The neoralism has been chosen as theoretical basis for the thesis. First part is describing and analyzing changed in national security of France during the presidency of Sarkozy in the new defense doctrine. Another part is analyzing in depth the return of France to NATO military commandment as one of these changes, as well as the example of french reponse to international security menace.

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Généralement considéré à l’aune de significations historiques, pour le rôle qu’il joue dans l’économie sociale et l’éclairage qu’il permet de porter sur la production musicale, le concert est aussi, plus rarement, envisagé selon le rapport qu’il entretient naturellement avec le monde du spectacle et l’univers religieux. Mais la question de son ontologie reste suspendue. Cherchant à saisir ce qui le constitue dans sa radicalité, nous élaborons dans ces pages une réflexion en deux temps. Le premier est consacré à un tableau, Le Concert, peint par Nicolas de Staël en 1955 après qu’il a assisté à deux concerts du Domaine musical. Le second propose de penser une poétique du concert, c’est-à-dire de s’intéresser au faire. De l’un à l’autre apparaît puis s’affirme la trace d’une discontinuité foncière, constitutive du concert. Ce que le tableau donne à voir, à la jointure des préoccupations anciennes du peintre et d’un événement musical, c’est une essence fragmentaire laissée nue. Nous saisissant de cette matière, nous nous interrogeons sur le rapport du concert à l’œuvre : qu’est le concert en regard de l’œuvre musicale, du morceau de musique, de l’opéra ? La question de l’unité et celle du sens s’imposent en contrepoint, constituant progressivement un dialogue avec l’univers du livre, depuis les origines didactiques du concert jusqu’à la désignation d’un geste poétique qui le fonde. Cette profonde intimité avec la poésie nous mène à l’orée d’une pensée politique de l’événement : fabriqué et fabriquant, le concert n’accède à la cohérence que dans un virtuose tissage de rapports. / Considered for the most part according to its historical significance, both for its role in the social economy and for the light it sheds on musical production, the concert is only rarely studied in terms of the theatrical and religious worlds to which it is, by its very nature, related. The question of its ontology, however, remains deferred. In an effort to understand what constitutes the concert’s radicality, a two-pronged approach has been developed here. The first is applied to Nicolas de Stael’s The Concert (1955), which he painted after having attended two Domaine musical concerts. The second attempts to elaborate a poetics of the concert, that is, to explore its doing. The trace of a fundamental discontinuity that is vital to the concert appears as we move from one to the other, faintly at first, and then more clearly. What this painting shows us, at the intersection of the old preoccupations of the painter and of a musical event, is a fragmentary essence laid bare. Using this subject as the basis of our study, we examine the relations between the concert and the work itself: how is the concert related to the musical opus, the musical piece, the opera ? In counterpoint, the questions of meaning and unity are crucial here, gradually opening a dialogue with the world of the book, from the didactic origins of the concert to the defining of the poetic gesture on which it is based. This deep intimacy with poetry leads us to a political approach to the event : fabricated and fabricating, the concert can only attain its coherence through the virtuous interweaving of connections.

