Allant d’une autobiographie où la fictionnalisation du vécu confine à l’invraisemblable, à des biographies imaginaires où des personae de l’auteur construisent librement la figure de leurs « biographiés », Anthony Burgess jongle avec les pactes de vérité et la fabulation-affabulation. Les vertiges cognitifs des métabiographies postmodernes affleurent en filigrane, mais à la mélancolie de l’impossible résurrection textuelle du sujet biographique, les biofictions érudites de Burgess substituent la prolifération d’existences virtuelles, de mythes, fantasmes et simulacres, pour mieux mettre en question les formes institutionnelles du genre, savantes et commerciales. Au cœur de l’entreprise [auto]biofictionnelle de Burgess, se dessine une tension contradictoire entre un désir de restituer ces « vies » dans leur réalité charnelle, individuelle, démythifiée, et l’inclination mytho-poétique du romancier qui leur impose le filtre de sa vision du monde catholique et manichéenne. Le Marlowe, le Shakespeare, le Mozart, le Napoléon, le Keats de Burgess ne sont-il que des spectres romanesques, dont les référents historiques ont été vampirisés par le romancier-biographe ? Les biofictions de Burgess, où se rencontrent, en même temps que plusieurs subjectivités artistiques, divers modes d’appréhension de l’écriture et de la vie [essai critique, chronotope biographique, flux de conscience moderniste, citation intertextuelle], réaffirment le caractère indissociable de la vie, de la création et de l’oeuvre. Sa quête romantique-humaniste qui cherche à restaurer la singularité existentielle de ses prédécesseurs conteste de l’intérieur la textualité thanatographique moderne. / In his autobiography, where his fictionalizing his « real life » borders on the unbelievable, as well as in his fictional biographies, where authorial personae freely create the figures of their biographees, Anthony Burgess juggles his way between authorial truth commitments and blatant invention. The epistemological void revealed by postmodernist metabiographies is not thoroughly absent, but Burgess’s erudite « biofictions » eschew such melancholy brooding on the impossibility to resurrect the biographee, and, instead, celebrate virtual possibilities of existence, myths, fantasies and simulacra – and, doing so, deflate the naïve seriousness of academic or popular versions of the genre. At the core of Burgess’s literary experiments in the [auto]biographical mode lies a contradictory tension between his desire to fully convey the bodily, individual, de-mythified reality of these lives, and the novelist’s mytho-poetical tendency to filter them through the lens of his Catholic and Manichean worldview. Are his Marlowe, Shakespeare, Mozart, Napoleon and Keats but spectral fictional figures, whose historic real selves have been cannibalized by the idiosyncrasy of the novelist-biographer ? Burgess’s « biofictions » are a confluence of several artistic selves, but also of several ways to comprehend the relationship between life and writing [critical essay, biographical chronotope, modernist flow of consciousness, intertextual quotation], thus reasserting the organic connection between life, creation, and the work of art. His romantic-humanist quest for the singular existential selves of his artist predecessors challenges, from within the text, modern thanatographic textuality.

