Par le biais de deux groupes de production issus de la même base, Slon (1968-1973) et Iskra qui lui succède, cette thèse interroge les modalités d'intervention politique d'une partie des acteurs du champ cinématographique français, de la fin des années 1960 à la fin des années 1980. Ce travail s'attache à la notion de collectif de cinéma militant, telle que forgée au cours de la période au prisme de la production, de la réalisation et de la circulation des œuvres issues de ce contexte. La formation du collectif militant passe d'abord par l'élaboration de modèles de productions spécifiques s'opposant au fonctionnement de l'industrie cinématographique. Difficile à accorder aux contraintes du champ, la recherche structurelle menée par les groupes formés dans l'après 1968 est constante jusqu'au début des années 1980, période à laquelle les acteurs du cinéma militant entament un mouvement inverse d'institutionnalisation. La confrontation des œuvres produites dans ce cadre, répondant aux temps forts du mouvement social, avec les pratiques revendiquées montre la diversité des voies d'engagement en cinéma ainsi que la difficulté de mettre en pratique l'idéal collectif. Certains films révèlent aussi une disproportion entre les ambitions des structures de production et leurs capacités d’action. La manière dont Slon et Iskra organisent la diffusion d'un catalogue constitué de nombreux films réalisés dans d'autres cadres fait émerger des pratiques qui n'ont pas été prévues dans leurs tâches originelles. Mobilisant de nouveaux acteurs au sein du groupe comme à l'extérieur, la distribution impacte fortement le fonctionnement du collectif. C'est finalement au moyen de cette activité que les membres d'Iskra parviennent à adapter la structure aux mutations du paysage audiovisuel français jusque dans les années 1980. / This thesis questions the modalities of political intervention among protagonists of the French cinematographic field from the late '60s until the late '80s, through the study of the two production groups derived from one and the same basis, Slon ( 1969-1973), followed by Iskra. This work concentrates on the concept of collective activist cinema, faithful to its definition forged during the given timespan, through the prism of production, of the execution and circulation of works produced in this context. The development of the activist collective firstly goes through the elaboration of specific production patterns in opposition with the functioning of the film industry. Difficult to reconcile with the inherent constraints of the film industry, the structural research led by groups fonned after 1968 is a constant until the early '80s, when cinema activists initiate a reverse movement, towards institutionalization. The confrontation between the movies accomplished in this background in response to the key moments of the social movement and according to the claimed policies, shows both the diversity of ways in the commitment through cinema and the difficulty in turning the collective ideal into hard facts. Some of the works studied also reveal the discrepancy between the ambitions of their production structures and their actual capacity for action. The way Slon and Iska organize the distribution of their catalogue made up of numerous products realized in contexts other than the initial, gives rise to new schemes which were not anticipated among their original tasks. Mobilizing new human resources from both inside and outside the group, the distribution had a huge impact on the manner the collective functioned as a whole. It is by the means of this very activity that the members of Iskra finally adapt their structure to the shifts occurred in the broadcasting field ail along through the '80s.

The diploma thesis Svobodné slovo 1945-1948: Central Organ of the Czechoslovak National Socialist Party deals with a development of the party newspaper Svobodné slovo in the aforementioned period. The author describes all the aspects of the edition of this newspaper as well as related circumstances on the basis of archive sources, press of that time and specialized literature. The thesis focuses on the restoration of Svobodné slovo after the end of the World War II, its subsequent evolution within newly established condition and provides coherent survey not only of the internal functioning of Prague editorial office of Svobodné slovo, but also of the general content orientation of the newspaper in the given period. With reference to the party character of Svobodné slovo, the author writes also on its interconnection and narrow relation with the Czechoslovak National Socialist Party. The thesis is completed with a historical context of Czechoslovakia of the second part of 1940's. In this connection, the emphasis is laid namely on parliamentary elections realized in May 1946 and the communist coup d'état occurred in February 1948. Both these events are presented especially from the point of view, which was published in Svobodné slovo including the consequences caused to this newspaper by them. For...

