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After World War I, a significant change for the concepts of culture and art occurred in France, which eventually causes a cultural revolution. Francis Poulenc (1899-1963) experienced such a transformation and became one of the most important French composers and pianists in the twentieth century. He was a member of the French group Les Six; his music was therefore often considered informal. However, those who had ever listened to his music were impressed deeply by the graceful melodies and rich harmonies presented in his works. Poulenc was prolific, producing a total number of 34 opuses for piano. In particular, he finished most of his outstanding works in the 1930s, of which Nocturnes is the most representative. Nocturnes is characterized by two main elements generally found in Poulenc¡¦s works, referred to as Neo-classicism and Popular Music, from which the characteristics of his piano music can be realized comprehensively. The primary purpose of this thesis is to thoroughly discuss Poulenc¡¦s famous piano pieces Nocturnes. The thesis is organized as follows. Firstly, the development of French cultures in the early twentieth century is introduced particularly with a historical perspective. In Chapter 2, Poulenc¡¦s life and his composition style are presented, followed by an emphasis on the unique characteristics of his piano music. Chapter 3 describes the background when Poulenc composed Nocturnes, with a discussion of the skills required for the interpretation. It is anticipated that this study is capable of offering the understanding of Poulenc¡¦s piano music.

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Le sujet inédit de la thèse repose sur un fonds d’archives. Il questionne la réception du sculpteur néoclassique italien Antonio Canova (1757-1822) dans les cercles et salons mondains à travers la correspondance de personnalités françaises aux profils multiples, du Consulat, de l’Empire et de la Restauration. Au gré des lettres, se dessine l'image d’un artiste aux prises avec des intérêts économiques, artistiques et sentimentaux. La séduction opère auprès des Napoléonides lui assurant protection et commandes ; elle gagne aussi les représentants du pouvoir à Rome et les salonnières pris au jeu de la délicatesse et du charme des compositions de l’Italien. La recommandation apparaît comme un mode de communication privilégié entre artistes et reflète la vitalité de ce type de lettre ainsi que la diversité des réseaux. La correspondance met en évidence le changement de statut de l’artiste qui adapte sa célébrité aux exigences de ses commanditaires en devenant un véritable homme d’affaires. Partagé entre désir d’émancipation et fidélité aux choix esthétiques de son mentor Quatremère de Quincy, Canova livre une production polymorphe qui le fait apprécier de la critique et du public qui cherche à voir en lui l’héritier moderne des sculpteurs grecs : mais ses rares présences et expositions à Paris limitent son impact. L’influence du premier romantisme dans la peinture néoclassique imprègne la production canovienne lui conférant son originalité. L’étude des missives fait surgir des questionnements historiques, matériels et esthétiques dont les épistoliers de Canova sont les témoins. / The novel subject of this thesis is based upon archive material. It is centered on how the work of Italian neo-classical sculptor Antonio Canova was received in the most glamorous clubs and salons, through the study of letters exchanged by French celebrities from different walks of life during upon the periods of the Consulate, the Empire and the Restauration. Letter after letter, the image of an artist confronted with économie, artistic and sentimental challenges emerges. He succeeds in winning over the Napoleonides who grant him their patronage and their protection. He also gains the support of government représentatives in Rome and of fashionable women who are enraptured by the charm and the refinement of the Italian sculptor’s compositions. Référencés appear as a privileged form of exchange between artists, and reflect the vitality of this type of letter, and the variety of networks.Correspondence demonstrates the changing status of the artist who adjusts his réputation to the demands of his patron, thus becoming a true businessman. Torn between his longing forfreedom and his commitment to the artistic leanings of his mentor Quatremère de Quincy, Canova's production has many facets, which endear him to critics and to the public who wishes to see him as the modem heir of Greek sculptors. Yet as he rarely visits Paris and his work is rarely exhibited there, his impact is limited. The influence of early romanticism on ne classical painting permeates Canova’s works, and is a tribute to his originality. Studying these letters brings to light historical, material and esthetic questions that their authors bear witness to.

