Women of color are still trapped in the colonialist trajectory of Delacroix’s sexualized Women of Algiers (1834) and alienated from the world of Sargent’s Daughters of Edward Darley Boit (1882) in contemporary media images that serve to exocitize, fetishize, and commodify non-white female bodies. These historical and contemporary images form a psychological weight both imposed on women of color by outside perceptions and by now-cemented internal perceptions. While women do not passively absorb media images, it cannot be ignored that the hypersexual Asian/American woman in representation “haunts the experiences and perceptions of Asian women” despite attempts to reject these images and efforts to identify empowering aspects of images of sexual power (Shimizu 2007). Ideas and expectations of sexual openness in women of color seep into our consciousness at many moments in our personal lives and cast doubt on Asian/American women’s engagements with sexuality. Resistance of and escape from objectification as an erotic racial signifier of difference are attempted through abstraction and self portraiture.

In this thesis, the terms of trade changes in Turkey since 1970 are analyzed. In the 1970s, Turkey faced strong terms of trade declines mainly due to two oil price shocks. Rapid diversification of Turkish exports into manufactures was instrumental in avoiding further declines in its terms of trade in the 1980s. However, the slow pace of the diversification into more skill- and technology-intensive manufactures in Turkey combined with the fallacy of composition problem in low-tech, labourintensive manufactures may pose a real danger to the prices of its exports. To the extent that in the long-term, the changes in terms of trade of a country are determined by the level of technology embodied in its exports, the concentration of Turkish exports in low-tech, labour-intensive manufactures may highlight the need for upgrading exports and establishing backward- and forward-linkages between industries to escape from the trap of terms of trade deterioration in the long-term.

Being Isadora is a story of possession. Isadora Duncan, the founder of modern dance, was an intensely creative, free-spirited woman. Her life experiences early last century were as fascinating and tragic as her achievements. In New York in 1985, Isadora's last surviving pupil and adopted daughter, ninety-year old Anna Duncan, is searching for a way to fulfill a long held promise. Isadora wished to control the way she was remembered and had made Anna promise that any remaining film of her dancing would be destroyed. But one film survives and Anna is running out of time to find it. A young Australian journalist, Tamsin Doyle, attends a dance class at the Isadora Duncan Studio and meets Anna, unknowingly becoming part of the quest. Initially the stories of Isadora and Tamsin run parallel, then as Tamsin gets to know Anna, she becomes immersed in a dream world of dramatic incidents from Isadora's life. The dreams become waking experiences and she fears her will is gradually being taken over. She ends up in places - in fact other countries - that she had no intention of being, pursuing an agenda that is not her own. In the second part of the book, she finds herself in Russia, where Isadora lived after the Revolution. She meets and falls in love with Vladimir, the grandson of Isadora's former dance collaborator. Unable to prevent herself being possessed while visiting the school Isadora founded, Tamsin is arrested by the authorities. A Russian KGB officer has his own plans and abducts her, keeping her prisoner in a dacha outside Moscow. He shows her a film of herself dancing and then the surviving film of Isadora. The two are almost identical and a dramatic climax ensues. Themes in the book explore the nature of memory and how it is influenced by photographic and filmic record, love and loss and the way patterns repeat in people's lives in an attempt to change outcomes.

