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1	The quest for autonomy : sociology's advocatory dimension Garrett, Antony Conrad January 1987 (has links) This work is an historical account of the development of sociology in Britain. It examines the institutional and intellectual issues affecting sociology during the 1920s and '30s, through the years of the Second World War and into the immediate post-war period. The work focuses on the attempt by sociologists to assert and sustain the autonomy of their discipline, within the wider field of British social science. Particular attention is paid to a series of 'acts of justification", representing crucial strategies in sustaining the institutional and intellectual boundaries of the discipline. The negotiation of resources essential to the continuity of the field is considered to be an integral feature of sociology's advocatory dimension, wherein its practitioners construct and deploy a series of programme statements, disciplinary agendas and institutional initiatives, as means of asserting the potential of sociology A detailed examination is made of significant 'moments' in sociology's development for the period in question, in order to assess the manner in which sociologists have contested prescriptions of their activities by both social scientists and non-sociologists. Among the issues examined in the course of the work are; the funding of knowledge, the wartime education debate, the deliberations of the Clapham Committee, an attempt by sociologists to construct a synoptic science of society and William Beveridge's 'Natural Bases Scheme' for the social sciences at the LSE during the inter-war period. All are portrayed as features of sociology's advocatory dimension and in terms of their relative significance in the social construction of British sociology. 301 Sociology in the interwar years
2	Les revues de galeries en France dans l’entre-deux-guerres (1918-1940) / The French periodicals published by galleries in the interwar years (1918-1940) Gauthier, Ambre 09 June 2015 (has links) La création artistique de l’entre-deux-guerres en France est transformée par l’internationalisation du marché de l’art, la vitalité des avant-gardes et la diffusion sans précédent des revues d’art. La galerie d’art, par l’action de galeristes engagés et professionnels, s’impose alors comme un lieu central du marché de l’art moderne. Vouée au commerce des œuvres, elle se dote d’une identité nouvelle en faisant de son espace un lieu de socialisation et de débats intellectuels. Cette conjoncture explique en partie la naissance d’un nouveau mode de communication de la galerie d’art : la revue de galerie. Cet outil de promotion a pour principale mission de diffuser l’actualité des expositions et des artistes liés à la galerie. Mais il cherche également à être une tribune ouverte, un lieu d’expression et de dialogues où se rencontrent théories artistiques et synthèses du marché de l’art contemporain, règlements de comptes et pamphlets, littérature et poésie. Au-delà de sa dimension promotionnelle, la revue de galerie, objet sociologique, tisse des liens entre les différents acteurs d’un même cercle socio-culturel. Les principales revues de galerie de l’entre-deux-guerres (Les Arts à Paris, 1918-1935 ; le Bulletin de la vie artistique, 1919-1926 ; le Bulletin de la galerie B. Weill, 1923-1935 ; le Bulletin de l’Effort moderne, 1924-1927) mettent ainsi en place des modèles éditoriaux durables, qui perdureront tout au long du XXe siècle. Il s’agit d’un phénomène culturel international, de sorte que le contexte parisien ne peut être compris que par comparaison, notamment avec celui des Etats-Unis (revue 291), de la Belgique (Le Centaure) ou de l’Allemagne (Der Querschnitt), qui développent leurs propres spécificités. / Art production in France is changed in the interwar years by the globalization of the art market, the vitality of the avant-gardes and the unprecedented diffusion of art periodicals. The art gallery, through the actions of socially and politically committed art dealers, is becoming a major place for the modern art market. Dedicated to the trade of artworks, it acquires a new identity by encouraging socialization and intellectual debates. This context creates new communication means for art galleries: the art gallery magazine. As a promotion tool, the main mission of the periodical is to spread news about exhibitions and artists related to the gallery. Sustained by the ideals of their editors, they offer an open platform, an utopian space of free speech and dialogue, where art theories and contemporary art market analysis, score settling and satirical tracts, literature and poetry meet. Beyond its promotional function, the art gallery magazine, as a sociological object, also establishes links between the various players of a social and cultural group. The main gallery magazines of the 20th Century (Les Arts à Paris, 1918-1935; le Bulletin de la vie artistique, 1919-1926; le Bulletin de la galerie B. Weill, 1923-1935; le Bulletin de l’Effort moderne, 1924-1927) invent lasting editorial references that will last throughout the 20th century. Operating in Paris, art gallery magazines fall within an international cultural context, as demonstrated by the presence of such magazines in the United States (291), Belgium (Le Centaure) or Germany (Der Querschnitt), all developing their own specificities. Revues Galeries d’art Marché de l’art Entre-Deux-Guerres (1918-1940) Avant-Gardes Periodical Galleries Art market Interwar years (1918-1940) Avant-Garde 700