Dans l’univers fictionnel, à la fois sombre et comique, de Henry Green, les personnages sont isolés, coupés des autres et d’eux-mêmes, enfermés dans leur propre corps et leur conscience, mais aspirent malgré tout à fonder une famille et appartenir à une communauté. De son côté, la communauté existe essentiellement sous forme de fantasme ou dans les discours publics, mais son pouvoir normatif n’en reste pas moins dangereux, car le groupe détruit l’individualité et exige que l’on se conforme à ses règles, que l’on adopte ses valeurs et que l’on accomplisse ses rituels dépourvus, chez Green, de sens. Pendant la Deuxième guerre mondiale, moment où Green écrit ses romans les plus aboutis, l’impératif d’appartenir à une communauté nationale réduit au silence les voix personnelles et substitue à l’expérience privée un récit collectif issu des presses de la propagande. Entrer dans l’histoire revient à se renier en tant qu’individu, à se taire : la destruction de l’intimité, le silence, l’oubli menacent les personnages greeniens. Le conflit entre une volonté de s’affirmer en tant qu’individu et un désir de se fondre dans la masse se reflète dans l’esthétique atypique de Green, qui se nourrit des topoi littéraires de son époque tout en se démarquant du traitement qu’en font ses contemporains. L’écriture se fait intertextuelle, plurielle, idiosyncratique, alors que le romancier mêle accents régionaux et langue archaïque, emprunte des idiomes à des langues vernaculaires et littéraires, divisée et fragmentée, lorsqu’il décrit les effets de la guerre sur la psyché. / In the dark and comical fictional world of Henry Green, the characters are isolated, cut off from themselves and from others, locked into their own body and mind, but they nevertheless yearn to build a family and to belong to a community. As far as communities are concerned, they exist solely in the characters’ fantasms or in public discourses, but their normative power remains dangerous: groups destroy individuality and demand that members conform to collective rules and adopt the same values. They require that one participate in rituals that are, in Green’s novels, deprived of any meaning. During the Second World War, when Green writes his best novels, belonging to a national community becomes compulsory. This silences personal voices and substitutes a collective narration written by British propaganda to private experience. Entering history means that individuals should not contradict the official version and have to deny themselves: the destruction of intimacy, silence and forgetting therefore threaten Green’s characters. The conflict between a will to establish oneself as an individual and the desire to melt into masses is reflected in Green’s atypical esthetic, which feeds on literary commonplaces of the times while setting itself apart from the meanings normally attached to them. The writing is characterized by intertextuality. It is plural, idiosyncratic, as the author mingles regional accents and an archaic speech, and borrows idioms from vernacular and literary languages, divided and fragmented, when he records the effects of the war on the psyche.

Astor Piazzolla (1921-1992) captivated Argentine and international audiences with his innovative works in a nuevo tango style and his bandoneón performances. Piazzolla?s success culminated during the 1980s with his second Quinteto, which performed remarkable concerts in venues such as the Teatro Colón in Buenos Aires and the Central Park Bandshell in New York, in addition to the performances at the Montreal and Montreux Jazz Festivals. His music also grew popular with a plethora of internationally acclaimed classical and jazz artists as well as with Argentine musicians themselves. However, Piazzolla?s music poses a challenge today, because nuevo tango represents a synthesis of the composer?s musical and cultural backgrounds, conjoining the tango legacy of Buenos Aires, the jazz idioms that he absorbed in New York, and the international traditions of classical music. Many musicians, specifically those from the United States, perform and study nuevo tango without having sufficient prerequisite knowledge of these practices, causing the genre to lose its cultural substance. By considering the fusion of tango, jazz, and classical genres and incorporating a cross-cultural analysis, this thesis aims to illuminate the basis of Piazzolla?s performance practices. It seeks to identify the yeites (tango instrumental techniques) that define nuevo tango and to suggest ways that the modern performer can incorporate these stylistic features to produce culturally informed interpretations of Piazzolla?s works. This study focuses on the practices of Piazzolla?s second Quinteto, at the pinnacle of his career, and emphasizes a gestural analysis of the yeites to produce a well-grounded concept of nuevo tango sound. This study concludes that, even though Piazzolla?s compositions represented a fusion of genres, the performance practices (and specifically the gestures) of the second Quinteto are primarily associated with the tango traditions of previous eras. Such gestures embody Piazzolla?s music and thus allow contemporary performers to recreate the evocative and persuasive characteristics of nuevo tango practices today.

Composer Isang Yun developed an idiosyncratic musical language that blends Eastern-Asian and Western-European art traditions. Exiled from Korea due to political conflict, he continued his compositional career in Germany, where his music is renowned for its use of the Hauptton (“main-tone”) technique. Yun was the first to discuss this technique, which he interprets as a process rooted in East-Asian musical traditions, including Taoism philosophy. His music is remarkable in that it fuses this process within the context of Western formal structures. I combine Straus’s associational model with Yun’s Hauptton theory to analyse the second movement of Duo für Violoncello und Harfe (1984) in order to show the inclusion of Eastern-Asian and Western-European musical elements in Yun’s music. I begin by analysing several Haupttöne at the surface level through associational relationships, followed by a large-scale analysis of the entire movement with one fundamental Hauptton.

