Texte remanié de: Th. doct.--lett.--Paris 10, 1997. / Bibliogr. p. [371]-394. Index.

Texte remanié de: Thèse de doctorat--Histoire de l'art--Tours, 2004. Titre de soutenance : Le vitrail dans les anciens diocèses de Rouen et d'Evreux : formes et réformes (1517-1596). / Bibliogr. p. 404-419. Index.

Texte remanié de: Th. doct.--Esthétique--Paris, EHESS, 2000. / Bibliogr. p. 253-275.

Thesis (M.A.)--Bowling Green State University, 2009. / Document formatted into pages; contains viii, 118 p. : col. ill. Includes bibliographical references.

Inaug.-Diss. - Halle. / Lebenslauf. "Literaturnachweis": p. 4.

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Inaug.-Diss.--Frankfurt am Main. / Vita. Includes bibliographical references.

Claude McKay (1890-1948) is best known as a major figure of the Harlem Renaissance and a pioneer of Caribbean literature. He is less well known as a political thinker and activist. This thesis undertakes three tasks. First, it provides a detailed presentation of Claude McKay's political ideas and practices over time. Second, it critically engages with these. And finally, in the process, debunks and challenges a number of pervasive misconceptions of McKayfs politics. Although the analysis covers the period 1890 to 1920, it nevertheless is based upon the entire corpus of McKay's work - published and unpublished - from his early writings in Jamaica to those up to his death in 1948. His preoccupations and thought are placed within their historical context. The thesis thus draws upon his non-fiction texts, poetry, novels, short stories, journalism, unfinished manuscripts and correspondence. In the process, it demonstrates that McKay was a major political thinker, that his ideas have remarkable resonance today, especially in the United States, and that they are still relevant to contemporary black politics, particularly to those of the African diaspora. All in all, the thesis is a contribution to a better understanding of a remarkable man and outstanding figure of the African diaspora.

The language used in critical readings of Hamlet is rife with implicitly teleological terms: according to many critics, and the ghost of King Hamlet, the story of his father's murder and Claudius' succession requires Hamlet to do something. I ask, why should Hamlet kill his uncle, revenge his father, correct his mother, become king, marry Ophelia, and produce heirs to rule when he is gone? While Hamlet's inaction is often described as delay or paralysis, I suggest that the Danish prince resists teleology through his studied ambivalence towards dynasty: land-owning, child-bearing, wars and marriage. Building on recent theoretical and historical work by scholars like Lee Edelman, Will Fisher, Margreta de Grazia and Madhavi Menon, I suggest that Hamlet, through the interventions of its main character, thwarts the assumption that the relationship between a nobleman and his land is natural, that the desire for possession and rule is inherent. Combining de Grazia's invaluable historicism with Fisher's discussion of prostheses, Ir ead the Renaissance nobleman as a prosthetic creature, physically and politically embodied by his marriage, his children, his land. In delaying the revenge he has been called upon to carry out, in hesitating to take up the crown, Hamlet defers the prostheses of nobility, and opens up a space from which to question the dynastic project.

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