Si la danse a partie liée avec la littérature c’est parce que cet art du mouvement a longtemps eu besoin d’une narration pour exister. En ce sens, lorsqu’au XXe siècle la danse s’affranchit du texte, elle s’affirme comme un art à part entière pouvant exister pour lui-même et par lui-même. Dans ce cas, pourquoi des chorégraphes contemporains français se tournent-ils de nouveau vers la littérature pour créer certaines de leurs œuvres chorégraphiques ? Face à une démarche qui pourrait s’apparenter à un simple retour en arrière, l’étude menée s’efforce non seulement de comprendre les enjeux de différents processus de création chorégraphique à partir d’une matière littéraire, elle-même interrogée, mais aussi de mettre en évidence les modalités de traitement du texte de son ébauche à sa finalisation. De la sorte, il est possible de percevoir à la fois ce qui persiste et ce qui change dans la mise en œuvre de ce dialogue renoué où littérature et danse s’enrichissent mutuellement. / If dance is linked to literature, it is because this art of movement has long been in need of a narration to exist. In this sense, when dance freed itself from texts during the 20th century, it became an art in its own right, ready to exist for itself and by itself. Why, then, do some French contemporary choreographers revert to literature in order to create their choreographic works? Faced with a phenomenon that could be interpreted as a simple regression, this study will not only endeavour to understand the stakes at play in processes of choreographic creation based on literary materials (which will also be examined), but it will also emphasise the processes of textual treatment from creation to completion. Thus, we will be able to discern both what persists and what changes in this renewed and mutually enriching dialogue between literature and dance.

Este trabalho procura mostrar a formação de uma cultura política, no contexto peruano do século XX, a partir da análise de uma parte significativa da imprensa nacional. Constata-se que as diferentes abordagens produzidas pelos segmentos políticos mais importantes, a oligarquia peruana e o Partido Aprista Peruano, contribuíram decisivamente para a proliferação de valores, conceitos e práticas políticas autoritárias, radicais e mesmo violentas através de seus principais veículos de comunicação, respectivamente, os jornais El Comercio e La Tribuna. São, inclusive, co-responsáveis pela frequente imposição de regimes anômalos, como ditaduras civis e militares. Restringindo a pesquisa aos momentos nos quais a liberdade de expressão permitiu o convívio legalizado de ambos periódicos, especialmente entre os anos de 1931/1932 e 1945/1948, estabelece-se uma comparação integral dos conteúdos publicados, percorrendo a trajetória que levou à fixação dos posicionamentos daqueles agentes políticos, sua importância no comportamento político e mesmo o desdobramento das influências por eles exercidas em períodos posteriores. / This work presents the formation of a political culture in the Peruvian context of the 20th century from an analysis of a significant part of the national press. The different approaches used by the most important political segments, the Peruvian oligarchy and the Partido Aprista Peruano, contributed decisively to widespread values, concepts and radical, authoritarian and even violent political practices through the main press, respectively the newspapers El Comercio and La Tribuna. Both were co-responsible for the frequent imposition of anomalous regimes such as military and civil dictatorships. Narrowing the scope of the research to the periods in which freedom of speech enabled the legal co-existence of both newspapers, especially between 1931/1932 and 1945/1948, it is possible to compare the content published to understand the establishment of these two political agents, their importance in the national political behavior as well as the unfolding of their political influences later on in history.

