Cette thèse explore la continuité entre le Reichstag de Weimar et le Bundestag de Bonn à travers les itinéraires de 34 élus ayant siégé dans les deux chambres. L’élaboration du portrait socio-politique du groupe considéré aboutit au constat d’une diversité fondamentale, mais aussi à l’identification de milieux socio-moraux structurant la vie politique de l’Allemagne impériale. Ces acteurs vécurent différemment leur passage au Reichstag avant 1933, suivant leur parti, leur genre, la date et circonscription de leur élection ou les fonctions qu’ils exercèrent au parlement. La mise au pas du Reichstag et l’effondrement de la République marquèrent un tournant dans leur existence. La recherche des causes de l’échec weimarien les accompagna toute leur vie. Les personnalités étudiées réagirent différemment à la dictature nazie. Si leurs situations varient considérablement entre 1933 et 1945, ces années se résument globalement à une expérience de la perte. Les anciens du Reichstag furent les cibles privilégiées de persécutions visant à briser toute opposition au nazisme. L’expérience de l’oppression les mua en démocrates attentifs et favorisa leur retour en politique dès 1945. La plupart participèrent à la refondation institutionnelle de l’Allemagne de l’Ouest entre 1945 et 1949. Leurs retrouvailles avec le parlement à partir de 1949 furent difficiles dans la mesure où ils percevaient le Bundestag à travers le filtre de leur souvenir du Reichstag. Au Bundestag, ils mirent à profit leur connaissance du travail parlementaire, contribuant ainsi à stabiliser le nouvel État. Certains y perpétuèrent une culture politique forgée avant 1933 qui peut être qualifiée d’« esprit de Weimar ». / This PhD thesis studies the continuity between the Weimar Reichstag and the Bundestag in Bonn from the perspective of 34 representatives who were elected in both chambers. Constructing the socio-political portrait of this group reveals an essential diversity while at the same time leading to the identification of the socio-moral backgrounds that structured political life in imperial Germany. These men and women experienced their time in the Reichstag differently, depending on their party, gender, constituency, the period in question, and the place they occupied in parliament.The neutralisation of the Reichstag and the fall of the Republic marked a turning point in their lives. The question of why the Weimar Republic had failed would follow them for the rest of their lives. The members of this group reacted differently to the Nazi dictatorship. If their situations varied considerably between 1933 and 1945, the period was generally marked by the experience of loss. The former members of the Reichstag were the main targets of Nazi persecutions aimed at opponents of the regime. Living through oppression turned them into considerate democrats and encouraged their return to politics. Most took part in the institutional reconstruction of West Germany between 1945 and 1949. Their reunion with the parliament from 1949 onward was difficult, since they perceived the Bundestag through the prism of their past experience in the Reichstag. In the Bundestag, they built on their knowledge of parliamentary work, thereby contributing to stabilising the new state. Some of them perpetuated a political culture that had been shaped before 1933 and which can be described as “the Weimar spirit”.

