This work is a social and cultural history of the participation of enslaved and free Blacks in the Seven Years’ War in British America. It is, as well, an intellectual history of the impact of Blacks’ wartime actions upon conceptions of race, slavery, and imperial identity in the British Atlantic world. In addition to offering a fresh analysis of the significance of Britain’s arming of Blacks in the eighteenth century, it represents the first sustained inquiry into Blacks’ experience of this global conflict. It contends that, though their rhetoric might indicate otherwise, neither race nor enslaved status in practice prevented Britons from arming Blacks. In fact, Blacks played the most essential role in martial endeavors precisely where slavery was most fundamental to society. The exigencies of worldwide war transformed a local reliance upon black soldiers for the defense of particular colonies into an imperial dependence upon them for the security of Britain’s Atlantic empire. The events of the Seven Years’ War convinced many Britons that black soldiers were effective and even indispensable in the empire’s tropical colonies, but they also confirmed that not all Blacks could be trusted with arms. This work examines “Tacky’s revolt,” during which more than a thousand slaves exploited the wartime diffusion of Jamaica’s defensive forces to rebel, as a battle of the Seven Years’ War. The experience of insecurity and insurrection during the conflict caused some Britons to question the imperial value of the institution of slavery and to propose that Blacks be transformed from a source of vulnerability as slaves to the key to the empire’s strength in the southern Atlantic as free subjects. While martial service offered some Blacks a means to gain income, skills, a sense of satisfaction, autonomy, community, and even (though rarely) freedom, the majority of Blacks did not personally benefit from their contributions to the British war effort. Despite the pragmatic martial antislavery rhetoric that flourished postwar, in the end the British armed Blacks to perpetuate slavery, not to eradicate it, and an ever more regimented reliance upon black soldiers became a lasting legacy of the Seven Years’ War. / text

Julie Bruneau is characterized in many different ways in the Papineau family correspondence. The first-, second- and third-person narrators of the correspondence each use many techniques, some similar and some different, to emphasize various aspects of Julie's character. / The study of the characterization achieved by the different narrative voices, as well as by the contrasting first-person voices in Julie's own letters, allows us to better understand the nature of epistolary characterization in all its forms. The comparison of these varying accounts of Julie Bruneau's character allows us to come to a more balanced and complete portrait than would the study of only one part of the correspondence.

The diploma thesis examines the specific work of Albert Camus and Gabriel Marcel, focusing on the question of human values. The aim is to show two forms of existential philosophy concerning human existence in their chosen dramas. The work is divided into chapters. In the first chapter we can find the basic characteristics of existentialism and its development. The second and third chapter deals with Camus' and Marcel's conception of philosophy. In these chapters will present the Camus' problem of suicide, revolt, absurd and sense of being. In the case of Marcel will be dealt with the issue of duality of being and have, relationship I-You, love, hope, death, freedom and faith. Diploma thesis results in subsequent chapters where you can find comparison existential themes in the works of authors.