p. 1-180 / Submitted by Santiago Fabio (fabio.ssantiago@hotmail.com) on 2013-05-06T19:01:13Z No. of bitstreams: 1 8888888888.pdf: 3347336 bytes, checksum: a64d4bd57a70266f1ab77a4f9310a1bb (MD5) / Approved for entry into archive by Rodrigo Meirelles(rodrigomei@ufba.br) on 2013-05-09T17:14:06Z (GMT) No. of bitstreams: 1 8888888888.pdf: 3347336 bytes, checksum: a64d4bd57a70266f1ab77a4f9310a1bb (MD5) / Made available in DSpace on 2013-05-09T17:14:06Z (GMT). No. of bitstreams: 1 8888888888.pdf: 3347336 bytes, checksum: a64d4bd57a70266f1ab77a4f9310a1bb (MD5) Previous issue date: 2010 / O objetivo desse trabalho é analisar as transformações ocorridas no exercício da profissão farmacêutica na Bahia entre 1961 e 1986. Trata-se de uma pesquisa de abordagem histórica com análise qualitativa. As fontes documentais utilizadas foram as atas de reunião plenária do CRF-BA, legislações importantes do período e jornais do CRF-4. Foram utilizados também dados das transcrições das entrevistas realizadas com os farmacêuticos que atuaram à época do marco histórico estabelecido. Evidenciou-se que a organização da profissão farmacêutica no Estado foi beneficiada por seu Conselho profissional. Percebeu-se também que, em muitos momentos nesse processo, a instituição acadêmica não teve papel tão decisivo quanto o próprio CRF em questões importantes para a categoria. Podemos afirmar que o CRF-4 foi eficiente em garantir um monopólio do mercado de trabalho farmacêutico ainda que com algumas perdas. Em seguida analisamos como ocorreram as relações entre os farmacêuticos, a academia e o mercado de trabalho. Observamos que os espaços de prática dos farmacêuticos no período se relacionaram com o contexto econômico da Bahia. Notou-se que ocorreram conflitos e disputas na ocupação desses espaços. Por fim, analisa-se a relação que se estabeleceu entre farmacêuticos e o comércio farmacêutico, revelando que os conflitos vêm permeando essa relação. / Salvador

Cette thèse étudie la naissance et l’évolution de cinéma comme type architectural en examinant deux-cent projets soumis, entre 1907 et 1939, à l’administration parisienne pour le permis de construire. Ceux-ci sont analysés selon quatre critères : l’implantation, les protagonistes, la conception architecturale et la réception des œuvres. Le parc cinématographique parisien, à la veille de la Seconde Guerre, est le résultat de trois vagues de constructions à la suite des événements marquants : la naissance du cinéma narratif (1907-1913), l’Armistice (1919-1920), l’avènement du parlant (1931-1938). Ces trois vagues riment avec trois phases successives dans la genèse du nouveau type : l’expérimentation, la théorisation et la modernisation. Ainsi est mise en évidence la constitution, dès 1907, d’un type originel architecturalement caractérisé par la triade projection-visibilité-publicité. Il en dérive, par la suite, différentes espèces qui, malgré leurs variations, restent « un hangar noir » plus ou moins judicieusement disposés et décorés pour un spectacle projeté sur écran, hangar doublé extérieurement d’une façade parlante et peu ou prou attrayante. / This thesis explores the emergence and the evolution of the cinema as a building type. It examines two hundred projects submitted to the Parisian administration for obtaining construction permits, from 1907 to 1939. These projects are analyzed according to four major criteria: localization, protagonists, architectural design and their reception. At the beginning of the Second World War, Parisian cinemas were mostly built through three waves of constructions subsequent to historical events: emergence of narrative cinema (1907-1913), end of the First World War (1919-1920), arrival of talkies (1931-1938). These three waves correspond with three successive phases in the rise of the new building type: experimentation, theorization, modernization. This study demonstrates that an original building type has been created since 1907, which is architecturally characterized by the trio of projection- visibility-appeal. From this original type different pieces are derived, that despite their variations are all a blind shed less or more judiciously designed and decorated for a show projected on the screen, a blind box covered by an attractive and expressive façade.

This thesis is the first oral history study of English rugby union. Through personally conducted interviews, it focuses on the experiences of men who played rugby union for England in the post-war, amateur era, and considers what they can tell us about both the sport and the society of which it was a part. The period it covers begins with the end of the Second World War, in 1945, and ends when rugby union ceased to be an amateur sport, in 1995. These fifty years were a time of both change and continuity, and it is a primary concern of this thesis to consider the extent of each in both rugby union and in wider society. Through looking at, in particular, English rugby union’s links with education, its relationship with work in a period in which its players were amateur, and its place on the spectrum of class, this study demonstrates, above all, the durability of rugby union’s social core, even in the midst of outward change to the sport. In doing so, it makes an important contribution to the historiography of both British sport and post-war Britain more generally, arguing for consideration of social continuity among a field largely dominated by notions of change. It also constitutes a unique study of a particular group of middle-class men, and demonstrates that sport – and oral history – can add much to our understanding of post-war social history.

