Th.--Méd.--Nancy 1, 1983. N°: 137.

Th.--Méd.--Nancy 1, 1983. N°: 87.

I focus the question of Czech erotic literature based on the surrealist tendencies of the 30s of the 20th century in my Thesis. I pay attention to the person of Jindřich Štyrský and closer look an artistic experiment in the form of Edice 69 and mainly on bibliophile Erotická revue 1 3. I proceed from the literary-historical knowledge, on the basis of which I map historical and artistic context, in which the work was produced, and life stage of Jindřich Štyrský between 1920 1934. The last part of my work I attempt to show the topics, which the erotic literature dealt with, and how could be combined the editorila work of Jindřich Štyrský šith surrealistic tendencies.

Esta pesquisa procura compreender os diferentes desenhos plásticos assumidos pela chanchada em sua importante trajetória na história da cultura no Brasil no século XX. Na constituição da chanchada como performance do insólito várias práticas teatrais desempenharam um papel importante, mas acreditamos que foi sobretudo o trabalho dos atores e atrizes brasileiros que mais contribuiu para sua constituição. Presente em produções artísticas interessadas em figurar a insolidez da vida nacional e notando a importância do trabalho do ator Grande Otelo nesse processo, nosso interesse foi situar a trajetória existencial de vida de Grande Otelo compreendendo como ele foi constituído a partir da performance dos personagens que ele ajudou a constituir, ou seja, verificar quais as implicações da performance social e artística de uma certa dinâmica social brasileira, a dialética da malandragem, e da performance social e artística do insólito na constituição de uma subjetividade singular e concreta. / The present dissertation seeks to understand the different plastic forms taken by the chanchada in its significant trajectory in the Cultural History of Brazil. In chanchada\'s constitution as performance of the unusual, several theatrical practices had an important role, but we believe that the actors\' and actresses\' works were the main factor for its constitution. Noticing the relevance of Grande Otelo\'s work and the presence of artistic productions interested on figure national life\'s insolidity, we tried to situate the existential trajectory of Grande Otelo\'s life, understanding how it was formed by performances of characters which he helped to compose. In other words, we tried to verify how the social and artistic performance of the dialectics of the malandragem, a social dynamics, and the performance of the unusual implicates on the constitution of a singular and concrete subjectivity.

Nous reprenons dans une nouvelle optique la réflexion de Malraux sur l’Orient et l’Occident dans les années 1920. Comment pense-t-il l’Occident face à l’autre culturel? Qu’elle est l’originalité de son discours sur l’Orient et l’Occident? Nous tentons de la mettre en évidence en intégrant ce discours dans le débat sur ce dualisme culturel paru dans trois revues : La Revue Universelle, Europe et La Nouvelle Revue Française. À l’époque où deux intellectuels, Henri Massis et René Guénon, réfléchissent à la reconstruction de l’Occident par le catholicisme, et se demandent si elle doit se faire en s’ouvrant à l’influence de la pensée orientale ou sur son exclusion, Malraux, favorable à l’influence orientale, mais très nietszchéen, ne songe pas à recourir à la religion pour l’Occident dont il souligne l’état de crise. Il lui paraît que l’Occident s’est construit la notion de l’individu et le respect du pouvoir et de l’action. Cette figure de l’Occident surgit face au miroir de l’Orient – principalement la Chine où l’individu n’existait pas. Malraux également dénonce l’impasse de l’individualisme et l’échec du monde moderne guidé par la raison et le progrès. A la crise sociale et culturelle, il ne propose de remède décisive Il chante l’absurde, sur un ton pathétique, soulignant le Moi incertain de l’homme qui ne sait pas échapper à la mort. Son Occident, sous-tendu par cette conscience nihiliste, est une vision tragique où l’absurde est pensé comme une fatalité. / I aim to provide a new analysis of André Malraux’s essay which compares and contrasts the Orient and Occident in the 1920’s. How does he consider the Occident in the face of the cultural other? Wherein lies the originality of his essay? My work strives to uncover this originality by inserting Malraux into a debate regarding cultural duality occurring in three journals: La Revue Universelle, Europe and La Nouvelle Revue Française. During this period, two intellectuals, Henri Massis and René Guénon, reflected upon the extent to which both Catholicism and Eastern thought should play a role in the reconstruction of a post-World War I society. While Malraux was sympathetic to Oriental culture and thought, he remained very Nietzschen and thus refused to turn to Western religion. According his vision, the Occident was responsible for the construction of the notions of the individual and respect for power and action. This image of the Occide! nt comes to light in the mirror of the Orient – especially in the case of China where the individual didn’t exist. Malraux also denounces the cul-de-sac of individualism and the failure of a modern world where reason and progress are valued above all. Malraux provides no remedy for this cultural and social crisis. He sings the absurd with a pathetic tone, a tone that expresses an uncertain ‘self’ of a human unable to escape death. His Occident, based on this nihilistic consciousness, is a tragic vision in which the absurd is an inevitable fate