Extreme violence, which often results in murder, is a prominent theme in the American literary canon; therefore, it deserves a wider and more focused lens in the study of Twentieth-Century American literature. Murder and entertainment seldom coexist in canonical literature, but the very nature of the murder, foreign to many readers, consequently piques one’s curiosity, and demands special attention. The literary texts I have chosen to discuss are four novels and three plays. They all belong to the genre known in literature as ‘a crime novel or play.’ The murderers are easily identified, and their criminal acts have been carried out successfully, often with much forethought and detail. My focus has been to conduct a psychological study to highlight the impetus for the crime. Three basic themes have captured my attention: 1- Is the murder a sin or a crime? What is the role of religion in the lives of the accused? 2- Is it right to blame society for such horrendous acts? 3- How is the American Dream portrayed in these works? The closer we get to the end of the Twentieth-Century, the harder it is to detect an affirmative ending in the works of literature I have explored. The insatiable appetite for material consumption overshadows the pursuit of happiness, or, maybe happiness is defined by material wealth. The critical question is: can American society read the warning written on the wall?

Investigations carried out by us in Murcia have brought to the fore the changes in children's orality as expressed in their songs. We have analyzed many children's songs transmitted through the oral tradition, which, in experiments in situ, we compiled from all the provinces of that Region and covering the entire XX century, given that the persons who enlightened us were aged from 4 to 99. Our fieldwork was not only limited to assembling the music and text of the songs, but also included the social, cultural and functional data of each song, whereby the analysis assumed an Anthropological profile. This thesis shows how children's songs have always been predetermined by the changing circumstances suffered by children throughout the entire century. The relationship between children's musical orality and the changing social and cultural climate in Murcia is possibly an indication of similar processes in other geographical areas. / En investigaciones realizadas en la Región de Murcia hemos venido verificando cambios en la oralidad infantil a través de sus canciones. Hemos analizado numerosos cantos infantiles de transmisión oral recogidos en trabajos de campo de todas las comarcas y décadas del siglo XX, pues acudimos a informantes entre 4 y 99 años. Esos trabajos no se limitaron al acopio de los elementos musicales y textuales de las canciones, sino que incluyeron datos del contexto social, cultural y funcional de cada una, por lo que el análisis entró en el campo de la Antropología musical. Esta tesis muestra cómo las canciones infantiles han venido estando sobredeterminadas por el entorno cambiante de la infancia a lo largo del siglo. La relación entre oralidad musical infantil y el mutante entorno socioeconómico de Murcia puede revelar procesos similares en otras áreas geográficas.

El Hospital de Caridad de Cartagena fue fundado en 1693. Objetivo: determinar su área de influencia, los problemas sanitarios, enfermedades y lesiones más frecuentes y otros aspectos. La fuente principal ha sido el archivo del Hospital. Entre 1900 y 1936 el Hospital experimenta un gran auge. El 58% de enfermos proceden de la Ciudad, siguiéndole la zona minera (19%). Existe una correlación negativa entre los ingresos y la estancia media. Enfermedades más frecuentes: aparato digestivo (21%), respiratorias (15%), circulatorias (10%) y genitourinarias (9%). Enfermedades infecto-contagiosas más frecuentes: tuberculosis (20%), difteria (19%), paludismo (17%), sífilis (16%), fiebres tifoideas (4%) y viruela (3%). La tasa más elevada de hospitalización por paludismo corresponde a la zona húmeda de “El Hondón”. Existe una correlación negativa entre consumo de pan y de carne por estancia y número de estancias. Entre las urgencias predominan las heridas (59%), traumatismos osteoarticulares (24,3%), quemaduras (3,3%) y cuerpos extraños (2,6%). / The “Hospital de Caridad” in Cartagena was founded in 1693. Objective: to determine its area of influence, health problems, most common diseases and injuries and other aspects. The archive of the Hospital has been the main information source. Between 1900 and 1936 the Hospital experiences a great development. 58% of patients are from the City followed by those from the mining zone (19%). A negative correlation was observed between admissions and average length of inpatient hospital stay. Most frequent diseases: digestive system (21%), respiratory system (15%), cardiovascular system (10%) and genitourinary system (9%). Most frequent infect-contagious diseases: tuberculosis (20%), diphtheria (19%), malaria (17%), syphilis (16%), typhoid fever (4%) and smallpox (3%). The main zone affected by malaria is the wetland area called “El Hondón”. A negative correlation was observed between bread and meat consumption per hospital stay and average length of stay. Most common emergencies are wounds (59%), osteoarticular traumatisms (24.3%), burns (3.3) and foreign bodies (2.6%).