Esta pesquisa averigua a forma como tem sido estabelecido o estatuto de recepção de algumas obras de arte no registro bruto/culto. Os artistas que abordamos são frequentemente classificados segundo tais categorias, ainda que tradicionalmente opostas: Arthur Bispo do Rosario (1909-1989), artista cujas obras foram alinhadas à Arte Contemporânea, e Judith Scott (1943-2005), artista com apenas algumas obras inseridas no campo da Arte Moderna e Contemporânea. O intento é examinar se os critérios e modos de leitura, praticados por críticos e curadores em mostras e exposições nacionais e internacionais, contemporaneamente, têm observado o vivido como significante preponderante do acervo desses artistas ou se, por outro lado, a prática é a de aproximação e incorporação no sistema de arte por aspectos meramente formais. Através do recolhimento da literatura referida a esses eventos, pretendemos explicitar os critérios de leitura e de fruição das obras desses artistas que compartilham o gosto por materiais têxteis, cujo processo de tecimento/destecimento é ingrediente-base de suas poéticas, mas que participam do sistema de arte em diferentes estatutos de integração. Finalmente, a pesquisa visa investigar até que ponto o sentido da escolha de têxteis no desenvolvimento de suas mitopoéticas foi considerado no campo da recepção crítica. A meio termo, destacamos um olhar de dentro do sistema de arte, contabilizando alguns dos pronunciamentos da artista francesa contemporânea Louise Bourgeois (1911-2010), considerando-os especialmente em dois aspectos que nos interessam neste estudo: sua relação com os têxteis, dos pontos de vista formal ou conceitual, e também sua singular perspectiva sobre o processo criativo e o engajamento do criador. A artista não tece julgamentos ou considerações de modo a estabelecer uma delimitação ou alguma fronteira entre os campos (in-) e (out-)sider, o que torna sua perspectiva particularmente atrativa. Colaborar para a reflexão sobre a interpretação de obras estrangeiras à esfera da arte institucionalizada é importante instrumento de compreensão dos processos de construção do saber artístico e de consolidação da fortuna crítica, além de proporcionar uma discussão sobre a possibilidade de pensar lArt Brut a partir de um ponto de vista do próprio sistema de arte / This research aims to enquire how the statute of some art works has been established in the outsider/cultivated art reception register. In this approach the artists are often classified accordingly to those categories, even though they are traditionally opposites: Arthur Bispo do Rosario (1909-1989), an artist whose works are linked to the contemporaneous art, and Judith Scott (1943-2005), an artist who has only some of her work included in the modern and Contemporary Arts system. The intent is to examine what is the criteria and reading tools currently used by curators and art critics in both national and international exhibits, to evaluate if they have considered that bulk of work as something of significant value or if the approach is one of incorporating it into the system in merely formal terms. Through the investigation of the available literature related to those events, we intend to think the criteria used in the evaluation and fruition of those artists work. They have in common the preference for textile materials; the weaving/unweaving process is the basis of their poetic. However, they hold different status of integration in the arts system. Finally, this research aims to investigate how much the choice of textile materials in the development of mythopoetic has been considered and accepted by the critics. In the middle ground, we point to a view that is inside the arts system, listing some of the pronoucements of the contemporary french artist Louise Bourgeois (1911-2010), regarding specially two aspects of interest in the present study: her relation with textiles, be it from the formal or conceptual point of view, and also her singular perspective about the creative process and the creators commitment to it. The artist does not judge or deliberate in order to establish or set out a boundary between the fields of (in-) and (out-)sider art, which makes her perspective even more interesting. Reflecting on the interpretation of foreign works connected to the institutionalized art is an important and valuable contribution to the construction of artistic knowledge and to the consolidation of critical fortune. It also provides a discussion on how to consider the possibility of viewing the Outsider Art from the art systems perspective

From 1831 to 1836, Victor Hugo and Louise Bertin collaborated on an opera titled La Esmeralda. For Hugo, it would be the only opera libretto he would ever write, a mere footnote to his collection of widely admired novels, plays, and poetry; for Bertin, however, it would become her most important work, yet seemingly destined to fade into obscurity like so many great pieces of art. Using Schenkerian analysis, this thesis uncovers the tonal and voice-leading structure of the first act of La Esmeralda. A study of this nature, which operates from the premise that forms as large and complex as opera can be examined in terms of a large-scale structure, is valuable because it sheds new light on the correlation of tonal structure and dramatic organization. Through these methods, Act I of La Esmeralda is read as a background progression from D major (with F# kopfton) to F major, composing-out an F#/F♮ dichotomy introduced in the overture. With reference to several musical-symbolic ideas - including the representation of virtue through the pitch F#, the key of Notre-dame's bells - it is shown how the musical structure of Act I expresses the Hugolian themes of fate and decay.

I vår första studie som gjordes under SA1 visade det sig att även om lärare ansåg sig vara normkritiska vid valet av högläsningsböcker så visade det sig inte riktigt när vi analyserade böckerna. Vi funderade då på om den normkritiska aspekten kommer in i arbetet med böcker, alltså boksamtal. Därmed blev vårt fokus med den här studien att undersöka om och hur lärare använder sig av normkritiska boksamtal. Den teoretiska utgångspunkt vi utgått ifrån är Receptionsteori, vilken fördjupas ytterligare med teoretikerna Aidan Chambers och Louise Rosenblatt. Det empiriska materialet består av ett hundratal kvantitativa enkäter som besvarats av slumpmässigt utvalda lärare verksamma i lågstadiet i ett antal mellanstora län i Sverige. Resultatet från enkäterna påvisar att en stor majoritet lärare anser att de är medvetna om kön och genus när de väljer högläsningslitteratur, och att de försöker vara varierande och inkluderande. Det var också en stor andel som också arbetade med antingen bara boksamtal kopplat till högläsningen, eller till och med normkritiska boksamtal. De som ändå uppger att de inte har boksamtal uppger att det är brist på tid och kunskap som är de största stoppklossarna, vilket kan ses som något problematiskt då studier visar att det är en väldigt ojämn fördelning gällande kön och genus i barnböcker. Studien påvisar alltså att lärare i mångt och mycket är medvetna om sina val och tänker normkritiskt sett till kön och genus, samt att boksamtal i stor del är något som prioriteras av lärare.