3	Marguerite Yourcenar, autre portrait d’une voix : esthétique d’un écrivain au miroir du néoclassicisme de l’Entre-deux-guerres / Marguerite Yourcenar, another portrait of the voice : Aesthetic of an author in the mirror of the neoclassicism of the Interwar period Muranaka, Yumiko 05 April 2016 (has links) La présente étude vise à réexaminer l’oeuvre de Marguerite Yourcenar (1903-1987) sous le signe du néoclassicisme du XXe siècle. À travers une approche d’histoire littéraire et culturelle, sont analysés les écarts ou rapprochements qu’elle a opérés par rapport aux courants littéraires et artistiques de son temps, notamment ceux de l’Entre-deux-guerres. La première partie cherche à mettre au jour l’enjeu et la modalité de son rapport à l’Antiquité, en examinant, outre ses textespubliés, les documents inédits conservés aux archives à l’Université Harvard et à Petite Plaisance : le cahier dans lequel son père a copié des poèmes choisis ; le recueil Les Dieux ne sont pas morts (1922) et le tapuscrit de poèmes, « Album de vers anciens » (1917-1965) ; l’exemplaire de De Profundis sur lequel elle a laissé des traces de sa lecture. La deuxième partie retrace, en observant les textes publiés par l’auteur dans plusieurs revues ainsi que la correspondance, surtout dans les années trente et dans des écrits postérieurs sur cette période, l’itinéraire d’une jeune romancière qui n’est pas ignorante des courants majeurs — ceux qui se développent autour de la NRF, du courant dit du « retour à l’ordre » et de la découverte d’une nouvelle image de la Grèce — mais maintient un écart subtil entre eux et sa propre production. La troisième partie propose, à travers la caractérisation de son esthétique néoclassique, de définir Marguerite Yourcenar comme une figure de l’antimoderne et du dandy. / This study proposes to reexamine the works of Marguerite Yourcenar (1903-1987), focussing on the relation to the 20th century’s neoclassicism. By means of literary- and cultural-history approaches, it analyzes the gaps or connections between her and the literary or artistic currents in the Interwar period. The first part clarifies how the author moulded her view of ancient Greece and Rome, which affected her works. It examines published and unpublished documents conserved in Harvard University and in Petite Plaisance: the notebook in which her father copied the poems chosen by him; the collection of poems by Yourcenar, The Gods didn’t die (1922), and its related typed texts “Album of ancient poems” (1917-1965); the book De Profundis of Oscar Wilde which includes her reading notes. The second part traces the trajectory of the young novelist, which shows that she was not indifferent to the major currents; the NRF, the return to the order and the discovery of the new image of Greece. We examine especially her writings published in several magazines and her letters written in the thirties as well as her works concerning this period. The third part proposes to regard Yourcenar as an anti-modernist and a dandy, by clarifying her neoclassical aesthetics. Marguerite Yourcenar Néoclassicisme Classicisme Entre-deux-guerres Art pictural Antiquité Modernité Antimoderne Marguerite Yourcenar Neoclassicism Classicism Interwar years Pictorial art Antiquity Modernity Anti-modern
4	Liberal internationalism: the interwar movement for peace in Britain Pugh, Michael C. January 2012 (has links) No description available. Political science ; Liberalism ; Liberals ; Civil society ; Political movements ; United Kingdom ; Politics and government ; Internationalism ; Interwar years ; History ; 20th century ; Social movements ; Peace ; Foreign relations ; REF 2014
5	Le blues et le jazz au service de la révolution? : les positions des communistes américains blancs à l’égard de la musique noire et son utilisation à des fins d’agit-prop durant l’entre-deux-guerres (1919-1941) Michaud-Mastoras, Loïc 05 1900 (has links) En 1936, l’American Music League publiait le recueil de chansons afro-américaines Negro Songs of Protest collectées par le folkloriste communiste Lawrence Gellert. Puis en 1938 et 1939, grâce au financement du mouvement communiste américain, le producteur John Hammond présentait deux concerts intitulés From Spirituals to Swing au Carnegie Hall de New York. En plus de rendre hommage à l’histoire de la musique noire américaine, ces deux concerts défiaient la ségrégation raciale, permettant au Noirs et aux Blancs d’être rassemblés sur une même scène et de s’asseoir ensemble dans l’assistance. Au même moment, la chanteuse jazz Billie Holiday faisait fureur au Café Society, premier club « intégré » de New York et lieu de rassemblement de la gauche radicale, en interprétant soir après soir la chanson ‘’Strange Fruit’’ qui dénonçait l’horreur du lynchage toujours en vigueur dans le Sud des États-Unis. C’était l’époque du Front Populaire, la plus importante période d’influence du mouvement communiste aux États-Unis et, de surcroît, le moment de l’histoire américaine durant lequel la gauche organisée détenait