their occurrence up to the present, people have constructed and revised narratives about violent racial events in Florida. In the case of the racial violence in Ocoee and the lynching of July Perry, multiple accounts coexisted until one particular group in the 1990's contested earlier conservative white Southern narratives with new public memories containing African American perspectives of the events, demanding racial justice and memorialization of the events. A struggle over the power to construct this narrative resulted in compromises between the two sets of memories. While some goals were attained, the landscape of memorization remains undeveloped. The construction of a narrative concerning the meaning of Harry T. Moore's life and death entered the public domain at his death and remained unchanging, carried forward by the collective memories of African Americans in Florida. Historians reassessed his role as a martyr for civil rights to the first martyr of the Civil Right's Movement. A group of African Americans in Brevard County were successful in attaining resources that included landscape and a memorial complex during the 1990's and the first decade of 2000. The construction of public memories and the power to gain landscape and resources for commemoration reflected the aims and power of each group. Because the public memories of July Perry were contested, the group could not attain commemorative landscapes. However, the narratives about Harry T. Moore had consensus, allowing significant commemorations.

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Ce mémoire de maîtrise porte sur l’animation des images fixes dans le film Me and You and Everyone we Know réalisé en 2005 par Miranda July, et tout particulièrement sur les pratiques artistiques de la protagoniste Christine Jeperson, qui est artiste vidéaste. L’objet de cette étude se fonde sur les matériaux utilisés par l’artiste-protagoniste elle-même, et vise en premier la photographie, puisqu’elle travaille toujours à partir de photos amateur, de clichés, d’images banales, qu’elle tente d’animer par le biais de la vidéo et de leur mise en récit. Ces deux dispositifs d’animation, qui à leur façon redonnent du temps et du mouvement aux images, réalisent un déplacement de valeur en en faisant de l’art et déploient du même coup un espace propre à une certaine expérience esthétique du spectateur, car c’est dans son imaginaire que peut véritablement se produire l’animation de ces images. Ainsi, dans ce mémoire, je tenterai tout à la fois de me concentrer sur ce détail du film que sont les œuvres de Christine, mais en cherchant à les mettre en relation avec d’autres moments du film, avec ce qui semble être les motifs privilégiés de la pratique de Miranda July, de même qu’avec d’autres moments de l’histoire de l’art, afin d’en historiciser la démarche. Ce travail servira donc à éclairer une pratique d’images contemporaine singulière, à la croisée entre photographie, vidéo et film. / This Master’s thesis deals with the animation of still images in Miranda July’s 2005 film, Me and You and Everyone we Know. More specifically, it analyses the artistic practices of Christine Jeperson, a video artist who is the main character of the film. This study focuses on the materials utilized by the artist-protagonist and looks at her particular use of photography: her video works all revolve around amateur photographs, clichés, banal images, that she animates via the remediation of video and "narrativization" ("mise en récit"). These two principles of animation, that give time and motion to the still images she uses, also produce a displacement of value by turning these images into art and, by the same token, open a specific space i.e. the aesthetic experience of the spectator, for it is in his or her imaginary, in the end, that this animation is produced. Thus, in this study, I wish to look at these “details” within the films — the video works of Christine — whilst seeking to show the relations they entertain with other elements of the film, with Miranda July’s body of works, as well as with other moments in art history that relate to this animation apparatus, in order to historicize the practices of Christine / July. This Master’s Thesis wishes to illuminate a specific kind of contemporary visual practice, at the intersection of photography, video and film.