La période qui s'étend de la fin des années 1950 à la fin des années 1970 est marquée, en France, par de profonds bouleversements sur le plan politique, économique et social ; bouleversements qui trouvent un écho dans les grandes questions qui traversent le champ architectural. On passera de la Reconstruction de la France toute azimut à la crise urbaine, et du constat d'échec de l'urbanisme moderne au retour à la question de la ville, de l'histoire et des fondements de la discipline architecturale. Cette mutation est vécue et nourrie par la génération des architectes-intellectuels formés dans les années 1960 à l'Ecole Nationale Supérieure des Beaux-Arts à Paris. Ayant contribués à la mise en abîme des structures pédagogiques de leur école, ces élèves-architectes sont devenus les acteurs principaux de la fondation des Unités Pédagogiques d'Architecture et de la naissance de la recherche architecturale en France. Portés par la question de l'autoreprésentation, ils revendiquent l'importance d'une ré-intellectualisation de leur discipline et se positionnent à l'encontre d'une pratique architecturale pragmatique. Leurs actions s'expriment, s'articulent et se concrétisent au sein d'une série de revues initiées, fondées et/ou investies par ces acteurs même. Si la question de l'autoreprésentation devient le référentiel et l'enjeu central de ces architectes, c'est au travers de leurs activités éditoriales qu'ils repensent leur enseignement, leur métier et leur pratique. L'objectif de la thèse est de mettre en évidence, d'une part le renouvellement des problématiques et des aspirations de ces architectes français, et d'autre part le rôle productif du dispositif éditorial dans la conception des nouvelles représentations qu'ils proposent. Si leurs activités éditoriales permettent d'articuler les relations entre le champ architectural, leurs positions et leurs aspirations, elles mettent également en évidence en quoi les outils éditoriaux à disposition construisent les différentes facettes de la figure de l'architecte-intellectuel qu'ils désirent devenir. La thèse vise à éclairer l'implication des activités éditoriales sur la pensée architecturale des années soixante, sur le décloisonnement de la pédagogie architecturale et sur la mutation de l'autoreprésentation des jeunes architectes. Elle démontre également en quoi ces revues ont contribué à la mise entre parenthèse de la pratique architecturale qui aboutit in fine à des architectes sans architecture / In France, the period that stretches from the end of the 1950s to the end of the 1970s is marked by major political, economic and social upheavals. These upheavals reverberate in the pressing questions that permeate the architectural field, which passes from the Reconstruction of France to urban crisis, and from the assessment of the failure of modern urbanism, to return to questions of the city, history and the foundations of the discipline of architecture. This transformation was experienced and fostered by the generation of architect-intellectuals trained in the 1960s at the Ecole Nationale Supérieure des Beaux-Arts in Paris. Having contributed to the critical evaluation of the pedagogical structures of their school, these student-architects became the principal actors of the foundation of the Unités Pédagogiques d'Architecture, and of the birth of architectural research in France. Driven by the issue of self-representation, these architects insisted upon the importance of a re-intellectualization of their discipline, and positioned themselves in opposition to a pragmatic architectural practice. Their actions were expressed, revolved around, and were concretized by a series of magazines initiated, founded and/or actively contributed to by these same actors. If the issue of self-representation became the frame of reference and the central concern for these architects, it is through their editorial activities that they rethought their teaching, their profession and their practice. The aim of this dissertation is to highlight on the one hand, the renewal of the issues and aspirations of these French architects, and on the other, the productive role played by the editorial apparatus in the elaboration of the new representations that these actors proposed. If their editorial activities enabled them to articulate the relationships between the architectural field, their positions and their aspirations, they also highlighted to what extent these available editorial tools constructed the different facets of the figure of the architect-intellectual that these young architects wished to become. The dissertation seeks to illuminate the implications of these editorial activities on architectural thought during the 1960s, on the breaking down of established architectural pedagogy, and on the transformation of the self-representation of these young architects. The dissertation also demonstrates to what extent these magazines contributed to the putting aside of architectural practice, and ultimately, to architects without architecture

