Adoptée au lendemain de la Libération par le Gouvernement provisoire de la République française, l’ordonnance du 2 février 1945 établit toute une série de principes qui, encore aujourd’hui, forment le socle du droit pénal des mineurs. Ainsi, la responsabilité progressive par paliers calquée sur l’évolution du discernement, la primauté de l’éducation sur la répression, la mitigation des peines ou encore l’adaptation des procédures, sont autant de règles dérogatoires qui structurent et orientent le traitement juridique de l’enfance coupable. Cet ensemble forme, selon l’expression consacrée, les « principes directeurs » du droit pénal des mineurs. Le recours à une étude historique permet de mieux comprendre la construction progressive du droit pénal des mineurs contemporain. / The order of February 2nd 1945 which was adopted in the aftermath of the Liberation by the Provisional Government of the French Republic establishes a series of principles which shape the base of juvenal criminal law. Thus the progressive liability in stages modelled on the development of discernment, the superiority of education on repression, the mitigation of sentences, but also the procedure adjustment, are as many derogating rules structuring and guiding the legal treatment of guilty childhood. To use the hallowed phrase, this combination constitutes the « guiding principles » of juvenal criminal law. The submission to a historical study allows a better understanding of the contemporary gradual building up of juvenal criminal law.

Summary The architectonics of the Biblical horizon allow to perceive, and highlight the ideological and semantical poetical kernel of the XXth century 6th decade poets’ generation. While highlighting the peculiarity of the Biblical horizon and revealing the semantical kernels of writers’ apprehension and poetical worldview, the theoretical hermeneutical principle of text reading is chosen. A reference is made to the perspective of Ricoeuras, which formulates the tradition of hermeneutical symbol and metaphor apprehension. The Biblical horizon is perceived according to the three poetical traditions of the Scripture re-creating. That would be: the structure of views proning to the logycs of rebellion and myth, the poetical principle of sensual and perceptual relation to the things, the intelectual novation of the biblical religious architectonics. The creation of these poets, representing diverse poetical traditions, idividually transform (Platelis, Kajokas, Gailius, Cieškaitė) or deform (Patackas) the notional field of the Scripture. In Patackas and Platelis poetry, representing the verse of death or reflection, for pointing out the Biblical horizon is important the mythopoetical cogitation which brings forward the dominant of rebellion, related to the sociocultural apprehension and revealing the Biblical typology of banishment from the paradise. Patackas poetry points out the perspective of the profanic paradygme, demythologization of the biblical images, semantical... [to full text]

L’opéra occupe une place essentielle dans la pensée de Luigi Dallapiccola (1904-1975). Ses deux premiers opéras, Volo di notte et Il Prigioniero, sont influencés par Antoine de Saint Exupéry (1900-1944) et Auguste de Villiers de l’Isle-Adam (1838-1889). Ces deux auteurs, fondamentaux pour l’ensemble du corpus musico-théâtral du compositeur, s’avèrent décisifs dans sa conception de l’Univers, du Parcours et de la Figure du Héros : ils annoncent une esthétique du Sacré et de l’Initiatique. En écrivant lui-même ses livrets, Dallapiccola retravaille ses sources, qu’il questionne et qu’il associe à une littérature riche. Le héros traverse un cheminement méandreux, entre ombre et lumière, rêve et cauchemar, liberté et prison. Exaltation sereine et effroi se conjuguent, mythe et religion sont investis : ils génèrent un espace sacré du héros. Les lectures, littéraire, musicale, mais aussi philosophique et anthropologique, découvrent un parcours semé d’épreuves, voyage initiatique teinté de solitude, d’angoisse et de souffrance. Le héros évolue au sein d’une triple structure, sacrée, initiatique et expressionniste. Luigi Dallapiccola construit une pensée de l’opéra transdisciplinaire, humaniste et visionnaire, qui interroge la thymie de l’Homme. / Opera is the core of Luigi Dallapiccola’s thought (1904-1975). His first two operas, Volo di notte and Il Prigioniero are influenced by Antoine de Saint Exupéry (1900-1944) and Auguste de Villiers de l’Isle-Adam (1838-1889). These two authors, essential to the composer’s whole musical and dramatic corpus, are in fact at the root of the World, of the Journey and of the Figure of the Hero: they foretell an aesthetic of the Holy and of the Initiatory. When writing his libretti himself, Dallapiccola works on his sources, questioning them and associating them to a rich literature. The hero follows a tortuous path, amid light and shadow, dream and nightmare, freedom and jail. Serene Elation and dread mingle, myth and religion are treated: they create a sacred place for the hero. The readings, literary, musical but also philosophical and anthropological, reveal a treacherous course, an initiatory journey imbued with loneliness, fear and suffering. The hero evolves in a tripartite structure, sacred, initiatory and expressionist. Luigi Dallapiccola builds up a multi-disciplinary conception of opera, humanist, visionary, which questions Man’s mood.