[EN] Small dwelling and urban form. German modern city bases. Small dwelling and urban form are the main concepts in which this research is based. The intention is to determine the characteristics of the German city where the modern architecture of Neues Bauen is developed. The small dwelling, as a new type lacking in an immediate historical precedent, arises from the need to house a new class of the industrial proletariat. The urban form as a different configuration which the city acquires. This is a result of the transformations that its growth demands in order to adapt to a new social reality. In Germany, as in the rest of Europe, the origin of the small dwelling came from the need to improve the living conditions of the worker. A reaction that was produced mainly from philanthropy but also as a guarantee in keeping some established social conditions. The movement for housing reform, set out by private initiatives, effectively solves new forms for a small, hygienic and functional dwelling that was accessible to a part of the working masses, establishing solid and functional criteria that would be maintained as the principles of a typology in the configuration of the modern dwelling at the beginning of the 20th century. The great German city, represented mainly by Berlin in this research, outlines its expansion through an imported urban idea that has, as its main interest, the monumental expression of the urban space. With a system originated in the interior reform processes of the French city, it outlines the exterior expansion of the German city as a continued imposing construction, in which the small dwelling only constitutes a dense internal filling. This "petrous sea", as Muthesius defines a city that extends concentrated to its limits, would be seen as incompatible with the small dwelling that was needed. Once this inconsistency was recognized and with a new scientific approach to the construction of the city, a transformation process was begun towards a new urban model that took into consideration the need for a small and healthy dwelling and returns to the citizen the contact with nature, a sense that is a deeply ingrained in German people. From the ideas and actions of the leading figures in this process, gathered in original documents, the research advances in the recognition of the typical and essential characteristics of a German city, that, at the start of the third decade of the 20th century, bases its modern quality in common criteria relative to the separation of urban functions, the insertion of green in the city and the value of public space. On this modern German city of first post-war Europe, the specific solution of the architecture of Neues Bauen will be built. / [ES] Vivienda pequeña y forma urbana. Fundamentos de la ciudad moderna alemana. Vivienda pequeña y forma urbana son los conceptos sobre los que se fundamenta esta investigación que quiere determinar las características de la ciudad alemana en la que se desarrolla la arquitectura moderna del Neues Bauen. La vivienda pequeña como un nuevo tipo carente de un antecedente histórico inmediato, que surge de la necesidad de alojar a la nueva clase del proletariado industrial. La forma urbana como la distinta configuración que adquiere la ciudad, consecuencia de las transformaciones que exige su crecimiento para adecuarse a una nueva realidad social. En Alemania, como en el resto de los países de Europa, la vivienda pequeña tiene su origen al reconocerse la necesidad de mejora de las condiciones de vida del trabajador. Una reacción que se produce desde la filantropía principalmente, pero también como garantía del mantenimiento de unas condiciones sociales establecidas. El movimiento para la reforma de la vivienda, planteado desde iniciativas particulares, resuelve de manera eficaz nuevas formas para una vivienda pequeña, higiénica, funcional y accesible a una parte de esta masa obrera, estableciendo sólidos criterios funcionales que se mantienen como principios de una tipología en la configuración de la vivienda moderna en los comienzos del siglo XX. La gran ciudad alemana, representada en esta investigación por Berlín principalmente, plantea su expansión sobre una idea urbana importada, que tiene en la expresión monumental del espacio urbano su mayor interés. Con un sistema originado en los procesos de reforma interior de la ciudad francesa, se traza la ampliación exterior de la ciudad alemana como un continuo edificado imponente, en el que la vivienda pequeña sólo constituye un relleno interior denso. Este "mar pétreo", como define Muthesius a una ciudad que se extiende concentrada hasta su límite, se mostrará incompatible con la vivienda pequeña que se necesita. Desde el reconocimiento de esta incoherencia y con una nueva aproximación científica a la construcción de la ciudad, se inicia el proceso de transformación hacia un nuevo modelo urbano que considere la necesidad de la vivienda pequeña saludable y retorne al ciudadano el contacto con la naturaleza, un sentimiento vernáculo de gran arraigo en el pueblo alemán. A partir del estudio de las ideas y actuaciones de los protagonistas de este proceso, recogidas en documentos originales, la investigación avanza en el reconocimiento de las características propias y fundamentales de una ciudad alemana que, en el comienzo de la tercera década del siglo XX, basa su cualidad de moderna en criterios comunes relativos a la separación de las funciones urbanas, la inserción del verde en la ciudad y el valor del espacio público. Sobre esta ciudad moderna alemana de la primera posguerra europea se construirá la específica solución de la arquitectura del Neues Bauen. / [CAT] Habitatge petit i forma urbana. Fonaments de la ciutat moderna alemanya. Habitatge petit i forma urbana són els conceptes sobre els quals es fonamenta aquest treball de recerca, que vol determinar les característiques de la ciutat alemanya en la qual es desenvolupa l'arquitectura moderna del Neues Bauen. L'habitatge petit com un nou tipus mancat d'un antecedent històric immediat, que sorgeix de la necessitat d'allotjar la nova classe del proletariat industrial. La forma urbana com la diferent configuració que adquireix la ciutat, conseqüència de les transformacions que exigeix el creixement d'aquesta per a adequar-se a una nova realitat social. A Alemanya, com a la resta dels països d'Europa, l'habitatge petit té l'origen en el reconeixement de la necessitat de millora de les condicions de vida dels treballadors. Una reacció que es produeix principalment des de la filantropia, però també com a garantia del manteniment d'unes condicions socials establides. El moviment per a la reforma de l'habitatge, plantejat des d'iniciatives particulars, resol de manera eficaç noves formes per a un habitatge petit, higiènic, funcional i accessible a una part d'aquesta massa obrera, i estableix uns criteris funcionals sòlids que es mantenen com a principis d'una tipologia en la configuració de l'habitatge modern en els inicis del segle xx. La gran ciutat alemanya, representada en aquest treball per Berlín principalment, es planteja l'expansió sobre una idea urbana importada que té el major interès en l'expressió monumental de l'espai urbà. Amb un sistema originat en els processos de reforma interior de la ciutat francesa, l'ampliació exterior de la ciutat alemanya es traça com un contínuum edificat imposant, en el qual l'habitatge petit només constitueix un farciment interior dens. Aquesta "mar pètria", com Muthesius defineix una ciutat que s'estén concentrada fins al límit, es mostrarà incompatible amb l'habitatge petit que es necessita. Des del reconeixement d'aquesta incoherència i amb una nova aproximació científica a la construcció de la ciutat, s'inicia el procés de transformació cap a un nou model urbà que considere la necessitat de l'habitatge petit saludable i retorne al ciutadà el contacte amb la natura, un sentiment vernacle de gran arrelament en el poble alemany. A partir de l'estudi de les idees i actuacions dels protagonistes d'aquest procés, recollides en documents originals, la recerca avança en el reconeixement de les característiques pròpies i fonamentals d'una ciutat alemanya que, al començament de la tercera dècada del segle xx, basa la seua qualitat de moderna en criteris comuns relatius a la separació de les funcions urbanes, la inserció del verd a la ciutat i el valor de l'espai públic. Sobre aquesta ciutat moderna alemanya de la primera postguerra europea es construirà la solució específica de l'arquitectura del Neues Bauen. / Bosch Abarca, J. (2016). Vivienda pequeña y forma urbana. Fundamentos de la ciudad moderna alemana [Tesis doctoral no publicada]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/61453 / TESIS