"Durant les 17 années du règne de Louis-Philippe d'Orléans, la France a entièrement restauré ses monuments historiques. La Monarchie de Juillet a entrepris la restauration et l'entretien de ses monuments construits sous l'Antiquité, le Moyen Age et le premier Empire. Parallèlement à l'action des Parlementaires, le Roi des Français, sur les fonds de sa dotation pécuniaire qui lui était versée chaque année par le Trésor Public, a entrepris un vaste plan de restauration des palais placés dans le domaine de la Couronne : Les Tuileries, Saint Cloud, Fontainebleau, Compiègne, Meudon... Il transforma aussi le palais de Versailles en "Musée consacré à toutes les Gloires de la France". Rien que ce chantier lui coûta personnellement la somme de 24 Millions de Francs.La Monarchie de Juillet, qui était un régime né de la révolution de Juillet 1830, devait se construire une légitimité à partir de rien. Ne pouvant se réclamer ni de la Tradition, ni de la gloire des armes, ni même de la Souveraineté du peuple ou du Principe monarchique, la jeune Monarchie de Juillet entama une vaste politique de restauration et d'achèvement de monuments qui dataient notamment de l'Empire et de la Monarchie absolue. Il s'agissait, pour Louis Philippe, de s'approprier l'intégralité de l'héritage politique français, afin de montrer le caractère universel de son régime. C'est ainsi que la Monarchie de Juillet construisit sa légitimité à gouverner la France.Cette thèse analyse les budgets investis dans les monuments français par les Gouvernements et les parlementaires, entre Juillet 1830 et Février 1848 (date de la chute de ce régime), ainsi que la politique conduite dans ce domaine des monuments, personnellement par Louis-Philippe à la même époque. L'auteur à dépouillé intégralement une partie du fonds O/4 des Archives Nationales de France, travail qui n'avait pas été réalisé jusqu'alors avec autant de précisions." / "During the 17 years of the reign of Louis-Philippe d'Orléans, France restored fully its historic monuments. The “Monarchie de Juillet” began the restoration and maintenance of monuments built in ancient times, the Middle Ages and the first Empire. In parallel with the action of Parliament, the King of the French undertook a comprehensive plan of restoration of those palaces belonging to the Crown: the Tuileries, St. Cloud, Fontainebleau, Compiègne, Meudon, drawing from his own endowment fund annually allocated by the public revenue. He also converted the Palace of Versailles into a "museum dedicated to all the glories of France." This site alone cost him 24 millions Francs. The “Monarchie de juillet” which was a regime born of the revolution of July 1830, had to build legitimacy from scratch. Unable to claim to be the fruits of tradition, or military glory, or even the sovereignty of the people or the monarchial principle, the young “Monarchie de Juillet” entered into an extensive policy of restoration and completion in particular of such monuments dating from the Empire and the absolute monarchy. Louis Philippe aimed to take over the entire French political legacy, in order to show the universal nature of his regime. In this way the “Monarchie de Juillet” built its legitimacy to govern France.This thesis analyzes the budgets invested in French monuments by governments and parliamentarians, between July 1830 and February 1848 (the date of the fall of the regime), as well as the personal political commitment of Louis Philippe in the field of monuments, during the same period.The author has fully analysed a part of the fund O / 4 of French National Archives a work that has never been done previously with so much precision.

Ce mémoire de maîtrise porte sur l’animation des images fixes dans le film Me and You and Everyone we Know réalisé en 2005 par Miranda July, et tout particulièrement sur les pratiques artistiques de la protagoniste Christine Jeperson, qui est artiste vidéaste. L’objet de cette étude se fonde sur les matériaux utilisés par l’artiste-protagoniste elle-même, et vise en premier la photographie, puisqu’elle travaille toujours à partir de photos amateur, de clichés, d’images banales, qu’elle tente d’animer par le biais de la vidéo et de leur mise en récit. Ces deux dispositifs d’animation, qui à leur façon redonnent du temps et du mouvement aux images, réalisent un déplacement de valeur en en faisant de l’art et déploient du même coup un espace propre à une certaine expérience esthétique du spectateur, car c’est dans son imaginaire que peut véritablement se produire l’animation de ces images. Ainsi, dans ce mémoire, je tenterai tout à la fois de me concentrer sur ce détail du film que sont les œuvres de Christine, mais en cherchant à les mettre en relation avec d’autres moments du film, avec ce qui semble être les motifs privilégiés de la pratique de Miranda July, de même qu’avec d’autres moments de l’histoire de l’art, afin d’en historiciser la démarche. Ce travail servira donc à éclairer une pratique d’images contemporaine singulière, à la croisée entre photographie, vidéo et film. / This Master’s thesis deals with the animation of still images in Miranda July’s 2005 film, Me and You and Everyone we Know. More specifically, it analyses the artistic practices of Christine Jeperson, a video artist who is the main character of the film. This study focuses on the materials utilized by the artist-protagonist and looks at her particular use of photography: her video works all revolve around amateur photographs, clichés, banal images, that she animates via the remediation of video and "narrativization" ("mise en récit"). These two principles of animation, that give time and motion to the still images she uses, also produce a displacement of value by turning these images into art and, by the same token, open a specific space i.e. the aesthetic experience of the spectator, for it is in his or her imaginary, in the end, that this animation is produced. Thus, in this study, I wish to look at these “details” within the films — the video works of Christine — whilst seeking to show the relations they entertain with other elements of the film, with Miranda July’s body of works, as well as with other moments in art history that relate to this animation apparatus, in order to historicize the practices of Christine / July. This Master’s Thesis wishes to illuminate a specific kind of contemporary visual practice, at the intersection of photography, video and film.