A cent jours du baccalauréat, les élèves des classes de terminale fêtent le Père cent. Déguisés, ils vont par petits groupes, telle une parade carnavalesque, faire la quête sur les ronds-points et se retrouvent tous en soirée pour danser. C’est une sorte de rite de passage, commémorant les années passées ensemble avant de se séparer. L’institution scolaire ne voit pas toujours d’un bon œil ces pratiques assimilées à du « bizutage ». Le Conseiller Principal d’Éducation, par ses fonctions, est responsable de l’animation éducative de l’établissement. Il doit accompagner les élèves dans toutes leurs initiatives, sans pour autant, dans le cas du Père cent, cautionner institutionnellement l’événement. Comment une pratique interdite peut-t-elle se dérouler ? Quelle fonction remplit-elle auprès de ces jeunes qui transgressent les règles ? Quelle peut être la posture du C. P. E. dans l’exercice de son autorité face à un rituel lycéen subversif ? L’historiographie de cette fête (1880-2010) et la lecture d’images photographiques sur plus d’un siècle nous a permis d’en relever les éléments fondamentaux et les origines militaires et normaliennes. Une lecture herméneutique a dégagé les invariants et fait émerger la forme archétypale du Père cent. Convoquant les concepts de fête, de rites de passage et de transgression de l’autorité, la méthodologie employée a montré comment la fête, par son émergence ouvre un espace propice aux rites de passage et aux transgressions. Elle offre à ces jeunes l’occasion opportune de témoigner de leur maturité. Par voie de conséquence, la fonction de C. P. E. apparaît au cœur des multiples tensions et des contradictions que catalyse la fête du Père cent. Le support théorique de cette recherche est amplement nourri par les travaux d’A. v. Gennep et de V. W. Turner sur les rites de passage, de R. Caillois, J. Heers, M. Maffesoli sur la fête, de P. Meirieu, J. Housaye, P. Bourdieu, F. Lerbet-Séréni, sur l’éducation, P. Audi, B. Robbes, A. Kojève pour l’autorité et X. Pommereau, J-J. Rassial pour l’adolescence. Dépassant le cadre de cette fête, l’étude montre l’intérêt et le profit, pour le C. P. E., d’investir les moindres espaces éducatifs afin de faire advenir l’auctor en chaque élève. / One hundred days prior to the baccalaureate exam, the 12th graders (US) / upper sixth pupils (GB) celebrate the Père cent. They wear disguises like people do in carnival parades and go begging for small change at roundabouts (crossroads). Eventually, they organize parties and dance (all night long). It is a kind of rite of passage to celebrate the good time spent together before everyone makes the parting of the ways. Most school officials look unfavourably on this custom / tradition as they consider it as hazing (US) / fresher initiation (GB). The CPE is in charge of the educational animation at school. He is supposed to guide the pupils' initiatives, without actually backing a celebration such as the Père Cent. How can a prohibited event take place each year ? What is the aim of breaking the rules for the youth ? How can the CPE react when confronted with this subversive ritual ? The historiography of this feast (1880-2010) and the analysis of pictures spanning one century made it possible to reveal the basic elements and the military origins of the celebration. (Ecole normale d’instituteurs) The unchanging factors of the celebration have emerged thanks to an hermeneutic analysis, the archetypal structure of the Père cent was thus outlined. Carrying the concepts of festival, rites of passage and rebellion against authority, the methodology used showed how the celebration is the perfect way for pupils to experience rites of passage and rebellion. Students get the opportunity to show evidence of their maturity. As a consequence, the duty of the CPE is at the heart of the tension and contradictions triggered up by the Père cent celebration. The theoritical support of this research largely stem from the work of A.Gennep and V.W. Turner about the rites of passage, R. Callois, J.Heers, M.Maffesoli about celebrations, P.Meirieu, J.Housaye, F.Lerbet-Séréni about education, P.Audi, B.Robbes, A. Kojève about authority and X. Pommereau, J-J. Rassial about adolescence. Beyond the celebration, this study shows how interesting and profitable it is for the CPE to commit himself in any educative field and rouse the pupils' auctor.

Orientador: Jose Alves de Freitas Neto / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-08-13T19:47:57Z (GMT). No. of bitstreams: 1 Silva_CaioPedrosada_M.pdf: 774317 bytes, checksum: 37f56a76c5bf2fe6adcb42c0a64ac81a (MD5) Previous issue date: 2009 / Resumo: "Cristera" é como ficou conhecida a guerra em que camponeses e organizações católicas lutaram contra as posições anticlericais do Estado mexicano, contestando assim o regime revolucionário instituído. Essa guerra (1926-1929), que só foi considerada um tema importante para os estudos historiográficos a partir da década de 1960, foi antes representada na literatura, especialmente novelas nas quais não era apenas um pano de fundo para a trama, mas o próprio motivo da escrita. Dessa maneira, alguns textos literários foram produzidos com o intuito de justificar a guerra, do ponto de vista de revolucionários ou de católicos. No presente trabalho pretende-se investigar as maneiras como se entrelaçam as representações literárias da Cristera e aquelas realizadas pelos historiadores, tendo em vista como os pesquisadores utilizaram o material literário como fonte histórica, quais desafios e temáticas a respeito da Cristera essa literatura lança para os estudos históricos, e as diferenças com que literatura e historiografia trataram o mesmo tema histórico. Para tanto, utilizaremos como material de análise textos historiográficos e de crítica literária que trataram das novelas cristeras, assim como a novela Héctor de Jorge Gram, que tem como um dos motivos principais da sua escrita justificar a participação dos católicos na guerra. / Abstract: "Cristera" is the name by which it became known the war in which peasants and Catholic organizations fought against the anticlerical statements of the Mexican State, thus challenging the established revolutionary regime. This war (1926-1929), which was considered an important issue for historiographic studies only in the 1960s, was before that represented in literature, especially in novels in which it was not merely a backdrop to the plot, but the very reason for writing. Thus, some literary texts were produced in order to justify the war, from the point of view of revolutionaries or of Catholics. This work aims to investigate the ways by which the literary representations of the Cristera and those made by historians intertwine, paying particular attention to how the researchers used the literary material as historical source, to which challenges and issues concerning the Cristero this literature casts for historical studies, and to the differences with which literature and historiography treated the same historical theme. Therefore, we will employ, as material for analysis, texts of historiography and literary criticism which deal with Cristero novels, as well as the novel Héctor, by Jorge Gram, which counts, as one of the main reasons to its the writing, justifying the participation of Catholics in the war / Mestrado / Historia Cultural / Mestre em História