Aujourd'hui méconnu, Nicolas Denisot (Le Mans, 1515 – Paris, 1559), figure protéiforme de poète, peintre, précepteur et, bien probablement, agent double, connut au début des années 1550 une popularité extraordinaire qui lui permit d'occuper, quoique pour une brève période, une place de premier plan dans les milieux littéraires parisiens. Cette thèse entend reconstruire son parcours, sa personnalité et le réseau de ses amitiés, et définir l'originalité de sa contribution au renouvellement de l'expression poétique à la Renaissance. Un premier chapitre de caractère biographique, qui suit l'ordre chronologique des déplacements de l'auteur (Le Mans, Paris, l'Angleterre, Calais...) et des témoignages de ses rapports avec les hommes de lettres de son époque, est suivi de trois chapitres thématiques consacrés à chacun des domaines qui forment l'essentiel de sa production poétique : les poèmes sur la Nativité (noëls et cantiques), la poésie néo-latine du Ms. Royal 12 A VII de la British Library et les tombeaux collectifs et plurilingues. Les ouvrages sont étudiés dans leurs éléments de continuité ou de nouveauté par rapport aux genres littéraires auxquels ils appartiennent et avec une attention particulière pour les contextes culturels qui les ont fait naître. Il est ensuite question du problème des attributions anciennes et modernes, dont la plus controversée : celle de L'Amant resuscité de la mort d'amour, œuvre d'un certain Théodose Valentinian, souvent identifié à Nicolas Denisot. / Even though he has generally been regarded as a minor figure, Nicolas Denisot (Le Mans, 1515 – Paris, 1559), poet, painter, preceptor and, presumably, secret agent, met an outstanding popularity at the beginning of the 1550s and played, in those years, a crucial role in Parisian literary circles. This thesis aims at retracing the evolution of his career and the network of his acquaintances, as well as at establishing the value of his contribution to the renewal of poetry in the French Renaissance. Chapter one focuses on Denisot's biography in a chronological order and takes into account both his journeys, from Le Mans to Paris and then to England and Calais, and his relationships with the literati of his time. The following chapters are devoted to the three major fields which make up the main part of his literary production : his poems on the Nativity (noëls and cantiques) ; Neo-latin poetry, as it is represented by Royal 12 A VII Manuscript (British Library) ; and collective and multilingual tombeaux. All works are explored considering the features of their specific literary genre, with a special focus on the cultural context in which they were created. The final chapter deals with the problem of ancient and modern attributions, among which is the most controversial one : that of the novel L'Amant resuscité de la mort d'amour, whose unknown author, Théodose Valentinian, has often been identified with Nicolas Denisot.

Nicolas Petit (c. 1497-1532), originaire de Normandie, étudia et enseigna au collège de Montaigu à Paris (c. 1510-c. 1522). Ce collège avait mauvaise réputation auprès des humanistes qui le disaient hostile au Bonae Literae, mais la modernité de sa poésie (Elegiae de redemptione humana, Paris, Jean Petit, 1517, en collaboration avec Jean Des Fossés ;Sylvae. Arion, Gornais, Barbaromachia cum aliquot hymnis, Paris, Jean de Gourmont, 1522)contredit ces représentations traditionnelles. Petit partit ensuite à Poitiers étudier le droit ; il yfréquenta les cercles littéraires et devint ami du poète rhétoriqueur Jean Bouchet et du jeune François Rabelais.Cette thèse consiste d’une part en l’édition, l’annotation, la traduction des Sylvae et des Elegiae de redemptione humana (1er volume). Un second volume contient une étude du contexte intellectuel du collège de Montaigu qui s’appuie sur la lecture des oeuvres produites dans et autour de ce collège ; j’entame ensuite une étude littéraire des Sylvae (imitation deStace, influence d’Ange Politien, nature pré-rabelaisienne des textes de Petit) ; je termine en analysant l’influence de la poésie de Petit sur les oeuvres de J. Bouchet et F. Rabelais. Dans chacune de ces parties, j’appuie ma réflexion sur un panorama général de la littérature néo-latine du temps, pour mieux situer Petit dans son contexte intellectuel et littéraire. / Nicolas Petit (c. 1497-1532), from Normandy, studied and taught in the college of Montaiguin Paris (c. 1510-C. 1522). This college had bad reputation among the Humanists who said itwas hostile to Bonae Literae, but the modernity of Petit’s poetry (Elegiae de redemptionehumana, Paris, Jean Petit, 1517, in collaboration with Jean Des Fossés ; Sylvae. Arion,Gornais, Barbaromachia cum aliquot hymnis, Paris, Jean de Gourmont, 1522) contradictsthose traditional representations. Afterwards, Petit went to Poitiers (c. 1522-1532) to studylaw ; there, he frequented the literary circles and became friend with the Rhetoriqueur poetJean Bouchet and the young François Rabelais.This Ph. D. consists in the edition, annotation and traduction of the Sylvae and of the Elegiaede redemptione humana (1st volume). A second volume contains a study of the intellectualbackground of the college of Montaigu which bases on a reading of the texts written in andaround this college ; then I begin a literary study of the Sylvae (imitation of Stace, influenceof Angelo Poliziano, pre-rabelaisian nature of Petit’s texts) ; in the last part, I analyze theinfluence of Petit’s poetry on Jean Bouchet’s works and also on Rabelais’s ones. In each partof my study, I base my reflection on a general overview of neo-latine literature of the time, inorder to insert Petit in his intellectual and literary background.