Since the development of interactive music software in the 1980s, a new genre of works for clarinet and computer has emerged. The rapid proliferation of interactive music resulted in a great deal of experimentation, creating a lack of standardization in both the composition and performance of this repertoire. In addition, many performers are reluctant to approach these works due to unfamiliarity with the genre and its technical and musical considerations. Performance practice commonly refers to interpretation of a written score, but the technology involved in interactive music requires a broader definition of performance practice; one that also addresses computer software, coordination between the performer and computer system, and technology such as microphones and pedals. The problems and potential solutions of interactive music performance practice are explored in this paper through review of the relevant published literature, interviews with experts in the field, and examination of musical examples from works for clarinet and computer by Lippe, May, Pinkston, Rowe, and Welch. Performance practice considerations of interactive music fall into the categories of notation, technology, collaboration, interpretation, and rehearsal. From the interviews and the literature, it is clear that the performance of interactive music requires specific knowledge and skills that performers may not encounter in other genres of contemporary music, including microphone technique, spatialization, sound processing, and improvisation. Performance practice issues are often mediated by close collaboration between performers and composers, but they can inhibit the accessibility of these works to new performers, and may be detrimental to the long-term viability of interactive music. Recommendations for resolving these issues are directed at both composers and performers of interactive music. A listing of over one hundred interactive works for clarinet and computer is also included.