Da palavra no livro à palavra no palco. Desvendar os caminhos dessa transposição é o principal objetivo desse estudo. Nosso trabalho investigou a transposição e a transformação da obra euclidiana em peça teatral, a passagem de uma estrutura discursiva para um dispositivo de enunciação diferente. A peça: \"A Luta, primeira parte\" compreende o início da Campanha de Canudos e suas três primeiras expedições. Demonstramos caráter autônomo e universal desta obra, pois, mesmo sendo uma das cinco partes de \"Os Sertões\", carrega consigo diversos elementos representativos de todo o trabalho executado e, principalmente, dos elementos que caracterizam e identificam a encenação do grupo Teat(r)o Oficina Uzyna Uzona liderado pelo encenador, dramaturgo e ator José Celso Martinez Corrêa. Estruturamos o nosso trabalho na análise do espetáculo através de cenas previamente escolhidas como amostras, nas quais observamos: a teatralização do texto e sua interpretação cênica. Toda essa análise baseou-se no acompanhamento dos ensaios (abertos e fechados), em muitas das apresentações, das discussões entre os membros do grupo, dos comentários do diretor Zé Celso e em entrevistas com os integrantes do grupo. Procuramos descrever um processo de criação que, ao se defrontar com inúmeras referências (históricas, atuais, universais, teatrais e até mesmo pessoais) não fizesse apenas uma \"livre associação de ideias\" ou uma mera categorização. Nossa intenção foi dar visibilidade ao trabalho de criação. / From the word in the book to the word in the stage. To uncover the paths that implementation is the main objective of this study. Our study investigated the implementation and transformation of the Euclidian work on the play, the passage of a discourse structure for a different device enunciation. The piece: \"The Fight, first part\" (A Luta, primeira parte) comprises the beginning of the Canudo\'s War (Campanha de Canudos) and the first three expeditions. Demonstrating a stand-alone character and universal this piece, even though it\'s one of the five parts of \"Rebellion in the Backlands\" (Os Sertões), it carries diverse representative elements of all work done and especially those elements that characterize and identify the staging of the group Teat(r)o Oficina Uzyna Uzona run by the stage director, playwright and actor José Celso Martinez Corrêa. We tailor our work in the analysis of the spectacle through the scenes previously chosen as samples, in which we observed: a dramatization of the text and its scenic interpretation. All of this analysis was based on monitoring the rehearsals (open and closed), in a lot of the presentations, the discussions between members of the group, the commentaries of the director Zé Celso and in interviews with members of the group. We look to describe a process of creation that when presented with numerous references (historical, actual, universal, theatrical and even personal) it\'s not just a simple association of ideas or a mere categorization. Our intention was to give visibility to the work of creation.