Les Soins de Support sont apparus en France dans les années 90. Héritiers du mouvement des Soins Palliatifs et de la médecine des maladies chroniques, ils occupent une place singulière dans les services de cancérologie. La définition des Soins de Support n’est pourtant pas harmonisée au sein des études, des pratiques et des discours. L’enjeu de ce travail est de poser ce constat, d’en analyser les causes puis de proposer des perspectives menant à un positionnement commun dans le paysage médical contemporain.Il s’agira ainsi de démontrer qu’une définition des Soins de Support est souhaitable et qu’un socle de convictions propres la permet. Méthodes : Une revue de littérature par mots clés a été menée afin de décrire l’utilisation de la définition de Soins de Support dans les études les concernant. Des axes récurrents ont, ensuite, été dégagés. Les Soins de Support sont définis en tant qu’amélioration de la qualité de vie, prise en charge des effets secondaires, modèle d’organisation des soins ou bien à partir de la durée de prise en charge. Cette revue de littérature donne lieu à une restitution par thématiques. Un travail de terrain, fondé sur l’observation et des entretiens auprès de 32 professionnels, patients, proches et associations a été réalisé au sein de quatre établissements de soin : l’Institut Curie, l’Institut Curie Saint Cloud, l’Hôpital Kremlin Bicêtre, l’hôpital Henri Mondor. Il a permis de tester les axes issus de la revue de littérature et d’en mettre en lumière de nouveaux. Le temps, les projets, le corps et la notion de collectif se sont révélés au cœur des discours des acteurs des Soins de Support.Ce travail est qualitatif et non représentatif. Analyse et discussion : Un premier temps dévoile les références auxquelles se rattachent les Soins de Support et les tensions qu’elles produisent les unes par rapport aux autres. Les Soins de Support sont partagés entre des philosophies de l’action définissant la maladie comme réduction des capacités, et des philosophies du soin refoulant les notions telles que l’autonomie en étudiant la relation à l’autre. Un second temps permet de condenser en trois axes unanimes le positionnement des Soins de Support. Tout d’abord, les Soins de Support appuient leurs actions sur une compréhension du temps comme épaisseur vécue. Il s’agit d’accompagner le patient dans un cheminement propre, et d’inscrire le temps des horloges, des techniques et de la physiologie dans le temps de celui qui vit l’événement de la maladie. Ensuite, les Soins de Support mettent en œuvre une compréhension du soin en tant qu’acte collectif. L’équipe de soin se constitue avec le malade au cours de sa maladie. Elle comprend des professionnels soignants et non soignants, ainsi que des membres de la société civile. Elle se forme aux grés des besoins et en fonction des enjeux qui jalonnent le parcours du patient. Enfin, les Soins de Support brisent le monopole médical du savoir sur la maladie. Chaque situation exige la construction collective de la compréhension de la maladie. Il s’agit de comprendre la maladie en tant que carrefour des connaissances médicales, techniques, sociales, culturelles, psychologiques, mais aussi comme questionnement existentiel et affectif. La conviction profonde des Soins de Support est que la pluralité des approches et des regards permet par l’échange de tracer avec le patient ses possibilités et de l’y aider. / Description : Support Cares appeared in France in the 90s. Heirs of Palliative Care Mouvement and chronic diseases medicine take a singular place in cancer departments. Nevertheless, the definition of Support Cares is not harmonized within studies, practices and speeches.The stake in this work is to put this report, to analyze the causes then to propose perspectives leading to a common positioning in the contemporary medical landscape. It will so be a question of demonstrating that a definition of Support Cares is advisable and that a base of appropriate convictions allows it. Methods : A literature review by keywords was led to describe the use of Support Cares definition in the studies concerning them. Then, Recurring axes were cleared. The Support cares are defined as the quality of life improvement, treating the side effects, the care organization model or from the care duration. This literature review gives rise to a return by themes.A field work, based on the observation and interviews with 32 professionals, patients, relatives and associations was conducted within four Care establishments : Curie institute, Saint Cloud Curie Institue, Kremlin Bicêtre Institute, Henri Mondor Hospital. It allowed to test axes stemming from the literature review and to highlight new ones. Time, projects, body and notion of collective proved to be in the heart of the Care Actors speeches.This work is qualitative and not representative.Analysis and discussion : A first time reveals the references with which Support Cares are connected and the tensions they produce in relation to each other. The Support Cares are shared between philosophies of the action defining the disease as reduction of capacities, and Care philosophies repressing notions such as autonomy by studying the relationship. A second time allows to condense in three unanimous axes the Support cares positioning. First of all, Support Cares opress their actions an understanding time as real-life thickness. It is a question of accompanying the patient in a unique path progress, and registering the time of clocks, techniques and physiology in the time of the one who lives the disease event. Then, the Support Cares implement an understanding of the care as a collective act. The Care team establishes with the ill person during his disease. It understands nursing and not nursing professionals, as well as members of the civil society. It forms in the wills of needs and according to the stakes which mark out the route of the patient. Finally, the Support Cares break the knowledge medical monopoly on the disease. Every situation requires the collective construction of the desease understanding. It is a question of understanding the disease as crossroads of medical, technical, social, cultural, pasychological knowledge, but also as existential and emotional questioning.The deep conviction of the Support Cares is that the plurality of the approaches and the looks enable by exchanging to draw with the patient his possibilities and to bring that about.