A dissertação busca analisar a trajetória política do partido Falange Espanhola das JONS, limitando-se ao período iniciado por sua formação, em 1933, e posterior incorporação às JONS, em 1934, até o início da guerra civil espanhola de 1936 e a morte de sua principal liderança, José Antonio Primo de Rivera. Analisaremos o desenvolvimento do partido, procurando enfatizar não só a diversidade presente entre sua militância, mas também as influências ideológicas que permearam a organização de seu projeto político e os discursos de suas principais lideranças. A história espanhola, em especial o século XIX, e os conturbados anos iniciais do século XX, surgem como cenário fundamental para o entendimento de suas propostas de transformação e de construção de uma Nova Espanha. / The present dissertation intends to analyze the political path of Spanish Falange of JONS party, restricting the analysis to the period began by its establishment at 1933, and later incorporation to the JONS at 1934, until the beginning of the Spanish Civil War at 1936 and the death of its headship, José Antonio Primo de Rivera. It is also part of this thesis the interpretation and contextualization of the partys development, focusing not only at the diversity present between the militancy, but also the ideological influences that built the organization of its political project and the discourses of its main leadership. The Spanish History, mainly the period comprehended between the nineteen century and the initial years of the twentieth century rise as fundamental piece to the understanding of its proposals of transformation and construction of a New Spain.

Este trabalho procura mostrar a formação de uma cultura política, no contexto peruano do século XX, a partir da análise de uma parte significativa da imprensa nacional. Constata-se que as diferentes abordagens produzidas pelos segmentos políticos mais importantes, a oligarquia peruana e o Partido Aprista Peruano, contribuíram decisivamente para a proliferação de valores, conceitos e práticas políticas autoritárias, radicais e mesmo violentas através de seus principais veículos de comunicação, respectivamente, os jornais El Comercio e La Tribuna. São, inclusive, co-responsáveis pela frequente imposição de regimes anômalos, como ditaduras civis e militares. Restringindo a pesquisa aos momentos nos quais a liberdade de expressão permitiu o convívio legalizado de ambos periódicos, especialmente entre os anos de 1931/1932 e 1945/1948, estabelece-se uma comparação integral dos conteúdos publicados, percorrendo a trajetória que levou à fixação dos posicionamentos daqueles agentes políticos, sua importância no comportamento político e mesmo o desdobramento das influências por eles exercidas em períodos posteriores. / This work presents the formation of a political culture in the Peruvian context of the 20th century from an analysis of a significant part of the national press. The different approaches used by the most important political segments, the Peruvian oligarchy and the Partido Aprista Peruano, contributed decisively to widespread values, concepts and radical, authoritarian and even violent political practices through the main press, respectively the newspapers El Comercio and La Tribuna. Both were co-responsible for the frequent imposition of anomalous regimes such as military and civil dictatorships. Narrowing the scope of the research to the periods in which freedom of speech enabled the legal co-existence of both newspapers, especially between 1931/1932 and 1945/1948, it is possible to compare the content published to understand the establishment of these two political agents, their importance in the national political behavior as well as the unfolding of their political influences later on in history.