Abstract The author Markku Lahtela was a central figure in the 1960’s generation rebellion, called the spirit of the 60’s, that criticised the basic values of the old generation and through which the young artists presented their avant-garde ideas. The study focuses on the early 1960’s. The primary data is provided by Lahtela’s second novel called Se and its manuscript. The novel deals in an original way with issues such as the sexual revolution and sexual morality, which were popular themes in the 1960’s. As a secondary source of data, the study also deals to some extent with the rest of Lahtela’s production. The substantial topic is the problematics of change in the 1960’s that arose as a result of modernisation, which only then gained momentum in Finland. The research approach is contextual in that the discussion is based on the postmodern viewpoint. Context is understood as consisting of elements of cultural dialogicality thematised by the author through individuation, which is to be seen in the dialogue of his books. The study focuses on the extraliterary historical context. Among the contexts of the 1960’s, attention is paid mainly to the crisis of representation caused by the changes, by interpreting its commentary and attempts to solve it in Lahtela’s texts. Despite the focus on the extraliterary historical context, textual dimensions are also taken into account in the interpretations. I also discuss to some extent the conditions through which it is possible in literary research to find intermediate standpoints to overcome the opposition between textuality and reality. In the interpretation of the extra- and intraliterary dialogues in Lahtela’s texts, the tools used include the alter ego, the textual “I” and, in neutral cases, the narrator. The novel Se not only participated in topical cultural and literary dialogue, but also reformed Finnish prose by representing autobiographical materials in a fragmentary and fictitious manner. The discussion also shows that Freudian psychoanalysis has contributed significantly to both Se and Lahtela’s production in general. The same also applies to Friedrich Nietzsche’s philosophy of life; some of his ideas have directed the discussion of moral issues characterised by Lahtela’s books and the search for an alternative (sexual) morality. / Tiivistelmä Kirjailija Markku Lahtela oli keskeinen hahmo vanhan polven perusarvoja arvostelleessa 1960-luvun sukupolvikapinassa, jota nimitettiin 60-lukulaisuudeksi ja jossa nuoret taiteilijat esittelivät avantgardistisia ideoitaan. Tutkimuksen ajallinen pääkohde on 1960-luvun alkupuoli. Primaariaineistona on Lahtelan toinen romaani Se ja sen käsikirjoitus. Teos käsittelee omaperäisesti muun muassa seksuaalista vallankumousta ja seksuaalimoraalia, jotka olivat 1960-luvun muotiteemoja. Sekundaariaineistona tutkimuksessa käsitellään jonkin verran myös Lahtelan muuta tuotantoa. Substantiaalisena aiheena on 1960-luvun muutosproblematiikka, joka syntyi Suomessa vasta tuolloin voimistuneen modernisaation vaikutuksesta. Tutkimukseni lähestymistapa on kontekstuaalinen siten, että tarkastelut pohjaavat myöhäismodernin näkökulmaan. Kontekstin ymmärrän koostuvan kulttuurisen dialogisuuden elementeistä, joita kirjailija tematisoi teostensa dialogina näkyvässä individuaatiossaan. Tutkimuksessani korostuu ulkokirjallinen historiallinen konteksti. 1960-luvun konteksteista olen päähuomion kiinnittänyt muutosten synnyttämään representaation kriisiin tulkitsemalla Lahtelan teksteistä sen kommentointeja ja ratkaisuyrityksiä. Siitä huolimatta, että tutkimuksessani painottuu ulkokirjallinen historiallinen konteksti, otan tulkinnoissani huomioon myös tekstuaalisia ulottuvuuksia. Lisäksi selvitän jonkin verran niitä ehtoja, joiden vallitessa kirjallisuuden tutkimuksessa voidaan löytää välittäviä kantoja tekstuaalisuus–todellisuus–opposition ylittämiseksi. Tulkitessani Lahtelan tekstien ulko- ja sisäkirjallisia dialogeja ovat apuvälineinäni alter ego, tekstuaalinen minä ja kertoja neutraaleissa tapauksissa. Se-romaani paitsi osallistui ajankohtaiseen kulttuuriseen ja kirjalliseen dialogiin myös uudisti suomalaista proosaa representoimalla katkelmallisesti ja fiktiivisesti autobiografista materiaalia. Tarkastelut osoittavat myös sen, että freudilainen psykoanalyysi on ollut Se-romaanin ja laajemminkin Lahtelan tuotannon synnyn tärkeä innoittaja. Sama koskee Friedrich Nietzschen elämänfilosofiaa, jonka tietyt näkemykset ovat suunnanneet Lahtelan teoksissa keskeistä moraalikysymysten käsittelyä ja vaihtoehtoisen (seksuaali)moraalin etsintää.