Jerry Herman is celebrated for his ability to showcase strong leading female roles in his canon of work that spans some fifty years. In writing such strong female characters, he must produce strong male counterparts to these women who can communicate on their level and not become overpowered by the women's presence. I was cast in the musical revue, It's Today: An Evening of Jerry Herman, conceived, directed, and choreographed by Earl D. Weaver. My portion of the revue explored Herman's leading male roles of Cornelius from Hello, Dolly!; Mack from Mack and Mabel; Colonel Tadeusz Boleslav Stjerbinsky from The Grand Tour; and Albin from La Cage aux Folles, My analysis of these specific leading male roles uncovers how their relationships with their leading ladies defines their character in each of the musicals for which they were written. It also helped me define multiple characters in the course of a revue with no plot or storyline. Though all these male characters provided me with challenges, my greatest task was defining Albin in La Cage aux Folles. He provides a unique perspective in that he exemplifies a combination of both male/female characteristics. He is a man who regularly portrays a woman onstage in a drag club as well as assuming a female role in a homosexual relationship. He serves as the 'leading lady' for La Cage aux Folles though his character is considered a 'leading man' role. He is the consummate representation of all Jerry Herman leading roles, and embodies many of the themes Herman utilizes in all his work.

Thèse numérisée par la Direction des bibliothèques de l'Université de Montréal.

Mémoire numérisé par la Direction des bibliothèques de l'Université de Montréal.