In my dissertation, I discuss three of Akın’s feature films: Im Juli (In July, 2000), Gegen die Wand (Head-On, 2004), and Auf der anderen Seite (The Edge of Heaven, 2007) in order to investigate Akın’s filmic visions of Europe. Through close textual readings, I analyze three aspects of his films in particular: the spatial conceptions of Europe (city- and landscapes), the sounds of Europe (music and languages) as well as the display of ethnic minorities and the changing urban demography in Germany and Europe. I argue that Akın employs an “aesthetic of heterogeneity” to portray his filmic Europe as a diverse space, in which multiethnic and multilingual music, people, and sceneries are juxtaposed with regions that often have been perceived historically and politically as distinct and complicated. My first chapter discusses Akın’s conceptions and depictions of European Space in In July. By analyzing city- and landscapes, soundscapes, and dynamic spaces in In July, I argue that Akın provides a dynamic, fluctuating, and interconnected European space, including Eastern Europe and Turkey. In my second chapter, I scrutinize language use and dialogue in Head-On to map out the changing demographics in European urban spaces. Ultimately, I argue that Akın moves beyond Hamid Naficy’s theory of “accented cinema” by including accented languages and dialects for all protagonists, including Western Europeans. Through this linguistic polyphony, multilingualism and a diversity of accents are depicted as integral elements of today’s Europe. In my final chapter, I discuss the sound of Europe as depicted in The Edge of Heaven. Looking particularly at music (and music lyrics) in the film, I argue that Akın’s use of dubbed and remixed music (especially by the artist Shantel) underscores Akın’s filmic challenges to (national) European borders. By foregrounding the mixed styles of music, where an “original” becomes hard to decipher, the director shows, on an aural level, that blurring boundaries and multidirectional movement are the predominant components of today’s Europe. / text

隨著冷戰結束，美國藉由其強大國力和自身的話語權力，在國際社會爭取自身利益。近年來，由於中國國力日漸強大，開始重視話語權的建構，加上 2008年西藏拉薩「3．14事件」發生時，中國封鎖消息，沒有官方來源的情況下，國外媒體紛紛透過其他管道採訪，出現許多次錯誤報導，讓中國失去主動建立話語權的機會。中國政府當局深知此事傷害中國形象甚尤，為了避免形成所謂「以美國為主的國際話語和國際輿論霸權」以及「傳播美國化」的問題，中國在2009年新疆「7．5事件」中放寬新聞管制，主動提供外國媒體信息，並安排外國記者採訪事宜，使訊息較為透明化，避免世界一邊倒的輿論偏向，企圖獲得中國話語權。 在2009年新疆烏魯木齊「7．5事件」中，中國政府採取不同於過往的處理方式，中國當局記取改善信息發佈制度，事件發生後幾小時內，中國國務院新聞辦公室邀請外國記者到烏魯木齊採訪，安排記者採訪事宜，較諸2008年西藏拉薩「3．14事件」。因此，本研究採取內容分析和論述分析等，透過分析新疆「7．5事件」新聞，試圖了解中國傳媒如何藉由新疆「7．5事件」新聞報導建構中國話語權策略，並以美國《紐約時報》作為論證，檢視中國藉由新疆「7．5事件」建構話語權的成效為何。研究結果發現，《中新社》運用的九項報導策略，在《紐約時報》並沒有提及類似的新聞內容，證明《中新社》的報導策略在《紐約時報》試圖從報導新疆「7．5事件」建構的國際話語權策略，成效有限。 / While Cold War ended, the United States fought for their own interests in the global society through their own national power and discursive power. In recent years, China’s national power has become stronger, and started to focus on discursive power. When 2008 Tibetan unrest happened, China blocked all the information. There is no official source so that the foreign media have to use irregular channels to interview people. There are some error reports in foreign media, so China lost the opportunity to take the initiative to establish the right to speak. Chinese authorities knew that the matter hurt Chinese image severely. In order to avoid the problems so-called “US-based international hegemonic discourse” and “dissemination of Americanization,” China, in July 2009 Urumqi riots, loosened restrictions in media and took initiative to provide information to journalists. Chinese government also arranged some interviews for foreign so that the messages were more transparent to avoid one-sided opinions to gain Chinese discursive power. In July 2009 Urumqi riots, the Chinese government adopted the approach different from the past, which improved information release system. Within a few hours after the incident, China's State Council Information Office invited foreign reporters to Urumqi to do interviews which differed from 2008 Tibetan unrest. Therefore, this study adopts content analysis and discourse analysis etc. to realize how Chinese media constructs Chinese discourse strategies and uses U.S.A. “New York Times” as a proof to view Chinese discourse strategies’ effects through July 2009 Urumqi riots news. The study finds that China News Service uses 9 strategies in reporting Urumqi riots. However, New York Times do not mention the similar coverage. It proved that China News Service use the strategies to construct international discursive power in reporting Urumqi riots, to be limited success.