un pouvoir sans précédent sur la culture de masse. Partant d’une discussion sur le potentiel révolutionnaire de la musique noire américaine et cherchant à comprendre le positionnement des mouvements sociaux vis-à-vis la culture, ce mémoire met en lumière le point de vue des communistes américains blancs face à l’émergence et à la popularité grandissante du blues et du jazz noirs aux États-Unis. En fonction des trois principales phases politiques du Parti Communiste américain (CPUSA) – la phase du colorblind class (1919-1928); la phase du nationalisme noir (1928-1935); le Front Populaire (1935-1940) – ce mémoire retrace les changements d’attitude de la vieille gauche envers la culture populaire et suggère que le mouvement communiste américain a tenté d’utiliser le blues et le jazz à des fins d’agit-prop. / In 1936, the American Music League published Negro Songs of Protest, a book of songs collected by the left-wing folklorist Lawrence Gellert. In 1938 and 1939, with the financial support of the communist movement, the producer John Hammond was able to present From Spirituals to Swing at Carnegie Hall, New York, two concerts that celebrated the contribution of African American music in American history. Moreover, the From Spirituals to Swing concerts broke the color line, by letting Blacks and Whites play music together on stage and sit together in the audience. During the same years, jazz singer Billie Holiday enjoyed a monstrous success with her anti-lynching song “Strange Fruit” at Café Society, the first integrated club and radical left-wing cabaret in New York. It was the time of the Popular Front; a time when the communist movement had a great influence on American society and when the organized left exerted unprecedented power over mass culture. Starting with a discussion of the revolutionary potential of African American music and trying to understand what social movements do with culture, this essay traces the developing point of view of white American communists toward the commercial explosion and growing popularity of blues and jazz music in USA during the interwar years. It asks the question of why there was so little mention of jazz and blues in Party organs during the 1920’s and early 1930’s , it explores the changing attitudes of the Old Left toward popular culture and suggests that the American communist movement used blues and jazz music for agitprop, during the last of the three main political phases of the Communist Party of America (CPUSA) – the colorblind class (1919-1928); the Black Belt Nation thesis (1928-1935); and the Popular Front (1935-1940). Mouvement communiste américain Afro-Américains Culture Blues Jazz Entre-deux-guerres États-Unis CPUSA Front Populaire American communist movement African Americans Interwar years United States Popular Front
6	Les plus utiles propagateurs de la culture française ? : Les élèves musiciens étrangers à Paris pendant l'entre-deux-guerres / The most useful propagators of French culture ? : foreign music students in Paris during the interwar years Duchêne-Thégarid, Marie 15 December 2015 (has links) Pendant l’entre-deux-guerres, pédagogues et pouvoirs publics attendent des élèves musiciens étrangers formés à Paris qu’ils deviennent, selon une expression d’Henri Rabaud, directeur du Conservatoire, « les plus utiles propagateurs de la culture française » : par leurs déplacements, ces musiciens voyageurs assureraient la diffusion internationale de techniques musicales et de partis pris esthétiques français. Nous confrontons ce transfert culturel désiré à sa réalisation. La correspondance des institutions avec les pouvoirs publics souligne d’abord les enjeux que recouvre la venue de ces élèves en France. Les archives des écoles de musique, partiellement inédites, alimentent ensuite une base de données prosopographique identifiant les apprentis étrangers. La presse musicale et les récits de vie témoignent enfin de l’insertion de ces jeunes artistes dans la vie musicale parisienne et internationale, et permettent d’évaluer l’efficacité des mesures prises en faveur des élèves étrangers. / During the interwar years, foreign music students trained in Paris are expected from teachers and public authorities to become « the most useful propagators of French culture », according to director of Conservatoire, Henri Rabaud’s words : through moving abroad, those traveler musicians shall spread musical techniques and French aesthetical bias all over the world. We are confronting this cultural transfer to its fulfilment. First, the correspondence between institutions and public authorities emphasizes issues caused by these students coming to France. Then, the partly unpublished archives of music schools form a prosopographic data base identifying foreign young musicians. Musical press and life stories finally attest that these young artists are integrated in parisian as well as international musical life, and allow also to estimate the effect of measures in favour of foreign students. Formation musicale Transferts culturels Paris Entre-deux-guerres Conservatoire de Paris École normale de musique Prosopographie École française Pédagogie Musical education Cultural transfer Paris Interwar years Conservatoire de Paris École normale de musique Fontainebleau School of Music French Association for artistic action Prosopography French school Teaching