Cette thèse sur la poésie écrite a pour sujet, la connaissance du genre dans la période comprise entre 1970 et 2000. Elle propose sur une base d’auteurs et de textes une ébauche de critique des styles et des formes comme celle du contenu. Quatorze pays qui composent le corpus. Il s’agit du Benin, Burkina Faso, du Cameroun, de la Centrafrique, du Congo, de la RD Congo, de la Cote d’lvoire, du Gabon, de la Guinée, du Mali, du Niger, du Sénégal, du Tchad et du Togo. Ce travail est traité sur trois parties : les itinéraires littéraires, les thèmes importants et les styles.Du point de vue thématique, les poèmes ont permis de déceler plusieurs itinéraires dont le plus pertinent montre les étapes de la déliquescence sociale. Depuis les années 70 se sont succédé les thèmes du désenchantement, du désarroi et du mal-être correspondant aux périodes des années 70/80 ; 80/90 et de 90 à 2000. Toutes ses idées étaient étiquetées dès les premières œuvres de Tchicaya U Tamsi, le précurseur de cette génération de poètes. Parallèlement, se développe une autre orientation qui, elle, donne sur l’espoir. Ce sont les thèmes de la race, de l’amour et de la révolution. Quant à l’écriture poétique, il se passe une éclosion de formes dont certaines revêtent des caractères de plus en plus osés. Très souvent, l’imagination va puiser, dans les tréfonds des cultures, des matériaux de création. Des poèmes intégralement allégoriques (oscillant entre rêve et réalité) aux poèmes, fusion parfaite entre plusieurs genres poétiques (là où on est amené à parler d’influence de la poésie orale sur la poésie écrite) à côté des poèmes plus classiques bâtis sur la recherche de formes fixes. / This thesis on written poetry has for object the knowledge of the kind between 1970 and 2000. It provides on a base of authors and texts, critical insight of the styles and the shapes like the content’s. Fourteen countries are included in the corpus. There are Benin, Burkina Faso, Cameroon, Central Afiican Republic, Congo, DR Congo, Cote d'Ivoire, Gabon, Guinea, Mali, the Niger, Senegal, Chad and Togo. This work is treated in three parts : the literary routes, important themes and the styles. On the thematic point of view, the poems have helped identify several routes of which the most relevant shows stages of the social deliquescence. Since the 70, themes of disillusionment, dismay and discomfort succeeded one another, corresponding to periods of the years 70/80, 80/90 and the 90s to 2000. All this ideas were labeled in the early works of Tchicaya U Tamsi, the precursor of this generation of poets. Meanwhile, a different trend, which carries hope, develops itself. These are the themes of race, love and revolution. As for poetry writing, an outbreak of forms happens, some carries more and more daring characters. Very often, the imagination will draw from the depths of cultures from creation materials. From fully allegorical poems (oscillating between dream and reality) to poems, perfect fusion between several poetic genres (where one is led to speak of the influence of oral poetry on written poetry) alongside more traditional poems built on the quest of fixe shape.

This thesis presents extended program notes for a recorded graduate classical guitar recital consisting of the following works for solo guitar with string quartet and chamber orchestra: Mario Castelnuovo-Tedesco: Quintet for Guitar and Strings, Op. 143; Leo Brouwer: Concerto No. 3 (“Elegiaco”). Both works are pioneering and invaluable contributions to guitar literature. Tedesco’s Quintet for Guitar and Strings, Op. 143 is the first quintet ever composed to properly showcase the virtuosity of the guitar within a chamber setting. Concerto “Elegiaco” demonstrates the refinement of Leo Brouwer’s use of post-modern tonality and minimalism within classical form, and showcases his unique compositional style.

Par tradition, les habitants de La Teste se baignaient depuis bien longtemps sur la plage d’Arcachon, où, dès le début du XIXe siècle, une cabane de résinier fut louée à des « estrangers » ayant osé s’aventurer sur ces rives inconnues. Il fallut attendre les années 1820 pour que les premiers hébergements liés aux bains de mer soient mis en place. Leurs constructions répondaient aux codes néo-classiques, conformes aux pratiques architecturales de l’époque. Les premiers « chalets », influencés par ce style, surent, néanmoins apporter quelques particularités. Mais ce ne fut qu’avec l’invention de la Ville d’Hiver, quartier de cure édifié à partir de 1863, pour accueillir des malades atteints de tuberculose, que la variété architecturale fut consacrée. Chalets suisses, castelets, formes éclectiques, prirent place au milieu des pins, dans les dunes, offrant à la récente commune d’Arcachon (1857), une nouvelle dimension médicale, et un élan architectural au goût du jour. Le style pittoresque obtint, là, un succès à la mesure de celui qu’il eut sur toutes les plages de l’Atlantique et de la Manche, envahissant progressivement toute la ville. Jusqu’à l’apparition des formes régionales – néo-landaise, néo-basque-, à partir de 1920, il fut le style employé dans toutes les réalisations des nouveaux quartiers, de la ville d’automne ou de printemps, et du Moulleau, démontrant ainsi sa parfaite adaptation au milieu. / Traditionally, the inhabitants of La Teste used to bathe on the beach of Arcachon. As early as the beginning of the 19th century, a wooden hut was rented out to foreigners who dared to visit this unknown shore of the bay. The first accommodations in relation with sea bathing appeared not before the 1820 s’. These buildings reflected the neoclassical features, according to the architectural standards of the time. Most of the first 'chalets' were built in the same style, some of them showing some additional details. An architectural diversity was really settled in 1863 with the creation of the Winter Town, a medical district designed to cure tuberculosis. 'Swiss chalets', cottages and other eclectic constructions erected among the pines on the sand dunes gave to the recent town of Arcachon (1857) a new medical dimension and a modern architectural development. As anywhere else along the western shores of France, the picturesque style was so successful as to invade every part of the town. Till local styles - néo-landais, néo-basque- appeared in the1920 s, it was the only one used in the buildings of the new districts in the autumn and spring towns, as well as in Moulleau. Which can mean it was the best answer at this time, in terms of seaside architecture.

The diploma thesis deals with architecture of financial institutions in Prague - banks, savings banks and insurance companies - from the middle of the 19th century (when the first representative headquarters of financial institution in Prague was built) to 1939. The research of the thesis is focused on territory of Prague New Town, which is included in town area of Prague 1, where the highest concentration of these financial buildings was in whole research period. The diploma thesis will register and interpret individual headquarters of financial institution in Prague in historical, economic and political context within the Czech lands and the Habsburg monarchy, then also within the Czechoslovak Republic; and in the context of urban and wider architectural development in Prague and Europe too. Key words: Architecture, urbanism, banks, savings banks, insurance companies, 19th and 20th century, Prague, Bohemia, Czechoslovakia, historic style, Art Nouveau, cubism, neo-classicism, functionalism.