Nicolas Sarkozy est un personnage politique à part entière. En cinq ans (de 2002 à 2007), il a su se construire une notoriété et une popularité qui lui ont permis de devenir président de la République dès le premier essai et ce, malgré sept ans d’absence, suite à son malheureux soutien à Edouard Balladur en 1995. Quelle fut sa recette ? Une communication issue du marketing politique, lui même issu du marketing commercial, mais pas seulement. La saturation de l’espace médiatique pour créer l’actualité plutôt que la subir est un des principaux ingrédients de ce succès. Un autre ingrédient est le « story telling » qui a été emprunté au monde du spectacle et qui consiste à présenter le personnage de Nicolas Sarkozy en action certes, mais pas uniquement dans le domaine politique. Il a également séduit son électorat avec l’affichage de sa vie privée. Il est devenu une espèce de vedette suivie et commentée par les médias. Alors, que s’est-il passé après son élection ?L’étalage de sa vie privée, ses réactions excessives et son goût prononcé pour l’argent et le luxe ont dévoilé la personnalité d’un homme, différente du personnage qu’il avait construit. En effet, de 2007 à 2012, ses cotes de confiance et de popularité ont baissé constamment dans les sondages. De fait, cette baisse a commencé avant même qu’il ait mis en place une politique impopulaire. Ainsi, nous nous trouvons devant les limites du marketing politique et de la communication. Alors que ces éléments ont permis à Nicolas Sarkozy d’atteindre son objectif du premier coup, ils lui ont été insuffisants pour gouverner la France. Pourquoi ? Parce qu’ils sont uniquement des outils de la forme. Peut-être a-t-il manqué de substance sur le fond. En effet, qu’a t-il fait concrètement pour le pays ? Quel fut l’impact de sa façon de faire de la politique dans notre démocratie ? Quel est le regard des observateurs étrangers sur ce président ? Et surtout, quelle est notre part de responsabilité en tant que citoyens ? / Nicolas Sarkozy is a figure unlike any other in French politics. In five years (from 2002 to 2007), he rose to a level of prominence, allowing him to be elected President in his first attempt. President Sarkozy was elected even after stepping out of visibility in French politics for seven years, due to his unfavorable support of Eduard Balladur, who lost the Presidential election in 1995. How did Sarkozy accomplish this? He implemented a communication strategy, inspired by political and business marketing. Sarkozy’s main strategy was to saturate mainstream media and create his own news rather than be subject to third party reporting. Sarkozy also used “story telling” and pop culture to portray himself as a “people”, presenting his day-to-day life, outside of politics. That’s how he succeeded in seducing the electorate by exposing his private life and becoming a media celebrity. So what happened after his election?By showing off his private life, losing his temper in public and revealing his keen taste for money and luxury, Sarkozy presented a man very different than the figure he constructed during his five years campaign. From 2007 to 2012, Sarkozy’s approval rating dropped consistently, even before presenting any unpopular reforms. Therefore one can see the limits of political marketing and communications, which were fundamental in Sarkozy’s rise to power but proved to be inadequate in facilitating the use of this newly acquired power. Why? In the end Sarkozy’s marketing and communications strategy was merely a superficial instrument, lacking any real substance. After all, what did Sarkozy accomplish for France? What was the impact of Sarkozy’s politics for France’s democracy? What is the opinion of the foreign press, concerning the former president? Finally and more importantly still, what is our responsibility as citizens?

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Nicolas Poussin's two Self-Portraits, painted in 1649 and 1650, have been the subject of countless art-historical investigations, but remain only incompletely understood. This study attempts to draw the meanings of the self-images into clearer focus. To this end, the relationships between Poussin and the eventual recipients of the two portraits, Jean Pointel and Paul Freart, Sieur de Chantelou, are examined more probingly and are positioned centrally in the analysis of the works. A careful exploration of the web of associations among the three men reveals that Poussin's caution in dealing with Chantelou, his often jealous and emotional patron, was a factor of great consequence to the development of the Self-Portraits. Bearing this in mind, both Poussin's letters and the scholarly accounts which accept his written statements at face value, may be approached with a more critical eye. This practice, in turn, leads to a broadened range of possibilities for the interpretation of the two Self-Portraits, and to a greater appreciation of the extent to which Poussin's creations were affected by human dynamics.