This thesis aims to examine the Turkish Pavilion in the Brussels Expo &amp / #8217 / 58 in order to comprehend architectural modernization in Turkey during the 1950s. The Pavilion as well as Turkey&amp / #8217 / s participation in the Expo&amp / #8217 / 58 can be considered as special cases that provide the significant information about contemporary context of the country. In parallel with the changes occurred in the world in the aftermath of the Second World War, the postwar period in Turkey transformed towards modernist attitudes not only in architectural realm but also in socioeconomic discourses and practices. The case of the Turkish Pavilion has important and remarkable characteristics in many respects of architectural modernization in the country. Having analyzed the Expo &amp / #8217 / 58 as an international event, the main part of the study aims to discuss Turkey and the Turkish Pavilion in the Expo with the related and detailed information. This chapter is composed of four main parts. Having discussed the role of the state in the new international structure, the locus of the Turkish Pavilion within contemporary architectural scene is, firstly, examined. The second part intends to reveal the specific characteristics of the Pavilion. The next part is an examination to explain the conscious effort to construct the idea of the synthesis of arts in the architecture of the Pavilion. Finally, the last part explores, firstly, the exhibition and the display objects within the Pavilion in terms of their contents, secondly, the wide-ranging activities and events of the Turkish participation beyond the Pavilion.

This dissertation reveals that the various, often conflicting media representations of cheerleaders are responsible for the many ways gender and power are refracted through the lens of American popular culture and on the bodies of American youth. Beginning in the circumscribed nineteenth century world of elite male privilege, the history of cheerleading is intimately connected to the discourse of masculinity in America. It is not until almost one hundred years after the activity’s birth that its primary narrative changes from one of masculinity to one of power. This project calls attention to the ways in which sociohistoric context impacts representations of cheerleaders. My interdisciplinary project draws on sources from the popular press; children’s, adult, and mainstream literature, film, and television; material culture; and interviews with cheerleaders themselves; and engages with existing cheerleading scholarship as well as literary criticism and feminist scholarship. Each chapter interrogates a different, related trend in the cultural representation of cheerleaders, including: competing narratives of victimization, im/perfection, and popularity; a third wave feminist vision of gendered superpower; prescriptions of beauty and behavior; pornography and its connection to the professionalization of cheer; and the performance of representation by actual cheerleaders. Taken together, these chapters trace patterns of representation, fraught with nuance and complexity, to provide a picture of a shifting cultural icon whose relationship to larger social movements is often reciprocal and who challenges societal expectations of gender and generation over three centuries. / text

Ce mémoire remonte aux premières années du phénomène publicitaire de masse et se penche sur les publicités des gouttes pour les yeux Murine et de l’antiseptique Listerine publiées dans les magazines au Québec entre 1925 et 1950. Les annonces de ces produits liés au corps et à ses soins insistent sur deux arguments de vente, soit la beauté et la santé. Comment ces idées sont-elles mises de l’avant par les créateurs des réclames motivés par l’objectif de vendre, telle est la question centrale ayant guidé nos recherches. Notre analyse porte plus particulièrement sur les stratégies publicitaires entourant les idées de la santé et de la beauté et montre qu’elles sont nombreuses et variées pour chaque produit. Notre étude vise aussi à faire ressortir l’évolution des arguments de vente selon le contexte des années 1920, 1930 et 1940, ainsi qu’à travers les normes et les valeurs alors en vigueur. Nous soutenons par ailleurs l’hypothèse qu’en misant tantôt sur la beauté, tantôt sur la santé, ou sur ces deux idées à la fois, il devenait possible pour les publicitaires de modifier l’image ou même la fonction de ces produits sans en changer les composantes, ajustant ainsi leur message aux événements socio-économiques et culturels. / This thesis is interested in the Murine eye drops and Listerine antiseptic advertising campaigns published in Québec magazines between 1925 and 1950, a period that corresponds to the beginning of mass publicity. The advertisements for these body products insist on two selling points: beauty and health. How were these ideas presented by the ad creators motivated by increasing their sales, here is the main question that guides our research. Our analysis is more particularly about the selling strategies concerning the ideas of beauty and health and shows that they are many and varied for each product. Our study also aims at emphasizing the evolution of selling strategies through the context, the norms and the values current between 1925 and 1950. We support the assumption that advertisers could change the image and even the function of these products without modifying their components, by insisting more or less on one particular selling point, adjusting their message to socio-economic and cultural events.