L’histoire du concept d’idéologie est riche des différentes définitions qui ont tenté de le circonscrire, en tension entre la description de visions du monde et la dénonciation de la « fausse conscience ». Chez les penseurs regroupés sous le nom d’ « École de Francfort », l’idéologie en vient à équivaloir au phénomène de l’industrie culturelle, c’est-à-dire la mise au service de la raison technique dans la production de la culture. Le statut du cinéma est intéressant à cet égard : non seulement est-ce un art né à l’époque industrielle et indissociable des possibilités techniques offertes par celle-ci, mais il a été mobilisé pour de nombreuses entreprises propagandistes, plus ou moins subtiles. La question directrice de l’interrogation est donc la suivante : selon la théorie critique de l’École de Francfort, le cinéma peut-il être considéré comme de l’art ou est-il confiné au domaine de l’idéologie ? Autrement dit, le cinéma peut-il revendiquer un statut qui ne ferait pas de lui qu’un support de la domination de l’humain par l’humain ? / The history of the concept of ideology is rich in different definitions that have attempted to circumscribe it, in a tension between the description of different worldviews and the denunciation of “false consciousness.” For the thinkers grouped under the name “Frankfurt School” ideology comes to equate the phenomenon of the Culture industry, that is to say, technical reason put at the service of the production of culture. The status of film in interesting in this regard: not only is it an art born in the industrial age and inseparable from the technical possibilities offered by the industry, but it has also been used for numerous, more or less subtle, propagandist undertakings. The leading question of our inquiry is thus the following: according to the critical theory of the Frankfurt School, can film be considered as a genuine form of art or is it confined to the realm of ideology? In other words, can film claim a status which would not make it solely a support of human-over-human domination?

Manifestation du processus de rationalisation capitaliste contemporain, la gestion des ressources humaines s’est largement développée et diffusée comme paradigme d’organisation des relations sociales au sein de l’entreprise, mais aussi à l’extérieur de celle-ci. En m’appuyant sur l’étude Les employés de Siegfried Kracauer (2004 [1931]) ayant mis en lumière les effets de la rationalisation de l’entreprise moderne sur les traits de mentalités des employés dans les années 1920, je propose de me pencher sur les employés en gestion des ressources humaines aujourd’hui. Plus précisément, c’est la tension dont ils sont à la fois les porteurs et les objets qui constitue le coeur de ce mémoire. Cette tension lie la fonction particulière que ces employés sont appelés à jouer dans l’entreprise et leur propre condition comme employé. Ainsi, c’est par la constitution de rapports à la tension sous une forme idéaltypique— propre à l’approche wébérienne — que ce mémoire propose d’appréhender la condition des employés en gestion des ressources humaines. L’interprétation des rapports à la tension et à la pratique professionnelle de ces employés, à l’aune de quatre idéaltypes construits à cette fin (le sous-officier comptable, le sous-officier sportif, celle qui prend sur soi et le synthétique), permet de mettre en lumière des dilemmes qu’ils sont enclins à vivre, dilemmes inhérents à leur condition d’employés dans le monde rationalisé. / As a form of the contemporary process of rationalization, human resources management developed itself as a paradigm to organize social relations not only within the business industry, but also outside. This master thesis is based on the work of Siegfried Kracauer “The Salaried Masses” (1998 [1931]) that reveals the effects of the rationalized modern business industry on the mentality of the employees in the 1920’s. I propose to investigate the tension that the human resources management employees bear as they are, nowadays, both its carriers and objects. This tension, that binds the particular function of these employees within the business industry and their own condition as employees, forms the object of this master thesis. It is through the construction of relations toward the tension in an idealtypical form — specific to the Weberian approach – that this master thesis proposes to understand the employees’ condition in human resources management. By interpreting the relations toward the tension underpinned in this professional field with the four idealtypes constructed for this purpose (the accountant sergeant, the sport sergeant, she who takes upon herself and the synthetic), I bring to light the dilemmas that are likely to be experienced by these employees; dilemmas inherent to their condition in the rationalized world.