La thèse interroge les processus de conception développés par l'architecte français Henry Jacques Le Même (1897-1997). Nous nous donnons à comprendre le savoir-faire qu'il a mis en œuvre par la pratique du projet afin de répondre à des commandes variées tant au niveau de leurs programmes que de leurs échelles de conception, et ceci dans des contextes historiques multiples. L'objectif est de déconstruire intellectuellement une partie de son œuvre par l'analyse architecturale et en inscrivant les projets étudiés dans leurs contextes de production afin de saisir les outils et méthodes de conception du projet qui lui sont spécifiques. Afin de mener des analyses précises, nous convoquons un corpus constitué d'un nombre de projets restreints et qui ont été conçus à des moments d'articulations dans la carrière de Henry Jacques Le Même ou à des époques historiques charnières, révélatrices des transformations du métier de l'architecte. Une première partie de la recherche vise à comprendre en quoi la déclinaison du type architectural du chalet du skieur, qu'il invente à la fin des années 1920 et sur lequel il travaille pendant près de 60 ans, permet à Henry Jacques Le Même de se constituer des outils de projet pour rendre sa pratique efficiente et répondre de manière ajustée à ses commandes. L'analyse architecturale d'un échantillon de projets de 19 chalets du skieur a pour objectif de repérer les principes du type architectural et les raisons de leurs évolutions. Pour comprendre comment la préfabrication, l'industrialisation de la construction ainsi que la transformation du statut de la commande influent sur la pratique architecturale de Henry Jacques Le Même, nous analysons les premiers projets où il doit intégrer ces nouvelles modalités dans l'exercice de conception. À partir de l'étude d'une demi-douzaine de projets expérimentaux que l'architecte conçoit dans les années 1940-1950, notre objectif est de saisir la démarche qu'il développe pour penser l'idée de prototype, la transformation des processus de construction, et l'architecture destinée au grand nombre. L'analyse des processus de conception des projets étudiés permet de révéler une recherche conduite par Henry Jacques Le Même sur la pratique de projet en vue de réduire la complexité au moment de la projection de l'espace. Elle s'établit à partir d'un renouvellement de ses outils intellectuels issus de sa culture architecturale et se traduit par un travail sur la composition, la définition d'un parti architectural ou sur la conception modulaire. D'autre part, l'architecte développe une méthodologie qui consiste à produire des ensembles sériels graphiques qui lui permettent de noter ses idées et intentions afin de progresser dans la pensée du projet. Pour mener à bien notre recherche, nous nous appuyons essentiellement sur l'étude de documents provenant du fonds d'archives de Henry Jacques Le Même, conservé aux Archives Départementales de la Haute-Savoie. Ces sources premières témoignent de la pensée en acte de l'architecte au moment de l'élaboration de ses projets et nous ont permis d'élaborer le contenu de notre recherche par une analyse croisée de la documentation écrite et graphique. Parallèlement nous avons entrepris un travail de re-dessin de plans originaux associé à des analyses graphiques. Cette méthode de recherche qui utilise les outils de l'architecte a permis d'opérer un procédé de déconstruction-reconstruction des projets analysés pour rendre lisibles et intelligibles leurs organisations et spécificités spatiales. La compréhension des architectures analysées a été précisée par un travail de documentation historique et théorique. La thèse a été menée au sein du laboratoire les Métiers de l'Histoire de l'Architecture, édifices-villes-territoires, ENSA Grenoble, et dans le cadre d'une convention CIFRE avec le CAUE de Haute-Savoie. / This thesis questions the design process developed by architect Henry Jacques Le Même (1897-1997). Our goal is to understand the know-how he implemented by project practice to realize various commands both by their programs and their scales, in multiple historical contexts. The objective is to intellectually deconstruct part of his work by the architectural analysis, and considering the studied projects in their production context to capture the design tools of the project that are specific to it. To conduct detailed analyzes we consider a small number of projects that have been designed at key times during Henry Jacques Le Même career, or at pivotal historical moments for the transformation of the profession of the architect. The first part of the research is to understand how the variation of the architectural style of the skier's cottage - that he invented in the late 1920s and on which he worked for nearly 60 years - allows Henry Jacques Le Même to create project tools to make his practice efficient and to provide adequate responses to his orders. The architectural analysis of a sample of 19 skier's cottage projects aims to identify the principles of architectural type and the reasons of their evolution. The architectural practice of Henry Jacques Le Même has been influenced by prefabrication, industrialization of construction, and the transformation of the architectural command. To understand this we analyze the first projects in which he must integrate these new modalities in the design exercise. Based on the study of half a dozen experimental projects – that the architect designed in the years 1940-1950 -, our goal is to understand the process he developed to think the idea of prototype, the transformation of construction process, and the architecture destined for the masses. The analysis of the design process of studied projects reveals a research conducted by Henry Jacques Le Même on the project practice to reduce its complexity for spatial organization. This research is issued from a renewal of his intellectual tools from his architectural culture, and results in a work on the composition, the definition of an architectural style or modular design. Moreover, the architect develops a methodology which is based on producing serial graphics sets that allow him to record his ideas and intentions in order to bring forward the project thinking. To carry out our research, we first rely on the study of documents from the archives of Henry Jacques Le Même, preserved in the Departmental Archives of Haute-Savoie. These primary sources reflect the thinking of the architect during the development of his projects and helped us to develop the content of our research by a cross-analysis of the written and graphic documentation. In addition we have undertaken a re-drawing of the original plans associated with graphical analyzes. This research method uses the tools of the architect and allow us to operate a process of deconstruction and reconstruction of the analyzed projects to make readable and intelligible their organization and spatial characteristics. The understanding of the analyzed architectures has been specified by a work of historical and theoretical documentation. The thesis was conducted in the laboratory les Métiers de l'Histoire de l'Architecture, édifices-villes-territoires, ENSA Grenoble, and within a CIFRE agreement with the CAUE Haute-Savoie.