Immortalisé par Victor Hugo dans Les Misérables, le général Lamarque est surtout connu pour ses funérailles qui ont dégénérées en juin 1832, en une insurrection républicaine réprimée par le pouvoir orléaniste. Pourtant, sa vie ne saurait se résumer à cette image d’Épinal : grâce à des archives souvent inédites ou peu exploitées, le travail de l'historien a permis de dissocier le mythe, qui s'est construit autour du personnage, de la réalité historique pour dresser un portrait inédit de ce Landais engagé dans les affaires de son temps. Issu de la bourgeoisie de robe, il adhère rapidement aux idées d'une Révolution qui lui donne les moyens d'être un acteur des événements : garde national,Jacobin, officier dans un bataillon de volontaires. Instruit et cultivé, il est également pourvu d'un grand courage physique. Sans jamais appartenir aux premiers cercles du pouvoir, il est proche des membres de la famille Bonaparte qui assurent son ascension.Sa carrière militaire sous l'Empire n'est toutefois que de second ordre et c'est à la périphérie de l'Europe qu'il se distingue dans la contre-guérilla. Déçu par la Restauration, il rallie Napoléon lors des Cent-Jours qui l'envoie en Vendée. Cette affectation le compromet durablement aux yeux du pouvoir royaliste qui ne voit plus en lui qu'un général bonapartiste. Exilé, il ne revient en France qu'en 1818 et embrasse une carrière littéraire tout en cherchant à garder son rang dans la société. Au contact de l'opposition libérale, il renoue avec la politique au quotidien. Sa reconversion en politique n'est pourtant pas une évidence. Ce n'est qu'en 1828 qu'il devient député et ce n'est que sous la monarchie de Juillet qu'il devient un héros populaire. / Immortalized by Victor Hugo in « Les Misérables », General Lamarque is mainly known for his funerals in June 1832, which turned into a republican insurrection,suppressed by Orléanist power. However, his life could not be summarized by this stereotyped image : thanks to unexploited or less exploited archives, the historian’swork permitted to dissociate the myth shaped around his character from historical reality, to get an original portrait of this character from the Landes. Coming originally from the bourgeoisie of the robe, he soon stuck to Revolution ideas which gave him the means to be an actor of events : National Guard, Jacobin, officer in a Volunteers Battalion. Educated and cultured, he also came complete with his physical courage. He never was a part of first circles of power, he was close to the House of Bonaparte which provided his rise. His military career under the Empire is yet only second-rate. It is atthe Europe's periphery he stands out in Guerrilla warfare. Disappointed by theRestoration, he rallied to Napoleon during The Hundred Days, who sent him to theVendée. This posting sustainably compromised him to the eyes of royalist power whichonly saw him as a Bonapartist general. Exiled, he only came back to France in 1818 and decided for a literary career as well as he tried to keep his position in society. Through contact with the liberal opposition, he joined politic in everyday life. This change of career was not obvious though. He only became a Member of Parliament in 1828. Hewas only recognized as a popular hero under July Monarchy.