In this dissertation the boundaries between normality and disability are investigated, as well as how these boundaries can be represented and changed through literary works. The purpose of this study is to examine the representation of disabled characters according to the theoretical insights of cognitive narratology. In order to analyse the boundary between normality and disability, this study focuses on focalisation and the narration as narrative techniques. The representation of disabled characters is a well-known phenomenon in literature in general but this dissertation analyses and discusses four novels which have been identified as texts in which the representation of disabled characters plays a significant role. These novels are: Is Sagie (1987) by Jan van Tonder, Raaiselkind (2001) by Annelie Botes, Siegfried (2007) by Willem Anker en Een vir Azazel (1964) by Etienne Leroux. Disablility, as a deviation from normality, is represented in different ways in literature, and has different functions. The theoretical argument is that the investigation and interpretation of the representation of disablilty in literature will provide insight in disability as a social phenomenon, as a literary act and as an act of understanding. Cognitive narratology uses the theoretical concepts of frames and scripts to describe the way in which human perceptions are structured and may even become fossilised in the human mind. Subsequent expreriences and information are therefore determined by existing codes and rules. The understanding or negotiation of new information is based on preferences that evolve from prior knowledge and programming. Cognitive choices are made on the basis of existing frames and scripts and determine whether a concept is new, standard, stereotypical, unusual, indefinite or ambiguous. This study shows how frames and scripts on disability are undermined within the novels and how disability is used as a functional novel element. / Thesis (MA (Afrikaans and Dutch))--North-West University, Potchefstroom Campus, 2013.

In this dissertation the boundaries between normality and disability are investigated, as well as how these boundaries can be represented and changed through literary works. The purpose of this study is to examine the representation of disabled characters according to the theoretical insights of cognitive narratology. In order to analyse the boundary between normality and disability, this study focuses on focalisation and the narration as narrative techniques. The representation of disabled characters is a well-known phenomenon in literature in general but this dissertation analyses and discusses four novels which have been identified as texts in which the representation of disabled characters plays a significant role. These novels are: Is Sagie (1987) by Jan van Tonder, Raaiselkind (2001) by Annelie Botes, Siegfried (2007) by Willem Anker en Een vir Azazel (1964) by Etienne Leroux. Disablility, as a deviation from normality, is represented in different ways in literature, and has different functions. The theoretical argument is that the investigation and interpretation of the representation of disablilty in literature will provide insight in disability as a social phenomenon, as a literary act and as an act of understanding. Cognitive narratology uses the theoretical concepts of frames and scripts to describe the way in which human perceptions are structured and may even become fossilised in the human mind. Subsequent expreriences and information are therefore determined by existing codes and rules. The understanding or negotiation of new information is based on preferences that evolve from prior knowledge and programming. Cognitive choices are made on the basis of existing frames and scripts and determine whether a concept is new, standard, stereotypical, unusual, indefinite or ambiguous. This study shows how frames and scripts on disability are undermined within the novels and how disability is used as a functional novel element. / Thesis (MA (Afrikaans and Dutch))--North-West University, Potchefstroom Campus, 2013.

L’histoire du concept d’idéologie est riche des différentes définitions qui ont tenté de le circonscrire, en tension entre la description de visions du monde et la dénonciation de la « fausse conscience ». Chez les penseurs regroupés sous le nom d’ « École de Francfort », l’idéologie en vient à équivaloir au phénomène de l’industrie culturelle, c’est-à-dire la mise au service de la raison technique dans la production de la culture. Le statut du cinéma est intéressant à cet égard : non seulement est-ce un art né à l’époque industrielle et indissociable des possibilités techniques offertes par celle-ci, mais il a été mobilisé pour de nombreuses entreprises propagandistes, plus ou moins subtiles. La question directrice de l’interrogation est donc la suivante : selon la théorie critique de l’École de Francfort, le cinéma peut-il être considéré comme de l’art ou est-il confiné au domaine de l’idéologie ? Autrement dit, le cinéma peut-il revendiquer un statut qui ne ferait pas de lui qu’un support de la domination de l’humain par l’humain ? / The history of the concept of ideology is rich in different definitions that have attempted to circumscribe it, in a tension between the description of different worldviews and the denunciation of “false consciousness.” For the thinkers grouped under the name “Frankfurt School” ideology comes to equate the phenomenon of the Culture industry, that is to say, technical reason put at the service of the production of culture. The status of film in interesting in this regard: not only is it an art born in the industrial age and inseparable from the technical possibilities offered by the industry, but it has also been used for numerous, more or less subtle, propagandist undertakings. The leading question of our inquiry is thus the following: according to the critical theory of the Frankfurt School, can film be considered as a genuine form of art or is it confined to the realm of ideology? In other words, can film claim a status which would not make it solely a support of human-over-human domination?