A dissertação busca analisar a trajetória política do partido Falange Espanhola das JONS, limitando-se ao período iniciado por sua formação, em 1933, e posterior incorporação às JONS, em 1934, até o início da guerra civil espanhola de 1936 e a morte de sua principal liderança, José Antonio Primo de Rivera. Analisaremos o desenvolvimento do partido, procurando enfatizar não só a diversidade presente entre sua militância, mas também as influências ideológicas que permearam a organização de seu projeto político e os discursos de suas principais lideranças. A história espanhola, em especial o século XIX, e os conturbados anos iniciais do século XX, surgem como cenário fundamental para o entendimento de suas propostas de transformação e de construção de uma Nova Espanha. / The present dissertation intends to analyze the political path of Spanish Falange of JONS party, restricting the analysis to the period began by its establishment at 1933, and later incorporation to the JONS at 1934, until the beginning of the Spanish Civil War at 1936 and the death of its headship, José Antonio Primo de Rivera. It is also part of this thesis the interpretation and contextualization of the partys development, focusing not only at the diversity present between the militancy, but also the ideological influences that built the organization of its political project and the discourses of its main leadership. The Spanish History, mainly the period comprehended between the nineteen century and the initial years of the twentieth century rise as fundamental piece to the understanding of its proposals of transformation and construction of a New Spain.

Mireille Havet, née en 1898, rencontre très tôt le succès grâce à ses poèmes. Proche d’Apollinaire et de Cocteau, elle se fait une place dans le milieu littéraire de l’époque. Parallèlement à ses poèmes, et à son roman publié en 1923, elle écrit un journal intime, qu’elle commence alors qu’elle est encore adolescente. Forte de ses succès de jeunesse, la jeune femme se laisse alors peu à peu rattraper par la vie : les femmes et les drogues, ses deux grandes passions, l’entraînent dans un tourbillon dont elle peine à s’extraire pour produire la grande œuvre dont elle rêve. Résignée, au fil des années, elle se concentrera sur la rédaction de son journal, devenu le seul support s’accordant avec son mode de vie, sa mélancolie et son addiction de plus en plus extrême aux drogues. Elle tente alors de transcrire son âme dans ses carnets intimes, de « dire et révéler [son] monde » intérieur. Ce projet, s’il n’est pas celui, idéal, de l’œuvre fantasmée, contient cependant toute la poésie de Mireille Havet et s’avère, après relecture, former un « tout complet », presque à l’insu de son auteur. Ce journal peut-il alors remplacer la grande œuvre avortée dont la diariste a toujours rêvé ? / Mireille Havet, born in 1898, meets early success through her poems. Being close to Apollinaire and Cocteau, she makes a name for herself in the literary sphere of the time. Simultaneously with her poems and her novel published in 1923, she writes a diary, started when she was still a teenager. Driven by this success, the young woman is gradually caught up by her two great passions: women and drugs. It results in a turbulence against which she will struggle to attempt to produce the great work she dreamed of. Over the years, she finally resigned and will focus on her diary. It became the only reconcilable medium with her lifestyle, her melancholy and extremely increasing drug addiction. She then tries to transcribe her soul into her diary, "to say and reveal [her] world" inside. This project, even if it is not the ideal fantasized work, yet contains all the poetry of Mireille Havet, and forms, after rereading, a "complete whole" almost unknown to the author herself. Can this journal then replace the failed masterpiece the diarist always dreamed of?