À ce jour, ont été écrites de nombreuses et remarquables études qui analysent les textes littéraires, philosophiques, journalistiques, épistolaires d’Albert Camus, et ce dans diverses perspectives : stylistiques, narratologiques, linguistiques, psychanalytiques, symboliques, thématiques, biographiques, intertextuelles, sociologiques, politiques, esthétiques, éthiques, philosophiques entre autres. Or, rares sont les études qui examinent l’idée et l’image du temps chez cet écrivain français du siècle dernier, à partir de ses essais philosophico-littéraires. L’essayiste songe par exemple à la conception temporelle, en l’associant tantôt au mouvement circulaire du monde méditerranéen, beau et éternel, ou du cosmos (L’Envers et l’endroit, Noces, entre autre), tantôt à la fonction de la conscience humaine qui espère, se souvient et se révolte (Le Mythe de Sisyphe), tantôt à la marche de l’histoire humaine, européenne (L’Homme révolté). En considérant l’œuvre entière de Camus, et surtout ces quatre essais, L’Envers et l’endroit, Noces, Le Mythe de Sisyphe et L’Homme révolté, notre thèse a pour objectif d’étudier les trois conceptions temporelles, qui n’ont pas reçu une attention critique suffisante : l’éternité, la triple temporalité (le passé, le présent et l’avenir) et le temps historique. / To this day, there have been written numerous and remarkable studies which analyze the literary, philosophical, journalistic, and epistolary texts of Albert Camus from diverse perspectives : stylistic, narratological, linguistic, psychoanalytical, symbolic, thematic, biographical, intertextual, sociological, political, esthetic, ethical, philosophical, among others. Rare are studies which examine the idea and the image of time as conceived by this 20th century French writer, as evidenced in his philosophical-literary essays. Camus considers the conception of time by associating it with the circular movement of the Mediterranean world, beautiful and eternal, and that of the cosmos (Betwixt and Between, Nuptials), with the functioning of the human conscience which hopes, remembers, rebels (The Myth of Sisyphus), or with the course of both human and European history (The Rebel). By studying the complete works of Camus, especially, the following four essays—Betwixt and Between, Nuptipals, The Myth of Sysiphus, and The Rebel— our thesis aims to study three temporal notions which have not received sufficient critical attention: eternity, triple temporality (past, present, and future), and historical time.

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.

This thesis examines the internal dynamics of the Revolutionary United Front of Sierra Leone over the course of the civil war waged from 1991-2002. It does so in two parts, looking first at the RUF’s organizational capacity—its ability to emerge and survive as a group; and second, at its material viability—the logistics and procurement of food, weapons, and other resources required to sustain war. The RUF has become a paradigmatic case for the study of war and rebel groups in Africa. Although much has been written on the group and its violence, comparatively little is known about the inner-workings of the organization and how a largely forcibly recruited group of ill-equipped thousands managed to pose a viable threat to the state for over a decade. Through a fine-grained, case-based analysis, this study applies research on the microdynamics of violence in civil war to the structural and logistical mechanics that underpin it. Doing so contextualizes debates about resource wars, collective violence, and mobilization and onset within the RUF’s own strategies for controlling these aspects of war- making. New primary material, including rebel archive documents, describes the extensive military and civilian governance structures through which order and cohesion were established and enforced. Tracking the success and failure of these mechanisms helps explain the disconnect between rebel rhetoric and behaviour. A detailed examination of the RUF’s material capacity applies this organizational analysis to the group’s strategic priorities for survival. It reorients the resource war debate toward what actually fuels fighting on the ground. Food has long been overlooked as the primary requirement for group survival, and ammunition the basic element of military viability. These ‘low politics’ of survival explain the nature of the war and underscore the importance of shifting factors, such as territorial control, in shaping rebel behaviour. Finally, the ‘high politics’ of international arms trades and global diamond markets illumine changes in the RUF’s firepower and personalization of power, returning to the organizational failings that ultimately led to the group’s dissolution.