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Cette thèse, référée à une approche psychodynamique, se propose d’explorer etd’interroger les processus psychiques impliqués dans la création de chanson(s), parl’association de deux volets différents et complémentaires : d’une part, par le biais de rencontres avec des auteur(e)s-compositeur(rice)s-interprètes s’exprimant à propos de leur travail de création artistique de chanson(s) (étude théorico-clinique) ; et, d’autre part, à travers l’initiation d’un atelier thérapeutique hebdomadaire de création de chanson(s), l’atelier « créachan(t)son(s) », avec des personnes âgées valides vivant en institution (recherche-action). Elle s’inscrit ainsi dans une démarche oeuvrant pour une application pratique des recherches dansles domaines de la psychologie clinique et des psychothérapies à médiation(s) artistique(s). En référence aux écrits de Grimbert (1996, 2002) et à l’aune du modèle théorico-clinique du Moi-Peau développé par Anzieu (1985), cette recherche met en lumière la mobilisation des différentes fonctions du Moi-Peau à travers la création artistique comme la création artthérapeutique de chanson(s). Tout en soulignant la multidimensionnalité intrinsèque et singulière du médiateur qu’est la chanson. Il en résulte de multiples perspectives d’avenir : autant dans le domaine de la recherche, par les nécessaires enrichissements d’un corpus théorique afférent à la création artistique de chanson(s) qui reste à découvrir et à construire ; que dans le champ de la pratique clinique, par l’initiation de propositions alternatives originales et pertinentes quant à l’accompagnement psychothérapeutique des sujets âgés résidant en EHPAD, la création artthérapeutique de chanson(s) en constituant résolument une.Des considérations donc d’importance, pour le présent comme pour l’avenir. / This thesis, based on a psychodynamic approach, will explore and ask the psychicprocesses involved in songwriting, through two different but complementary sections. On the one hand, through the exploration of the very act of creating by means of meeting singerssongwriters while trying to explain the creative process (theoretical-clinical research) ; on the other hand through the practice of weekly songwriting music therapy sessions with elderly people living in nursing home (practice research). This thesis is part of a global approach which works for a practical application of the researches in clinical psychology and art-psychotherapy domains. In reference to Grimbert (1996, 2002) and to the Skin-Ego theoretical-clinical model developed by Anzieu (1985), this research highlights the different uses of the Skin-Ego functions through artistic creation and art-therapeutic creation, and emphases the singular and intrinsic multidimensionality aspects of the song media. It brings also future prospects. In the research domain, it shows the needs to complement the dedicated songwriting theoretical corpus and in the clinical practical domain, it opens original and alternative possibilities of therapeutic way to care for the elderly people living in nursing home ; therapeutic songwriting being definitively one of them.

The idea of writing this essay begun as an attempt to enter into the current discussion about the theory and ethics of sustainability. The essay aims to compare the meaning of sustainability with two ethical theories that are currently used in developmental and environmental issues, namely the theories of Martha Nussbaum and Peter Singer, and see how coherent these theories are with the concept of sustainability. In order to achieve the essays aims, the study will have to discuss first issues regarding the ‘meaning of sustainability’ and discuss the challenges in its conceptualisation to finally outline a reasonable framework meaning for sustainability. The paper contributes in this way in forming consistency between what the conceptualisation of sustainability represents and how ethical systems could be more coherent with these conceptualisation efforts. This essay aims to answer how deontological and utilitarian perspectives provide guidance regarding sustainability and if these perspectives are coherent with sustainability as a concept. The essay understands coherence as ideas or structures that are logically compatible and that logically support each other. This study concludes that there is a possibility to delineate a coherent meaning for sustainability as a two-level meaning structure; one formal meaning where we found the principle of sustainability and without which, we would not be talking about sustainability and a second level, called the substantive meaning, where four main ethical relations arise, and where obligations and responsibilities appear. The study also concludes that there are certainly fundamental moral ideals and moral ideas embedded in sustainability that have the potential to be agreed upon in a global consensus. The formal meaning of continuance (sustainability moral ideal) gives in turn some fundamental moral ideas (normative relations) at a second level of definition. Additionally, the study shows that it is not self-evident which ethical model is more or less coherent with sustainability but the results indicate that a strong, coherent and egalitarian idea about the value of life, whether as flourished and functional as opportunities and interests, on which many of today's ethical systems are based on, can help an ethical system to be more coherent with the meaning of sustainability.