A partir de la fin des années 1870, l’enseignement supérieur en France connaît d’importantes mutations liées aux réformes de la Troisième République. La faculté des lettres de Bordeaux, qui s’installe en 1886 dans le « Palais des Facultés » - un des tout premiers en France - au centre-ville de Bordeaux, permet d’observer les bouleversements qui touchent autant les enseignants que les étudiants de plus en plus nombreux, mais aussi le cursus universitaire et les disciplines enseignées. La faculté des lettres de Bordeaux acquiert une certaine spécificité au cœur d’un mouvement national : l’innovation de la « science sociale » avec Emile Durkheim, le développement de la géographie coloniale en sont quelques exemples. Près d’un siècle plus tard, au cours des années 1960, la faculté des lettres de Bordeaux se distingue encore avec l’écriture d’une histoire de Bordeaux sous la direction de Charles Higounet, inédite alors pour une métropole en France et en Europe. Une étude prosopographique distingue quelques caractéristiques d’un corps professoral, souvent passé par les grandes écoles, pour lequel la faculté des lettres de Bordeaux peut constituer autant un tremplin vers Paris que la réalisation d’une longue carrière universitaire. L’analyse des dossiers des étudiants montre le mouvement de massification qui touche l’enseignement supérieur ainsi que sa féminisation et une relative diversification des origines sociales. La faculté des lettres de Bordeaux, siège de ministères au début des deux conflits mondiaux, est, enfin, engagée dans les grands enjeux politiques, de l’affaire Dreyfus à Mai 68 tout en s’insérant au cœur de l’Aquitaine et en s’ouvrant au monde, plus particulièrement aux territoires d’outre-mer et de culture hispanique. La faculté des lettres de Bordeaux est donc un reflet de la démocratisation progressive de l’accès à l’éducation et de ses limites, mais aussi des changements structurels de la société française de la fin du XIXe siècle à 1968. / From the end of the 1870’s, Higher Education in France underwent important changes linked to the reforms of the Third Republic. The Faculty of Arts of the University of Bordeaux, took up residence in the “Palais des Facultés” - one of the very first in France – in the town centre of Bordeaux. We can observe the upheavals which affected not only the teaching staff and the students who were constantly increasing in numbers, but also the university curriculum and the subjects taught. The Faculty of Arts of Bordeaux acquired a certain specificity within a national movement: the innovation of “Social Sciences” with Emile Durkheim or the development of Colonial Geography being just a couple of examples. More than a century later, in the 1960’s, The Faculty of Arts of Bordeaux distinguished itself yet again with the writing of the History of Bordeaux under the supervision of Charles Higounet, the first of its kind for a metropolis whether in France or in Europe. A prosopographical study distinguished certain characteristics of the body of Professors, who had often studied in the “Grandes Ecoles”, and for whom the Faculty of Arts of Bordeaux could prove to be a stepping stone towards a position in Paris or the achievement of a long university career. The study of the students’ records shows the mass movement which affected Higher Education as well as its feminization and a certain diversification of social origins. The Faculty of Arts of Bordeaux, ministerial Headquarters during the two World Wars, was involved in important political issues, from the Dreyfus case to May 68 whilst playing an important role in Aquitaine and remaining open to the outside world, especially in overseas territories of Hispanic culture. The Faculty of Arts of Bordeaux is thus a reflection of the gradual democratization of the access to education and its limits, but also of the structural changes within French society from the end of the nineteenth century to 1968.

This thesis deals with the theme of the dark night in the work of St. John of the Cross and its influence on the formation of contemporary spiritual authors. Firstly, it focuses on the Spanish Carmelite mystic, John of the Cross social and biographical facts. These provide background to John's spiritual formation and without them the symbol of the dark night loses its historical context. This is followed by a list and brief description of the key works of John of the Cross. Of these texts, the dark night motif is dealt with in "Ascent of Mount Carmel" and "Dark Night," which constitute two aspects of a single journey leading to union with God. We encounter the dark night motive itself in the third chapter. First, we look at the dark night as described by John from the Cross. Then we focus on the symbolism of the dark night in the saint's work, its articulation and outcome. The last chapter introduces us to the view of contemporary spiritual authors, namely Thomas H. Greene, Thomas Halik, Iain Matthew, Gerald G. May, and Wilfrid Stinissen on the dark night theme.

This study has applied a geographical perspective with the ambition of evaluating the presence of the Sell in May effect, January effect and monthly anomalies in the Nordic stock markets. In extension the study examines the relationship between corporate size and the returns of calendar anomalies. The study has conducted statistical tests based on Newey-West regressions as well as a Generalized Auto-Regressive Conditional Heteroscedasticity model. The findings suggest that the Sell in May and January are present in the Nordic region and partially abide by theory and results of previous research. The findings suggest that the Sell in May and January effect are independent, however, tendencies when the January effect has a considerable influence on the Sell in May effect are also evident. Additionally, the “April Effect” is an unexpected outlier with positive excess returns that was identified through this study.

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