7	Demokrati bortom politiken : En begreppshistorisk analys av demokratibegreppet inom Sveriges socialdemokratiska arbetareparti 1919–1939 / Democracy Beyond Politics : An Analysis of the Concept of Democracy within the Swedish Social Democratic Party 1919–1939 Friberg, Anna January 2013 (has links) This dissertation analyzes the concept of democracy as it was used in the official rhetoric of the Swedish SocialDemocratic Party (SAP ) between 1919 and 1939. Theoretically, the dissertation relies on German Begriffsgeschichte, as put forward by Reinhart Koselleck, and Michael Freeden’s theory of ideologies. Together, by supplementing each other, these theories offer a perspective in which concepts are thought of as structures that are under contestation and change due to socio-political circumstances. However, the formulation of this change takes place in relation to the linguistic praxis of each time-period, and renegotiates the relative constraints of established relations between concepts in language. The analysis shows that the profound changes in society provided impetus for a continuous renegotiation of meanings, allowing concepts to retain their explanatory power under changing circumstances, at the same time the SAP needed new ways to express what kind of society the party strived to realize. The SAP had been one of the leading forces in the struggle for universal suffrage, and when the bill, giving universal suffrage to men andwomen, was passed in the Parliament 1919 this meant a temporary cessation to a long and intensive political debate. However, the SAP did not consider the introduction of suffrage reform as the end of full societal democratization. Rather than seeing the reform as a terminal point, the SAP saw it as the starting point for the struggle for full democracy. The SAP did not limit itself to only one concept of democracy but instead used a number of composite concepts, such as political democracy and economic democracy. The use of composite concepts can be understood as a changing temporalization of democracy. Since parliamentarism and suffrage were seen as central components in democracy, the realization of these institutions meant that the concept of democracy lost its future dimension. Thus, the usage of composite concepts should be seen as a re-temporalization of democracy. The composite concepts pointed forward in time, toward political goals that the SAP envisaged realizing in the future. Concepts should not be thought of as having cores but rather, as suggested by Freeden, ineliminable features. An ineliminable feature is not of logical nature but has a strong cultural adjacency. By analyzing the ineliminable components of the concepts of democracy that the SAP used, it is possible to discuss whether the composite concepts should be understood as subsets of a whole or as separate concepts. The analysis shows that the composite concepts that the SAP used during the first half of the 1920s shared a number of ineliminable features, but that the commonality of these features started to disintegrate during the latter half of the decade, leading to a rather diversive concept of democracy. During the 1930s the disintegration ceased as the party was faced with new circumstances, for example the growing threat of international war and national clashes between different social groups. There has always been a close relation between language and society. However, the relationship does not follow a simple and clear-cut logic but a complex mixture of various factors at different levels, both within language itself and of society. When society develops, language also has to change if the ongoing process is to be understood. As this study shows, new circumstances require new argumentsand thus revised concepts. collective singulars composite concepts conceptual history cultural democracy democracy economic democracy historical time history industrial democracy ineliminable features Interwar years labor history labor movement Michael Freeden political democracy political history political parties Reinhart Koselleck Social Democracy Swedish history temporalization of concepts arbetarhistoria arbetarrörelsen begreppshistoria demokrati ekonomisk demokrati historia historisk tid kollektivsingular kulturell demokrati mellankrigstiden Michael Freeden nyckelkomponenter politisk demokrati politiska partier Reinhart Koselleck sammansatta begrepp social demokrati socialdemokrati svensk historia temporalisering collective singulars composite concepts conceptual history cultural democracy democracy economic democracy historical time history industrial democracy ineliminable features Interwar years labor history labor movement Michael Freeden political democracy political history political parties Reinhart Koselleck Social Democracy Swedish history temporalization of concepts arbetarhistoria arbetarrörelsen begreppshistoria demokrati ekonomisk demokrati historia historisk tid kollektivsingular kulturell demokrati mellankrigstiden Michael Freeden nyckelkomponenter politisk demokrati politiska partier Reinhart Koselleck sammansatta begrepp social demokrati socialdemokrati svensk historia temporalisering

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