L'amorce repose sur une contradiction quasi-résorbée : Les ludique et absurde négligés par la littérature, s'imposent au XXe siècle, comme composants utiles à une manifestation intellectuelle plus en phase avec la pensée humaine contemporaine. L'analyse littéraire repose sur l'observation d'aptitudes que manifestent les notions de ludique et d'absurde pour s'adapter aux contraintes inhérentes aux écritures romanesques, théâtrales et poétiques, aujourd'hui. Pour définir les compétences accrues d'un message littéraire en contexte ludique et/ou absurde, la première partie est une relecture ciblée d'auteurs que la critique ne classe pas dans un registre ludico-absurde. La seconde précise et illustre la nature de ces nouvelles compétences, par l'étude d'expérimentations de R. Devos et R. Queneau, dont les rhétoriques ludico-absurdes renvoient à une surréalité toujours populaire car déjà intellectuellement intégré par le récepteur. La dernière aborde la dimension socioculturelle de la littérature, témoin-artisan d'une pensée collective férue de valeurs ludico-absurdes, et qui après s'être souvent fait le chantre de la philosophie de l'absurde, esquisse de l'individu, sa nouvelle manière d'être au monde. / The absurd along with that of the “ludic” can no longer be confirmed to the domain of literary prose, but are in fact essential elements to twentieth-century intellectual thought at large. The literary fundamentals are based on the observation of the capacity of the absurd and the “ludic” to adapt to inherent constraints of the novelistic, theatrical and poetic. Our first section argue for a re-evaluation of that message focusing on specific writers that critics thus far have failed to appreciate as part of a distinctive “ludico-absurd” form. The second section focus on this emerging capacity based on studies of the work of R. Devos and R. Queneau, whose “ludico-absurd” rhetoric holds in common a surrealism. It remains popular as audiences are ever sensitive to the message of the “ludico-absurd”, while the latters having integrated it intellectually. The third section focus on the socio-cultural dimensions of the literature, concentrating on the position of the artist as well as that of the beholder. Ultimately, this paper look at the way in which the philosophy of the Absurd continue to elaborate and indeed herald a new relationship between the individual and the contemporary world.

Angle-Mort de la construction nationale péruvienne, le Haut Marañón est habité par les populations indigènes awajún et wampís, et décrété terre de mission chrétienne au milieu du XXème siècle. Ce territoire amazonien, situé au nord-Est du pays sur une zone frontalière disputée avec l’Équateur depuis les débuts de l’ère républicaine, fait l’objet d’un projet d'intégration à la sphère étatique et nationale. Colonisation interne par des populations paysannes métisses, exploration du sous-Sol préalable à l’élaboration de plans d'extraction minière, pénétration des pratiques narcotrafiquantes, institutionnalisation des œuvres scolaire et médicale: de confin relégué à un statut d’invisibilité, le Haut Marañón devient alors un front de progression de la "société englobante”, nationale puis internationale. Cette recherche retrace l'histoire de la "rencontre" entre deux sphères culturelles, indigène et englobante, dont le Haut Marañón est le théâtre, de l’arrivée des jésuites en 1946 à 2009, date du Baguazo, un conflit sanglant survenu dans la ville de Bagua entre indigènes et forces de police. La thèse montre que loin de se limiter à une simple absorption du marginal par le national, cette rencontre a suscité l'intérêt d'une société civile encore en gestation, et précipité une remise en question partielle du paradigme historique de construction nationale, jusqu'alors sous-Tendu par des logiques socio-Raciales discriminantes et inégalitaires. / As an overlooked piece of Peru’s nation building process, the High Marañón region was mainly populated by indigenous, Awajún and Wampís populations until it was designated a Christian mission land in the middle of the XXth century. This Amazonian territory, located on the northeastern part of the country on the border with Ecuador, has been in diplomatic dispute since the early republican era. As a result, it became the focus of projects whose aim was to integrate the High Marañón into the nation and whose outcome was a number of new phenomena such as a process of “internal colonization” by peasants of mixed race, a series of subsoil explorations for mining extraction, and the institutionalization of activities related to education and health. From a forlorn land made invisible by the limitations of peruvian state apparatus, the High Marañón region became a battleground in the progression of global dynamics. This research aims to narrate the history of the “encounter” of two cultural areas, the indigenous one and the global one, from the arrival of the Jesuit mission in 1946 to the Baguazo event, so-Named after a bloody conflict between indigenous activists and police forces in the city of Bagua which took place in 2009. This research demonstrates that far from limiting itself to a mere absorption of a margin by a nation, this encounter has aroused the interest of Peruvian civil society, and partially called into question the historical nation-Building paradigm, in which socio-Racially biased logics have thusfar prevailed.