Abstract This research explored professional singers’ pronunciation of German in Frauenliebe und Leben, a song cycle, composed in 1840 by Robert Schumann (1810–1856). Adopting a two-fold approach, the thesis examined pronunciation from the viewpoints of normative German pronunciation and vocal pedagogy, paying special attention to the relationship between the two sets of norms. Normative German pronunciation is based on ‘reine Hochlautung’ as defined by Theodor Siebs, as well as on his instructions to classical singers. Norms of pronunciation used in vocal pedagogy were derived from 11 German pronunciation manuals for classical singers. At the centre of this study were 11 elements of the German language: the phonemes /s/, /r/, /b/, /d/ and /g/, the suffix -ig, double consonants, connecting consonants, the letter combination ng, liaison and diphthongs in a melismatic setting. Twelve professional singers’ – Anne Sofie von Otter, Barbara Bonney, Brigitte Fassbaender, Elly Ameling, Elisabeth Grümmer, Irmgard Seefried, Janet Baker, Jessye Norman, Kathleen Ferrier, Soile Isokoski, Marjana Lipovšek, Tamara Takács – pronunciation of these elements was studied via their recording of Frauenliebe und Leben between 1950 and 1997. Both descriptive statistical analysis methods and hierarchical cluster analysis were applied to the data. A reliability analysis was conducted using intra-category correlations and relative frequencies. This analysis indicated a reasonable degree of reliability. Descriptive statistical analysis methods yielded the result that the actual pronunciation of the professional singers, as evidenced by their recordings, was considerably more varied than what could be expected on the basis of normative or pedagogical norms. Hierarchical cluster analysis, too, showed that the professional singers shared the same category to a moderate degree. We may conclude that vocal pedagogical theory needs to be further developed, because pedagogical norms for pronunciation proved partially confusing and difficult to grasp. In addition, specific attention must be given to source critique. The actual pronunciation of professional singers challenges singing instructors to reflect on how they teach German pronunciation and what they can do to help their students develop the skills required for a critical listening of recordings. / Tiivistelmä Eksperttilaulajien saksan kielen ääntämistä havainnoitiin Robert Schumannin (1810–1856) vuonna 1840 säveltämässä laulusarjassa Frauenliebe und Leben, ja ääntämistä tutkittiin suhteessa sekä saksan kirjakielen ääntämisnormistoon että pedagogiseen ääntämisnormistoon. Tutkimuksessa syvennyttiin myös ääntämisnormistojen välisen suhteen tarkasteluun. Saksan kirjakielen ääntämisnormisto perustui Theodor Siebsin reine Hochlautung -ääntämistapaan sekä Siebsin klassisen laulun ohjeistuksiin. Pedagoginen ääntämisnormisto eli klassisille laulajille osoitetut saksan kielen ääntämisen oppaat oli rajattu yhteentoista teokseen. Tutkittavana oli yksitoista saksan kielen elementtiä: konsonantit s, r, b, d, g, suffiksi -ig, kirjainyhdistelmä ng, kaksoiskonsonantit, konsonanttien yhdistäminen, vokaalien sitominen ja diftongit. Laulusarjan levyttäneitä eksperttilaulajia oli kaksitoista: Anne Sofie von Otter, Barbara Bonney, Brigitte Fassbaender, Elly Ameling, Elisabeth Grümmer, Irmgard Seefried, Janet Baker, Jessye Norman, Kathleen Ferrier, Soile Isokoski, Marjana Lipovšek ja Tamara Takács. Äänitteet olivat vuosien 1950 ja 1997 väliseltä ajalta. Tutkimuksessa käytettiin perinteisiä kuvailevia tilastollisia analyysimenetelmiä ja hierarkkista ryhmittelyanalyysia. Aineiston luotettavuutta tarkasteltiin reliabiliteettianalyysin avulla. Reliabiliteettianalyysi osoitti, että aineistolle saavutettiin kohtuullinen luotettavuus. Kuvailevien tilastollisten analyysimenetelmien tuloksena oli havainto, että eksperttilaulajien ääntäminen äänitteissä oli huomattavasti monimuotoisempaa kuin saksan kirjakielen ja pedagoginen ääntämisnormisto antoivat olettaa. Hierarkkinen ryhmittelyanalyysi puolestaan osoitti, että eksperttilaulajien sijoittuminen samaan ryhmään oli maltillista. Tutkimus vahvistaa käsitystä, että laulupedagogista teoriaa tulee tarkastella dynaamisena, alati muuttuvana ilmiönä. Tutkimuksen perusteella myös havaitaan, että eksperttilaulajien ääntäminen noudattaa laulupedagogiikassa käytettyjä ääntämisen ohjeistuksia vain osin. Eksperttilaulajien ääntämisen käytäntö täten haastaa laulupedagogit pohtimaan sitä, kuinka he itse opettavat saksan kieltä, ja sitä, kuinka he liittävät opetustyöhönsä äänitteiden kriittisen kuuntelemisen taidon ja lauluoppaiden kriittisen käytön.