On retient généralement de Louis de Bonald (1754-1840) la paternité d’une doctrine contre-révolutionnaire, comme son rôle de chef spirituel des ultras sous la Restauration. Une relecture de l’œuvre du philosophe, confrontée à des sources moins étudiées (articles de presse, opuscules, discours parlementaires, correspondance), mais surtout complétée par un matériau inédit (dont des extraits sont produits en annexes) a permis une approche transversale de la vie et de la carrière de cet homme politique au sens le plus contemporain du terme : de la fin du règne de Louis XV à celui de Louis-Philippe, ce métaphysicien à la théorie globalisante (on a pu le considérer comme le père de la sociologie) a sans cesse mobilisé cette dernière pour agir sur le réel historique, tout en l’enrichissant, voire la redéfinissant progressivement. Induisant une méthode pluridisciplinaire et s’inscrivant dans une chronologie vaste, ce travail a tenté de déconstruire l’image stéréotypée d’un penseur figé dans la nostalgie d’un Ancien Régime dont il aurait souhaité le retour, et dont la postérité se cantonnerait aux divers courants conservateurs ultérieurs. Personnage de son temps, s’inscrivant pleinement dans le propos régénérateur de l’époque post révolutionnaire, Bonald se présente au contraire sous une facette inattendue, celle d’une incontestable modernité : de l’âge romantique à l’âge industriel, les questions qu’il pose à son temps, et, partant, au nôtre, sont bien souvent terriblement actuelles. Quant à ses réponses, elles nous ont conduit à suggérer des pistes d’interprétation nouvelles autour de concepts tels que ceux de contre-utopie ou encore de contre-subversion. Bonald, en somme, est tout autant moderne dans son rapport à son siècle que dans sa dimension atemporelle, qu’on pourrait qualifier d’intempestive. / For most readers, of his time and until now, Louis de Bonald (1754-1840) was the father of a counter-Revolutionary doctrine, acting as a spiritual leader of the Ultras under the Restoration. A closer reading of the philosopher’s work, confronted with less-studied sources (articles published in the press, monographs, parliamentary speeches, correspondence) and completed by some unpublished material (extracts of which are published in our appendix) opens up a more transversal approach to the life and career of this politician, in the most contemporary sense of the word: from the end of Louis XV’s reign to the beginning of Louis-Philippe’s, Bonald, who is considered to be a forerunner of sociology, unceasingly mobilized his all-embracing theory of metaphysics to impact real history in the making, bringing enrichment and, gradually, even redefining it. Drawing on a multidisciplinary method, and taking into account a broad chronology, we have endeavored to deconstruct the stereotype of a thinker considered to be frozen in time, yearning for the return of the Ancien Régime, whose thinking put him on the path of an ultra-conservative heritage. A figure of his time, participating to the full in the post-Revolutionary discourse on regeneration, Bonald, unexpectedly and undoubtedly, reveals the face of a Modern. From the Age of the Romantics to the Industrial Age, the challenges which he defined in his time, are still incredibly relevant to ours. As for his answers, they lead us to put forward new interpretations of concepts such as counter-utopia or counter-subversion. Overall, Bonald is just as pertinent for his contemporaries as for our century and beyond. His thinking could be construed as timeless in nature.

July temperature (TJUL) and total annual precipitation (ANNP) are reconstructed to better understand the spatial and temporal patterns of change in North America over the last 2,000 years using pollen databases. Using a customized application in R, the reconstructions use a composite averaging of multiple site reconstructions that show a distinct warmer Medieval Warm Period (MWP) compared to the colder Little Ice Age (LIA). Results show that, both multi-centennial scale periods are re- constructed as cooler than the last 50 years. Regional time series from several forested ecoregions show positive anomalies up to 0.6ºC during the MWP and anomalies up to -0.3ºC during the LIA. In order to test whether the TJUL reconstructions are biased to the modern calibration climate data, we show a distinct difference between the reconstructions when using station versus reanalysis-based modern TJUL fields. Reconstructions using station-based modern calibration data sets better reflect the centennial to multi-centennial scale climate variability as compared to the reanalysis-based modern calibration data sets that reveal a warm-bias. We justify the choice of the Whitmore et al. (2005) modern data set for large-scale pollen-based paleoclimate reconstructions. Finally we use Local Indicators of Spatial Association (LISA) to spatially filter the ANNP reconstructions in order to distinguish regional hydroclimate patterns from local site-specific conditions. Results show that a La Nina, positive North Atlantic Oscillation (+NAO) and positive Atlantic Multidecadal Oscillation (+AMO) state-like dominated both the MWP and Roman Warm Period (RWP), although the MWP was generally drier. In contrast, the Dark Ages Cold (DAC) period was likely dominated by El Nino, negative NAO and negative AMO state-like circulation. Minimum solar and high volcanic activity is likely to have contributed to more complex hydroclimate regional patterns during the LIA. The results presented in this dissertation can be used as benchmark data sets for future climate data-model comparisons in order to improve our understanding of natural climate variability during the past 2,000 years in the context of modern human-induced climate change.