Submitted by Renata Lopes (renatasil82@gmail.com) on 2016-02-23T19:10:32Z No. of bitstreams: 1 monalisamarialauro.pdf: 647114 bytes, checksum: c251918f3cefab3a4ae96e3b7b457064 (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2016-03-03T13:23:11Z (GMT) No. of bitstreams: 1 monalisamarialauro.pdf: 647114 bytes, checksum: c251918f3cefab3a4ae96e3b7b457064 (MD5) / Made available in DSpace on 2016-03-03T13:23:11Z (GMT). No. of bitstreams: 1 monalisamarialauro.pdf: 647114 bytes, checksum: c251918f3cefab3a4ae96e3b7b457064 (MD5) Previous issue date: 2014-02-25 / CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Apesar do século XVIII ser pouco enfatizado na historiografia da psicologia, é possível observar uma riqueza de material psicológico junto à logica, à metafísica, à filosofia moral, à estética, etc., especialmente no Iluminismo alemão. Neste século, focamos o estudo empírico da alma que Johann Nicolas Tetens discutiu nos Ensaios Filosóficos Sobre a Natureza Humana e seu Desenvolvimento (Philosophische Versuche über die menschliche Natur und ihre Entwickelung) publicado em 1777. Nosso objetivo principal é analisar a concepção de psicologia empírica, bem como sua relação com a filosofia, nesta obra. Esta questão é particularmente relevante quando constatamos que há interpretações distintas, até mesmo divergentes, sobre este tema na literatura secundária. Em nossa análise, verificamos que, em continuidade com as discussões de 1760 e 1775, nos Ensaios Filosóficos, a psicologia empírica é compreendida como um conhecimento histórico-filosófico que tem um papel preliminar e fundamental na determinação da legitimidade da metafísica, e que a primazia do método introspectivo não significa uma recusa irrestrita da análise racional. / Although the eighteenth century is little emphasised in the historiography of psychology, it is possible to observe a richness of psychological material within logic, metaphysics, moral philosophy, physiology, aesthetics, and so forth, especially in the German Enlightenment. In this century, we focus on the empirical study of the soul that Johann Nicholas Tetens discussed in his Philosophical Essays about Human Nature and its Development (Philosophische Versuche über die menschliche Natur und ihre Entwickelung), published in 1777. Our main objective is to analyse the conception of empirical psychology, as well as its relation to philosophy, in this work. This question is particularly relevant as it allows us to verify that there are different and even diverging interpretations about this subject in the secondary literature. In our analysis, we verify that, in continuity with the discussions of 1760 and 1775, in the Philosophical Essays, empirical psychology is understood as historicalphilosophical knowledge that has a preliminary fundamental role in the determination of the legitimacy of metaphysics, and that the primacy of the introspective method does not mean an unconditional refusal of rational analysis.

Une trentaine d’oeuvres attribuées à Hesdin (messes, motets, Magnificat et chansons) figurent dans des nombreuses sources du XVIe siècle, provenant principalement de France, Italie et anciens Pays-Bas. Pourtant, la vie et la carrière de ce compositeur demeurent inconnues de nos jours, aucune des multiples hypothèses concernant l’identité de Hesdin ne reposant sur des éléments concrets. Cette thèse se propose d’offrir un panorama le plus complet possible du cas Hesdin, à travers l’étude de ses oeuvres, de la dispersion des sources, mais aussi de la perception de sa musique au fil des siècles. L’étude stylistique des oeuvres montre d’une part les rapports multiples avec celles d’autres compositeurs actifs dans la première moitié du XVIe siècle, notamment Josquin, Willaert et Gombert ; d’autre part, elle suggère que le toponyme « Hesdin » pourrait cacher deux compositeurs distincts. La partie finale de la thèse est consacrée à l’édition critique de tout le corpus attribué à Hesdin / About thirty compositions attributed to Hesdin (masses, motets, Magnificat and chansons) are included in plenty of musical sources copied or edited during the sixteenth-century, in France, Italy and the Netherlands. However, nothing is known about the biography and the career of this composer. Among the many hypothesis proposed on Hesdin’s identity, none is based on objective informations. This study attempts to offer an overview as comprehensive as possible of Hesdin, through the study of his compositions, of the diffusion of the musical sources and of the reception of Hesdin’s music during the centuries. The style of his music reveals clear links to the compositions of other composers of the first half of thesixteenth-century, Josquin, Willaert and Gombert above all. Moreover, it shows that the toponym “Hesdin” may possibly hide two different composers. The final section of this study is devoted to the critical edition of the whole corpus ascribed to Hesdin