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Cette étude s’organise autour d’une articulation : celle entre un médium (la photographie), une ville (Beyrouth), et les événements qui ont marqué son passé récent. Le thème des rapports entre la photographie et l’histoire, avec la pluralité de sens qui le décrit, vient, en arrière-fond de ces questions, délimiter l’horizon de cette étude ; le lien entre voir et savoir, antiquement aux sources de la connaissance historique (Hartog, Loraux), en représente la ligne de fuite. En premier plan, la relation photographique et historienne à l’événement constitue l’objet de cette recherche dont le propos est d’identifier dans la photographie une référence à l’histoire considérée en tant qu’écriture. Concrètement, cet argument se déplie sur deux mouvements. Il exige, dans un premier temps, une série d’analyses théoriques visant à étudier le potentiel de connaissance et le caractère formel de la photographie en qualité de représentation événementielle. En partant des expérimentations des avant-gardes (Lugon, Baqué), jusqu’au jumelage entre la photographie et la presse, il s’agira de montrer la part de lisibilité qui appartient aux narrations photographiques (Barthes, Lavoie). Ensuite, on prendra en considération le travail opéré par l’historien lors de l’opération historiographique visant à produire, autour de l’événement, une représentation historique (de Certeau, Ricœur, Ginzburg). Outre faire ressortir le caractère de visibilité qui appartient à l’écriture historienne, ce passage sera aussi l’occasion de produire une étude comparée de la photographie et de l’histoire (Kracauer) autour de notions ponctuelles, comme celles d’empreinte, d’indice et de témoignage. Le moteur de ce premier mouvement est la notion d’événement. Abordée d’un point de vue phénoménologique (Zarader, Marion, Dastur, Diano), elle nous permettra d’observer la photographie et l’histoire d’après la génétique de leur construction. Finalement, Beyrouth et son histoire façonnées par les images constituent le cadre à l’intérieur duquel s’organise le deuxième mouvement. Les analyses des œuvres de Sophie Ristelhueber (Beyrouth photographies, 1984), Robert Frank (Come again, 1991) et Lamia Joreige (Beyrouth, autopsie d’une ville, 2010) sont conçues comme autant d’espaces dialogiques entre la photographie, l’épistémologie de l’histoire et les événements historiques qu’elles représentent. Le propos est de faire ressortir le basculement qu’elles mettent en scène : de la chronique vers l’écriture d’histoire. / This study focuses on the connection between a medium (photography), a city (Beyrouth), and the events that have marked its recent past. The theme of the relationship between photography and history, with the plurality of meanings that describes it, defines the scope of this study. The link between seeing and knowing, which in Antiquity was the root of historical knowledge (Hartog, Loraux), represents its vanishing point. The photographic and historical relationship with the event constitutes the purpose of this research, the aim of which is to identify in photography a reference to history considered as writing. The argument of this dissertation unfolds in two stages. The first stage requires a series of theoretical analyses, which aim at studying the knowledge potential and the formal nature of photography as a factual representation. Starting with the experimentation of the avant-gardes (Lugon, Braqué), and exploring the twinning of photography and the press, our goal will be to demonstrate the part of readability that belongs to the photographic narratives (Barthes, Lavoie). We will then take into consideration the work accomplished by the historian during the historiographic process, aiming at producing an historical representation of the event (de Certeau, Ricoeur, Ginzburg). In addition to emphasizing the characteristic of visibility, which belongs to historical writing, this will also provide the occasion to produce a comparative study of photography and history through particular notions such as imprint, sign, and evidence. The driving force behind this first part is the notion of event. Broached from the point of view of phenomenology (Zarader, Marion, Dastur, Diano), it will enable us to analyze photography and history according to the genetics of their construction. Beyrouth and its history, shaped by images, are the context in which the second stage is organized. The analysis of the works of Sophie Ristelhueber (Beyrouth photographies, 1984), Robert Frank (Come again, 1991), and Lamia Joreige (Beyrouth, autopsie d’une ville, 2010) are conceived as dialogical spaces between photography, the epistemology of history and the historical events that they represent. The aim is to emphasize the shift they present in moving from chronicle to the writing of history.