George Sand, née Aurore Dupin (1804-1876), est une des écrivaines les plus prolifiques de la monarchie de Juillet (1830-1848). Son œuvre monumentale s’intéresse à une myriade de sujets, qui sont souvent étudiés dans la perspective de l’idéal. Sand s’intéresse entre autres à la notion de poète-artiste, qui désigne un artiste idéal. Cette notion, propre à cette période, se distingue de celle du poète, qui est écrivain. Alors que la signification de la notion de poète-écrivain est arrêtée, le poète-artiste fait l’objet d’une définition vague et subjective. Pour sa part, Sand considère que le poète-artiste désigne à la fois un artiste et un philosophe. Cette proposition, qui est clairement émise, constitue un axe central à toute la pensée artistique qu’elle développe. C’est ce qui est exploré dans le présent travail, à travers trois thématiques de la pensée artistique de George Sand. Ces thématiques feront chacune l’objet d’un chapitre. La notion de la fraternité des arts sera d’abord étudiée. Cette thématique typiquement romantique, omniprésente dans les écrits de Sand, perçoit les différentes disciplines comme formant un tout. Ensuite, il sera question de la hiérarchie des arts : George Sand considère que la musique est la discipline supérieure, comparativement à certains de ses contemporains qui accordent plutôt ce titre à la poésie. Enfin, George Sand perçoit une figure de génie à travers ses écrits, qui s’approche de l’artiste idéal. Toutes ces thématiques sont étudiées en étroite relation avec les visions habituelles de l’époque, soit la monarchie de Juillet. / George Sand, born Aurore Dupin (1804-1876), was one of the most prolific writers of the July Monarchy (1830-1848). Her monumental work focuses on a myriad of subjects, which are often studied from the perspective of the ideal. Among other things, Sand was interested in the notion of the poet-artist, which refers to an ideal artist. This notion, specific to this period, is distinguished from the other poet, which is a writer. While the meaning of the notion of poet-writer is well determined, that of poet-artist is subject to a vague and subjective definition. For her part, Sand considers that the poet-artist designates both an artist and a philosopher. This proposition, which is clearly stated, constitutes a central axis to all the artistic thought that she develops. This is what is explored in the present work, through three themes of George Sand's artistic thought. Each chapter is devoted to one of these themes, with an attempt to organize the artistic thought of Sand. The theme of the brotherhood of the arts will be studied first. This typically romantic theme, omnipresent in Sand's writings, perceives the different disciplines as forming a whole. Then, the hierarchy of arts will be reviewed: George Sand considers that music is the superior discipline, compared to some of her contemporaries who believe that poetry is the superior discipline. Finally, George Sand perceives a figure of genius in her writings, which comes close to the ideal artist. All these themes are studied in close relation to the usual visions found under the July Monarchy.

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Text in German / Many treatises and disquisitions concerning "Die Blendung" concentrate on the main character, Peter Kien, as well as on other protagonists. In contrast, this dissertation deals with Pfaff, the primitive force and his influence on Peter Kien, the "Brain", the masterspirit. Common traits of these di verse characters are highlighted and it is explained why Pfaff, the brute, manages to exult over Kien, the intellectual. Their interactions and their interdependence are dealt with and it is shown that insanity which is prevalent in both protagonists prepares the way to Kien's doom whereas it leads to Pfaff's survival. / Das Interesse zahlreicher Untersuchungen Uber "Die Blendung" konzentriert sich auf die Hauptperson, Peter Kien, sowie auf andere Protagonisten. Im Gegensatz dazu beschaftigt sich diese Arbei t mi t dem Hausmeister Pfaff, dem "Schadel", und mit dem EinfluB, den er auf Peter Kien, den "Kopf", den Geistesmenschen hat. Es wird versucht, Gemeinsamkeiten, die diese beiden so gegensatzlichen Charaktere aufweisen, aufzuzeigen und darzulegen, warum der Gewaltmensch Pfaff Uber den wirklichkeitsfremden Wissenschaftler Kien zu triumphieren vermag. Der EinfluB, den sie aufeinander nehmen, und die Abhangigkeit voneinander werden aufgezeigt, und es wird aufge fUhrt, wie der Wahnsinn, dem sie be ide verf all en, zu Kiens Untergang filhrt, wahrend Pfaffs Uberleben durch seinen Wahnsinn gesichert wird / Linguistics and Modern Languages / M. A. (German)