Radial growth characteristics of a high-elevation shrub species, sea buckthorn (Hippophae rhamnoides), were investigated at four sites in a river valley at altitudes ranging from 3,333 to 3,820 m a.s.l. close to the terminus of the July First Glacier in the western Qilian Mountains of northwestern China. Radial growth of the sea buckthorn was significantly and positively correlated with the mean monthly temperature in June of the current growing season. Based on the fact that fluctuations in the shrub’s radial growth and the glacier’s equilibrium-line altitude (ELA) are affected by climatic variables, a tree-ring width chronology of the four sites was used to reconstruct the ELA from 1950 to 2003. The resulting ELA model explained more than 55.3% of the variance in the ELA of the July First Glacier series. On a decadal time scale, the cumulative-departure curve of the reconstructed ELA series showed an increasing trend from the 1950s to the mid-1960s, followed by a descending trend from the mid-1960s to the mid-1970s. The ELA appears to have remained stable from the mid-1970s to the mid-1990s, but has displayed dramatic variations during the past decade.

Submitted by Caroline Xavier (caroline.xavier@pucrs.br) on 2017-05-23T17:41:07Z No. of bitstreams: 1 DIS_MARIA_EUGENIA_BONOCORE_MORAIS_COMPLETO.pdf: 551767 bytes, checksum: 4ae563929a3ba79002106cc1e23383a7 (MD5) / Made available in DSpace on 2017-05-23T17:41:07Z (GMT). No. of bitstreams: 1 DIS_MARIA_EUGENIA_BONOCORE_MORAIS_COMPLETO.pdf: 551767 bytes, checksum: 4ae563929a3ba79002106cc1e23383a7 (MD5) Previous issue date: 2017-01-20 / Gender technologies are, according to Lauretis (1994), cultural and discursive constructions and they are not a priori in relation to the subject. Though, they cannot also be considered as fixed categories and given by culture. It is precisely within the discursive and cultural character of the gender technologies that such technologies are never considered ready, but always in construction within culture. Gender technologies have direct relation to the sexual representation of sexualities and to what Foucault (2012a) calls mechanism of sexuality, as its ramifications (the regulation of the bodies and the interpellation, for example), and make the subversion of the identity possible. For the keeping of such technologies, the reiteration within culture and discourse is constantly necessary, and for that the theory of gender performativity, as postulated by Butler (2015a) accounts for the complex process of ?maintaining the gender? of a certain individual. Such process consists of a series of cultural and discursive acts performed, up to a certain point, intentionally, by the subject as a product of gender technologies. These acts are regulated by what Althusser (1980) names ?ideological State apparatuses? and they seem to be in consensus with the current norm. To Rich (2010) this norm is called heteronormativity and is always compulsory, its work is to regulate bodies, identities and genders, however this regulation collects its price by the obliteration of certain existences. This paper proposes a queer reading of The first bad man, a novel by the north-american writer Miranda July, to discuss the way the character Cheryl Glickman?s gender is constructed and deconstructed along the narrative and if the novel contemplates only the binary expressions of gender (male and female), or if July sees other gender identities, although marginal, possible. / Tecnologias de g?nero s?o para Lauretis (1994) vistas como constru??es culturais e discursivas que n?o est?o a priori em rela??o ao sujeito; por?m, tampouco podem ser consideradas como categorias fixas e dadas pela cultura. O car?ter discursivo e cultural das tecnologias de g?nero ? que faz com que tais tecnologias nunca se encontrem prontas, mas em constante constru??o na cultura. As tecnologias de g?nero t?m rela??o direta com as representa??es das sexualidades e com o que Foucault (2012a) denomina dispositivo da sexualidade, assim como seus desdobramentos (a regula??o dos corpos e a interpela??o, por exemplo), e fazem a identidade pass?vel de subvers?o. Para que tais tecnologias sejam mantidas, ? necess?rio que sejam reiteradas a todo o momento na cultura e no discurso, para isso a teoria da performatividade de g?nero, como postulada por Butler (2015a), dar? conta de elucidar o complexo processo de ?manter o g?nero? de um determinado sujeito. Tal processo consiste em uma s?rie de atos culturais e discursivos realizados, at? certa medida intencionalmente, pelo sujeito enquanto um produto das tecnologias de g?nero. Estes atos s?o regulados pelo que Althusser (1980) denomina ?aparelhos ideol?gicos do Estado? e parecem estar em consenso com uma norma vigente. Para Rich (2010), essa norma s? ? poss?vel enquanto heteronormatividade, e esta ? sempre compuls?ria. Seu trabalho ? o de regular os corpos, as identidades e os g?neros. No entanto, essa regula??o cobra o pre?o do apagamento de certas exist?ncias. Este trabalho prop?e uma leitura queer de O primeiro homem mau, romance da autora estadunidense Miranda July, para discutir de que maneira o g?nero da personagem Cheryl Glickman, a protagonista do romance, ? constru?do e desconstru?do ao longo da narrativa e se o romance d? conta apenas das express?es de g?nero bin?rias (masculino e feminino), ou se July v? como poss?vel outras identidades de g?nero, embora marginais.