[ES] La presente tesis aborda el estudio de las características que ha tenido el arte del grabado protegido por las Instituciones valencianas, Diputación, Ayuntamiento y Bellas Artes. El hecho de realizar en un mismo corpus de trabajo el estudio de estas tres instituciones se debe a la interrelación que hubo entre todas ellas durante el periodo que abarca este trabajo, que se inicia en 1934 y finaliza en 1982. El planteamiento y el método de trabajo seguido para la realización de esta tesis, fue en primera instancia llevar a cabo la consulta de los Archivos en los que se guardan los documentos, actas, expedientes, ejercicios de oposición, obras premiadas, etc. correspondientes a cada uno de los temas relativos a este estudio. En un segundo paso, localizar la bibliografía correspondiente al periodo que abarca esta investigación. Una vez encuadrado el tema en su Marco Histórico, pasamos a ponernos en contacto con los artistas galardonados, los Catedráticos de Grabado que trabajaron durante este periodo y algunos políticos que participaron activamente en las convocatorias de dichos premios. El objetivo fue recoger el testimonio personal de los protagonistas y, en el caso de los artistas, recabar también los datos correspondientes a su trayectoria artística y profesional para conocer las obras realizadas por ellos durante los años posteriores a la recepción de dichos galardones. Con todo el material gráfico recopilado, hemos aportado una documentación fotográfica realizada expresamente para su inclusión y estudio en el presente trabajo. Una vez localizado y estudiado todo este material, decidimos la construcción final de esta investigación, ordenándola de la siguiente manera: En un primer capítulo situamos brevemente la materia estudiada en su contexto histórico específico, en relación al grabado defendido por las Academias, en especial por la Real Academia de San Carlos de Valencia. El segundo capítulo corresponde al análisis de las dos Cátedras de Grabado de Valencia comprendidas en el periodo estudiado, en él incluimos una extensa documentación de la trayectoria que llevó la primera cátedra hasta la jubilación del responsable de ella y los primeros momentos del nuevo catedrático. El tercer y cuarto capítulo están dedicados al estudio de los galardones y premios concedidos por las Instituciones valencianas. En el primero de estos se tratan las becas de la Diputación, donde llevamos a cabo el análisis tanto de las obras correspondientes a las oposiciones como a las realizadas durante la Pensión, así como también un acercamiento a la trayectoria posterior del pensionado, para dejar constancia de su situación actual. En el capítulo, correspondiente a los Premios Senyera de Grabado (cuarto) realizamos el análisis de las obras premiadas y la posterior evolución de estos artistas hasta la actualidad. Una vez realizada y redactada esta investigación, se han extraido unas conclusiones de cada apartado considerando las particularidades que cada una de las instituciones tienen y las diferencias entre sí. Por último, se incluye un apartado de conclusiones generales que permite dar una visión de conjunto de lo que ha sido el grabado institucional valenciano, objetivo fundamental de este estudio. Está también incluido en este trabajo un apéndice documental donde figuran las fotocopias de las actas, expedientes, etc. que por su importancia consideramos imprescindible y de interés incluirlos para su consulta por los interesados en el tema. / [EN] This thesis deals with the study of the characteristics of the art of engraving protected by the Valencian Institutions, Provincial Council, City Council and San Fernando Royal Academy of Fine Arts. The fact of carrying out the study of these three institutions in the same body of work is due to the interrelation that existed between all of them during the period covered by this work, 1934-1982. The approach and the method of work followed for this thesis was, in the first instance to carry out the consultation of the Archives in which the documents, minutes, files, competition exercises, awarded works, prizewinning works, etc., corresponding to each one of the subjects related to this study are kept. In a second step, locate bibliography corresponding to the period covered by this research. Once the subject was framed in its historical framework, we contacted the award-winning artists, the professors of engraving who worked during this period and some politicians who actively participated in the calls for such awards. The purpose of contacting them was to gather their personal testimony and, in the case of the artists, we also collected the data corresponding to their artistic and professional trajectory in order to learn about the works they produced during the years following the receipt of these awards. With all the graphic material collected, we have provided a photographic documentation made specifically for inclusion and study in this work. Once all this material had been located and studied, we went on to carry out the final drafting, ordering it in the following chapters: In a first chapter we briefly situate the matter studied in its specific historical context, in relation to the engraving defended by the Academies, especially by the Royal Academy of San Carlos of Valencia. The second chapter corresponds to the analysis of the two Valencia Engraving Chairs in the period studied, in which we include extensive documentation of the trajectory that led the first chair until the retirement of the head of it and the first moments of the new professor. The third and fourth chapters are dedicated to the study of the awards and prizes granted by the Valencian Institutions. The first of these deals with the scholarships of the Diputación, where we carry out the analysis of both the works corresponding to the competitive examinations and those carried out during the Pension, as well as an approach to the subsequent trajectory of the pensioner, in order to record his current situation. In the chapter corresponding to the Senyera Engraving Awards (fourth), we analyze the award-winning works and the subsequent evolution of these artists up to the present day. Once this research has been carried out, we believe it appropriate to draw some conclusions from each section, considering the particularities of each of the institutions and the differences between them. Finally, we included a section of general conclusions that allows us to give an overall view of what has been the Valencian institutional engraving, fundamental objective of our study. It is also included in this work a documentary appendix where the photocopies of the minutes, files, etc. are included, which due to their importance we consider essential and of interest to include them for consultation by those interested in the subject. / Lita Sáez, F. (1989). Método y concepto del grabado valenciano desde 1934 a 1982 en las instituciones Valencianas: Diputación, Ayuntamiento y Bellas Artes [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/191015

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