"L'image que l'on donne/ N'est pas toujours la bonne" Les Cowboys Fringants, “Les Hirondelles” Malgré les changements dans le traitement des femmes au fil des décennies, les vraies policières continuent de souffrir des injustices de la part de leurs supérieurs masculins, ainsi que de la communauté qu'ils ont juré de protéger. Tant que la fiction reflète la réalité, on peut s'attendre que le genre de la polar du type policier démontrera non seulement les injustices entre les sexes, mais aussi les façons différentes que les victimes féminin y répondre. Comme des vrais policières, les détectives féminins fictifs sont trop souvent des victimes, même quand elles sont les protagonistes, même si leurs auteurs sont des femmes. Preuve de la discrimination contre les femmes policières réelles et fictives seront explorées dans cette thèse en regardant l'histoire des romans policiers, à travers des études de cas réels impliquant des policiers féminins réelles, ainsi que l'analyse de certains personnages clés dans les textes de discussion par Chrystine Brouillet, Vicki Delany et Louise Penny. En conséquence, il sera démontré que les images projetées par les agents de polices féminins réels et fictifs, quelles ne sont pas toujours bonnes, sont de plus en plus varié à la suite du mouvement féministe et en raison de la résistance littéral et imaginaire aux stéréotypes sexistes. Même si elles sont maintenant les protagonistes, les femmes détectives fictionaux faire face aux un réduction du l'agence et sont soumisent aux attentes différentes de genre que leurs homologues masculins. Aspects de l'inégalité des sexes présents dans les sociétés occidentales d'aujourd'hui se glissent dans la fiction et agir dans une manière pas toujours possible dans la monde réalité. Parfois, les situations sexistes sont résolu dans fiction, malgré le fait qu'ils existent toujours dans les vies quotidien de certaines femmes policiers. Les stéréotypes autour qu'est-ce que ça veut dire d'être policier causent des injustices du genre et existent souvent simultanément avec des images de femmes qui nient ces mêmes stéréotypes. La représentation de la femme policière est donc multiples, les stéréotypes reproduit, mélangé, ou effacé complètement. Masculinity is still regarded as the embodiment of strength and heroism and the female body, weakness and victimization. Philippa Gates, Detecting Women, 282 Despite changes in the treatment of women over the decades, policewomen continue to suffer gender injustices at the hands of their male superiors, as well as from the community they are sworn to protect. The injustices they face are publicized by such media as the CBC, though often in an exaggerated fashion. As fiction often reflects reality, one can expect that the genre of the police procedural will demonstrate not only such gender injustices but also various ways victims respond to them. Like real policewomen, fictional female detectives are too often victims even when they are the protagonists, and even when their author is a woman. Evidence of the victimization of real and fictional policewomen will be explored in this thesis by looking at the history of detective fiction, and through real case studies involving real female police officers, as well as the analysis of certain key characters in focus texts by Chrystine Brouillet, Vicki Delany, and Louise Penny. As a result, it will be shown that the images projected by actual and fictional female police officers, while not always positive ones, are becoming more varied as a result of the feminist movement and as a result of literal and imaginary resistance to sexist stereotypes. Despite having moved into a protagonist position, fictional female detectives all too often have reduced agency and different gendered expectations than their male counterparts. Aspects of gender inequity present in Western societies today creep into fiction and are played out in ways not always possible in reality. Sometimes, sexist problems present in the fictional texts are resolved despite the fact that they still exist in certain policewomen's everyday lives. Stereotypes of what a police officer should be function in ways that reflect and reproduce gender injustices and often exist simultaneously with images of women that resist and oppose these same stereotypes. The representation of policewoman is thus multiple, reproducing stereotypes, blurring them, or erasing them altogether.