Héritière des graines semées depuis la Révolution, la monarchie de Juillet élabore les bases d'une politique patrimoniale dans un contexte de renouveau urbain. Les villes entament un processus de transformation de leur armature pour répondre aux nécessités de salubrité publique et s'adapter aux changements socio-économiques. Dans ce contexte, de nouvelles formes de vandalisme apparaissent. Entre conservation des monuments et salubrité publique, différents acteurs doivent faire consensus. Bien que critiqué, le réemploi apparaît comme la meilleure alternative. Il s'agit de concilier les monuments de l'ancienne France avec les impératifs de la France moderne. De la dénonciation du« beau percé», apparaît la défense d'une physionomie de la ville, avec la notion de paysage urbain. Objet de fierté locale, l'édifice ancien est constitutif d'un capital culturel économique. Paysages et monuments constituent les principaux attraits et atouts d'une ville. Le régime fonde trois organes dédiés aux monuments historiques et favorise l'essor des sociétés savantes. Ces acteurs, dénommés les hussards des monuments historiques, remettent en cause les pratiques de l' Ancien Régime. Face à un vandalisme multiforme, ils élaborent de nouvelles modalités de gestion des édifices prenant en compte plusieurs paramètres, comme l'intégrité. À travers leurs discours, ils invitent à une réflexion nouvelle sur la place et le rôle du monument historique dans un espace urbain qui se régénère en profondeur. Pour atteindre leurs objectifs, des outils de vulgarisation de l'archéologie sont mis en place et diffusés pour former la nouvelle génération et contribuer à une prise de conscience. / Heiress of seeds sowed since the French Revolution, the July Monarchy develops the bases of a cultural heritage policy in a context of urban revival. Cities begin a transformation process of their framework to answer the necessities of the public health and adapt itself to the socioeconomic changes. In this context, new forms of vandalism appear. Between preservation of monuments and public health-, various actors have to reach a consensus. Although criticized, the re-use appears as the best alternative. It is a question of reconciling the monuments of Ancient France with the imperatives of modern France. Of this denunciation of "beau percé", the defense of a face of the city, with the notion of urban landscape appears. Object of a local pride, the building constitutes an economic cultural capital. Landscapes and monuments constitute one of the main attractions and assets of a city. The government establishes three entities dedicated to historic monuments and favors the development of the learned societies. These actors, called "hussars of historic monuments", involve to the practices of Ancien Regime. In the face of a multi-form vandalism, they develop new modalities of management of buildings by taking into account several parameters, of which the integrity. Through their speeches, they invite in a new reflection on the place and the role of the historical monument in an urban space which regenerates in depth. To reach their goals, tools of popularization of the archaeology are set up and spread to train the new generation and contribute to an awareness.

Magister Legum - LLM / Sitting head of state immunity for crimes under international law has been a very controversial issue in recent times. On the one hand, the debate bears that personal immunity has been renounced for crimes under international law. On the other hand, the advocates of personal immunity claim that the principle of immunity is still persisting under customary International law. Although the International Criminal Court (ICC) is a treaty based court, it is able to extend its jurisdiction to non-state parties to the Rome Statute through a referral by the United Nations Security Council. Lacking its own enforcement body the ICC relies on the cooperation of other states for arrest and surrender of those it indicts. The extension of the court's jurisdiction to non-state parties, such as the case of Sudanese President Omar Al Bashir, has led to the reluctance of state parties to the Rome Statue to effect arrest and surrender citing a 'dilemma between two conflicting obligations'. This paper analyses the legal status of personal immunity before different fora such as International tribunals, foreign domestic courts and under customary international law. It also critically examines the legal basis for the alleged conflicting obligations of state parties. The paper at the end concludes that there is no conflicting obligation for states parties to fully co-operate with the ICC and the lack of co-operation in the arrest and surrender of a sitting head of state is inconsistent with international law particularly with United Nation Charter and the Rome Statute. / German Academic Exchange Service (DAAD)