This thesis seeks to verify the concept of so-called resource curse at the beginning of the new millennium. The theoretical part defines the symptoms of the alleged curse, curse transmission channels and criticism of the concept. Compared to other studies dealing with the theme of the resource curse this work is not focused on just one transmission channel. The practical part verifies several hypotheses established by comparing research papers on impacts of natural resources. The validity of the Prebisch-Singer hypothesis, Dutch disease symptoms and a negative impact on political institutions (inclination toward authoritarianism, high level of corruption, high government spending, low efficiency of economic and political decision-making and low investment in education) is verified. For the analysis have been selected two African countries (Nigeria and Botswana) and two advanced countries (Canada and Norway). The last part of this thesis provides policy implications. The results confirm the Prebisch-Singer hypothesis for selected commodities in the long term and some of the symptoms of Dutch disease at the beginning of the new millennium. Hypotheses regarding the impact on the political institutions have not been confirmed, since the results varied across the countries. The high vulnerability of the countries to movements in commodity prices was found.

This dissertation examines the role of Singer in the modernization of sewing practices in Spain and Mexico from 1860 to 1940. Singer marketing was founded on gendered views of women’s work and gendered perceptions of the home. These connected with sewing practices in Spain and Mexico, where home sewing remained economically and culturally important throughout the 1940s. "Atlantic Threads" is the first study of the US-owned multinational in the Hispanic World. I demonstrate that sewing practices, and especially practices related to home sewing that have been considered part of the private sphere and therefore not an important historical matter, contributed to the building of one the first global corporation. I examine Singer corporate records and business strategies that have not been considered by other scholars such as the creation of the Embroidery Department in the late nineteen-century. Likewise, this dissertation challenges traditional narratives that have assumed that Spain and Mexico were peripheral to modernity. I look at Singer corporate records in Spain and Mexico and at regional government and cultural sources to demonstrate how Singer integrated Spain and Mexico within its business organization. Singer's marketing was focused on the consumer, which contributed to make the company part of local sewing businesses and cultures.

Ce mémoire explore comment la médiation de la musique et les nouvelles modalités du concert s’intègrent dans la carrière des chanteurs lyriques québécois. Le corpus de la recherche est composé d’une analyse documentaire des activités de médiation dans les institutions lyriques nord-américaines et de la formation des chanteurs, ainsi que d’une enquête qualitative auprès de 12 chanteurs québécois. Cette étude dresse un portrait des activités de médiation afin d’en faire ressortir l’apport des chanteurs par les fonctions qu’ils occupent au sein de la médiation de l’art lyrique. Même si tous les chanteurs rencontrés ont fait des activités de médiation dans leur carrière, il y a de nombreux facteurs qui agissent sur la poursuite des activités de médiation. Il y a des contraintes sociales qui sont liées à la notoriété des chanteurs influencé par la valeur symbolique plus faible du point de vue réputationnel des activités de médiation comparée à la prestation comme soliste. Mais aussi des contraintes économiques qui obligent les chanteurs à avoir plusieurs activités pour vivre de leur art. Il se dégage de cette étude que la médiation de la musique est un outil supplémentaire aux chanteurs, car ils deviennent polyvalents s’ils font de la médiation au côté d’un concert. Elle peut être aussi un moyen de diversifier leurs activités pour les chanteurs qui décident de créer des ateliers et des concerts dans de nouvelles modalités. Par contre, la médiation peut devenir une obligation dans la carrière des chanteurs, et ce malgré qu’ils n’y soient pas formés pendant leurs études. / This master thesis proposes to explore how the music mediation and the new modalities of the concert fit into the careers of lyric singers in Quebec. The corpus of my research is made up of a documentary analysis of mediation activities in North American lyrical institutions and the analysis of the singer’s training, as well as a qualitative survey of 12 Quebec singers. This study draws up a portrait of the mediation activities and the new modalities of the concert which are used to make opera accessible, then to highlight the contribution of the singers by the functions they occupy within the mediation of lyrical art. Even though all the singers we met have done mediation activities in their career, there are many factors that influence the continuation of mediation activities. There are social constraints which are linked to the notoriety of the singers influenced by the lower reputational value of the mediation activities compared to the performance as a soloist. But also economic constraints, which oblige the singers to have several activities to make a living from their art. It emerges from this study that music mediation is an additional tool for singers, as they become versatile if they mediate alongside a concert. It can also be a way to diversify their activities if the singers decide to create mediation workshops and concerts that are presented in new modalities. On the other hand, mediation can become an obligation in the career of singers, despite the fact that they were not trained for it during their studies.