<p>Denna studie avser att ur en positivistisk ansats analysera hur marknadsförare bättre kan nå ut till invandrarbefolkningen, inte minst i anslutning till de större utländska högtiderna. Syftet är att försöka få handlarna att förbättra marknadsföringen mot denna målgrupp och nå ut med ett budskap som de kan identifiera sig med. Undersökningen belyser ur ett nytt, innovativt och explorativt perspektiv de faktorer som kan tänkas inverka på marknadsföringen och ägnar särskilt uppmärksamhet åt Parsons teori, Homophily teorin och nischmarknadsföring. Undersökningen är uppdelad i en förstudie där kontakt tagits med reklambyråer för livsmedelskedjor och belyser forskningsproblemet ur deras synvinkel. Huvudstudien genomfördes via en enkätundersökning och syftar till att belysa problemet ur målgruppens synvinkel. Resultatet påvisar att huvuddelen av marknadsförarna saknade tillräckliga kunskaper om invandrargruppen, samtidigt som invandrargruppen visat sig vara mottaglig för olika influenser. Därför föreslår vi att marknadsförarna till större del beaktar invandrarna som målgrupp i sina framtida kampanjer och i större grad försöker tillgodose de behov som de har i egenskap av outnyttjad köpkraft.</p>

<p>The essay studies the character Marie's search for empowerment in Louise Erdrich's <em>Love Medicine</em>. As a mixed-blood she has difficulty to find respect within the white community because she is considered Native American Indian. However, the Native American Indian community sees her as ´dirty and lowlife´due to her whiteness. She tries different strattegies to form an identity and to find love, power and respect. In the convent she wants to be the best Catholic and find respect within the white community whilst later in life she returns to her Native American Indian tribe where she searches for respect throught marriage and motherhood. The theory used is sociology of religion.</p>

Denna studie avser att ur en positivistisk ansats analysera hur marknadsförare bättre kan nå ut till invandrarbefolkningen, inte minst i anslutning till de större utländska högtiderna. Syftet är att försöka få handlarna att förbättra marknadsföringen mot denna målgrupp och nå ut med ett budskap som de kan identifiera sig med. Undersökningen belyser ur ett nytt, innovativt och explorativt perspektiv de faktorer som kan tänkas inverka på marknadsföringen och ägnar särskilt uppmärksamhet åt Parsons teori, Homophily teorin och nischmarknadsföring. Undersökningen är uppdelad i en förstudie där kontakt tagits med reklambyråer för livsmedelskedjor och belyser forskningsproblemet ur deras synvinkel. Huvudstudien genomfördes via en enkätundersökning och syftar till att belysa problemet ur målgruppens synvinkel. Resultatet påvisar att huvuddelen av marknadsförarna saknade tillräckliga kunskaper om invandrargruppen, samtidigt som invandrargruppen visat sig vara mottaglig för olika influenser. Därför föreslår vi att marknadsförarna till större del beaktar invandrarna som målgrupp i sina framtida kampanjer och i större grad försöker tillgodose de behov som de har i egenskap av outnyttjad köpkraft.

Composé de deux parties, le mémoire « Posthumes. Inventaire » suivi de « Fragments et photos exhumés du garde-robe, un archivage » s'intéresse à la consignation de souvenirs d'enfance rattachés à un événement traumatique. Il cherche à saisir de quelle façon un adulte arrive à consigner sa mémoire lorsque, dans l'enfance, on l'a tenu à l'écart d'un événement traumatisant. Dans un premier temps, la partie de création du mémoire offre, sous forme de fragments, une accumulation de souvenirs qui, à l'image d'un album photos, dresse le portrait d'une enfance marquée par le suicide d'un proche. À travers les souvenirs relatés, la narratrice retrouve et expose des lieux et des situations de son enfance dont le sens est teinté par le suicide de la conjointe de son père. La seconde partie, quant à elle, est constituée d'un dossier d'accompagnement offrant un éclairage théorique sur l'œuvre de création. Dans cette partie, l'auteure présente et explique sa démarche de création, tant sur le plan de la forme que de la méthode de travail, tout en définissant les diverses influences et réflexions qui ont mené à la rédaction du mémoire de création. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Souvenirs, mémoire, enfance, suicide, traumatisme, filiation, fragments, perte, famille, deuil, Louise Bourgeois, Mélanie Gélinas, Denise Desautels.

Meniscus is a collection of poems with a critical preface that examines the nature of "silence" and oblique language.