Diss.--Philosophie--Provo, Ut., 1990. / Comporte des textes en français suivis de la trad. anglaise. Bibliogr. p. 476-543.

Th.--Archiviste-paléographe--Paris 4, 1986.

Thèse 3e cycle--Littérature française--Paris IV, 1981. / Bibliogr. f. 244-250.

Mém. d'étude pour le diplôme de conservateur de bibliothèque--Lyon--Enssib, 1998. / Bibliogr. p. 53-55.

abstract: An integral part of the avant-garde movement in 1920s Paris, the American composer George Antheil collaborated with writers Ezra Pound and James Joyce, violinist Olga Rudge, and befriended the likes of Pablo Picasso, Man Ray, and many others. In Paris, Antheil found great success as the provocateur of riots and scandal at his concerts, with a purposefully controversial compositional style. This document explores, in detail, his three violin sonatas composed between 1923 and 1924 at the behest of Ezra Pound for his violinist friend Rudge. The violin sonatas provide a fascinating perspective on Antheil's musical and personal life during his first years in Paris. The historical and personal contexts of the sonatas are examined, in addition to their musical repercussions for Antheil's compositional style. This document relies primarily on unpublished letters, writings and other memorabilia from collections held at The Library of Congress, New York Public Library, Columbia University, Princeton University, Yale University, and Indiana University. Antheil's published scores and autobiography, Linda Whitesitt's biography of Antheil and other literature pertaining to the period and person are also consulted. While a fair amount has been written on Antheil's more famous work Ballet Mécanique, which stylistically followed the violin sonatas, the lesser-known sonatas have received minimal attention or exploration. This document places these three works into their rightful context, as cornerstones of Antheil's musical style during his most avant-garde years in Paris. / Dissertation/Thesis / Doctoral Dissertation Music 2015

Doctorat en philosophie et lettres / info:eu-repo/semantics/nonPublished

Le Comité parisien de la libération est l'institution chargée de coordonner les efforts de la Résistance et préparer la prise du pouvoir dans le département de la Seine. Créé en octobre 1943, le CPL est pendant toute son existence tiraillé entre prérogatives locales et dimension nationale de son territoire. Les contradictions propres à la coordination de forces aux objectifs et pratiques divers, parfois contradictoires, façonnent également l'action du CPL, en particulier les oppositions entre communistes et non communistes. Le CPL est également soumis à la surveillance de tutelles nationales, le CNR et la Délégation générale du CFLN. Au cours de l'insurrection d'août 1944, ces contradictions menacent de briser l'unité au sein du CPL, qui connaît alors la plus grave crise de son existence.Toutefois, le CPL est le principal architecte de la prise du pouvoir dans les mairies de Paris et de banlieue. Le CPL pousse à la création des comités locaux de libération dans chaque arrondissement et chaque commune du département qui, entre le 19 et le 24 août 1944, s'emparent du pouvoir municipal sans difficultés ce qui représente une incontestable réussite politique.Un bouleversement suit cette insurrection puisque le CPL et les CLL deviennent des acteurs de la restauration des institutions républicaines et dépositaires de l'autorité publique dans un contexte difficile. Les élections municipales d'avril-mai 1945 marquent la fin de leur existence officielle. Malgré la volonté de certains d'entre eux de continuer à être des inspirateurs du pouvoir politique, leur rôle se réduit alors progressivement jusqu'à disparaître ou devenir des associations portant la mémoire de la Résistance. / The Paris Committee of Liberation is the institution in charge of the coordination of the Resistance efforts and the preparation of the seizure of power in the department of the Seine. Established in October 1943, the CPL is all his life long torn between its local prerogatives and the national dimension of its territory. The coordination of various stakeholders with different and even contradictory goals and practices also determine the CPL actions, particularly the opposition between communists and non-communists. The CPL is also controlled by supervisory authorities, the CNR and the General Delegation of the CFLN. During the insurrection of August 1944, these contradictions threaten to destroy the unity within the CPL, then going through his most serious crisis.However, the CPL is the main architect of the taking over of power in the town councils of Paris and the suburbs. The CPL is the creator of local committees in each district and each municipality of the department. Between the 19th and the 24th of August 1944, those committes took over the municipal power without difficulty, which was an undeniable political success.A period of upheavals follows the insurrection, as the CPL and the CLL become major actors in the restoration of republican institutions, but are also in charge of the public authority in a difficult context. The municipal elections of April-May 1945 put an end to their official existence. Despite the will of some of the CPL and CLL members to keep on influencing the political life, their role is going to gradually decrease until their disappearance or their transformation into societies in charge of the remembrance of the Resistance.

No description available.

No description available.

Memoria (arquitecto) / El presente proyecto de título, propone de manera personal y crítica trabajar con el tema de la regeneración urbana, a partir de la reutilización de espacios e infraestructuras ferroviarias abandonadas. Este tema se materializa a través del diseño de un espacio destinado a la cultura y la creación contemporánea en la periferia de Paris, Francia, el cual permita conectar los barrios separados históricamente por una herida ferroviaria, entre las Comunas de Châtillo, Bagneux, Montrouge y Malakoff.