Post-war sculpture created by members of the Royal Academy of Arts was seemingly marginalised by Keynesian state patronage which privileged a new generation of avant-garde sculptors. This thesis considers whether selected Academicians (Siegfried Charoux, Frank Dobson, Maurice Lambert, Alfred Machin, John Skeaping and Charles Wheeler) variously engaged with pedagogy, community, exhibition practice and sculpture for the state, to access ascendant state patronage. Chapter One, The Post-war Expansion of State Patronage , investigates the existing and shifting parameters of patronage of the visual arts and specifically analyses how this was manifest through innovative temporary sculpture exhibitions. Chapter Two, The Royal Academy Sculpture School , examines the reasons why the Academicians maintained a conventional fine arts programme of study, in contrast to that of industrial design imposed by Government upon state art institutions for reasons of economic contribution. This chapter also analyses the role of the art-Master including the influence of émigré teachers, prospects for women sculpture students and the post-war scarcity of resources which inspired the use of new materials and techniques. Chapter Three, The Royal Academy as Community , traces the socialisation of London-based art societies whose memberships helped to identify sculptors for potential election to the Royal Academy; it then considers the gifting of elected Academicians Diploma Works. The empirical mapping of sponsorship for elected sculptors is investigated to determine how the organic profile of the Royal Academy s membership began to accommodate more modern sculptors and identifies a petition for change which may have influenced Munnings s speech (1949). Chapter Four, The Royal Academy Summer Exhibitions , explores the preparatory rituals of the Selection and Hanging Committees, processes for the selection of amateurs works, exhibit genres and critical reception. Moreover it contrasts the Summer Exhibitions with the Arts Council s Sculpture in the Home exhibition series to identify potential duplications. Chapter Five, Sculpture for the State , considers three diverse conduits facilitating the acquisition of sculpture for the state: The Chantrey Collection administered by the Royal Academy and exhibited at the Tate Gallery; the commissioning of Charles Wheeler s Earth and Water (1951 1953) for the new Ministry of Defence, London; and the selection of Siegfried Charoux s The Neighbours (1959) for London County Council s Patronage of the Arts Scheme . For these sculptures, complex expressions of Britishness are considered. In summary this thesis argues that unfettered by their allegiance to the Royal Academy of Arts its sculptors sought ways in which they might participate in the unprecedented opportunities that an expanded model of state patronage presented.

This thesis studies the clash between the hero and the First World War in the works of Rupert Brooke, Siegfried Sassoon and Wilfred Owen. It explores the impact on their poetry and attitude towards the concept of the hero as it applied to them as people and poets. The study shows that over prolonged contact with the horrors of the First World War, it is evident in both literary sources and their poetry that both Sassoon and Owen changed their attitudes negatively towards both the idea of heroes and heroism, as well as the War as a just and glorious cause.  However, the myth of the hero was still a core belief of their society, and in order to not be branded cowards and discarded along with their warnings, they had to become heroes in the eyes of their society, to openly attack the concept and the war it fueled. This thesis then studies how and why First World War poetry and literature should be utilized within the subject of English in the Swedish School System, as a means to provide a multicultural and critical education.