L’athérosclérose est une pathologie cardiovasculaire chronique impliquant de nombreux acteurs. Les cellules du muscle lisse vasculaire (CMLV) jouent un important rôle dans la pathogénicité. Lors de la formation des plaques athérosclérotiques, ces cellules entraînent l’augmentation de la taille de l’athérome, accentuent la formation du chapeau fibreux et à long terme, contribuent à l’instabilité de la plaque. Dans cette étude, nous nous sommes intéressés à l’impact d’ARF6 sur les cellules du muscle lisse vasculaire et ses implications pathologiques dans l’athérosclérose. Les ARF sont des GTPases agissant comme interrupteurs moléculaires dans divers processus physiologiques tels que le trafic vésiculaire intracellulaire et le remodelage des lipides membranaires. ARF6 est importante pour la prolifération et la migration cellulaire des CMLV, deux phénomènes importants dans le développement de l’athérosclérose. Nous émettons donc l’hypothèse que la GTPase ARF6 est impliquée dans la progression de l’athérosclérose. En premier lieu, nous avons étudié l’effet de la GTPase dans le phénomène de l’invasion cellulaire. Dans l’athérosclérose, plusieurs facteurs environnementaux influencent l’invasion des CMLV. Nous avons voulu vérifier l’effet d’ARF6 sur l’invasion des CMLV médiée par le facteur de croissance dérivé des plaquettes (PDGF-BB) et l’angiotensine II (Ang II). Dans un modèle humain, l’invasion était diminuée en l’absence d’ARF6. Nous avons démontré que ce mécanisme résultait d’un effet d’ARF6 sur l’activité de la métalloprotéinase matricielle MMP14. En second lieu, nous avons voulu évaluer l’effet d’ARF6 dans un modèle in vivo d’athérosclérose. En utilisant un modèle accéléré d’athérosclérose inductible, nous avons inhibé ARF6 dans les cellules du muscle lisse. Après dix semaines de diète riche en gras, nous avons observé une diminution de la taille des lésions athérosclérotiques dans les souris ARF6 KO, accompagnée d’une réduction de l’expression des facteurs pro-inflammatoires tels qu’IL-6. Dans un modèle in vitro, l’absence d’ARF6 réduisait l’absorption lipidique en agissant sur l’expression des transporteurs. De plus, ARF6 régulait des voies de signalisation impliquées dans l’inflammation. En somme, nous avons démontré l’importance d’ARF6 dans la modulation pathologique des CMLV dans l’athérosclérose. Ainsi, ARF6 contribue à la pathogénicité des CMLV en modulant leur invasion cellulaire tout en jouant un rôle pro-inflammatoire. / Atherosclerosis is a chronic cardiovascular disease characterized by an accumulation of lipids, followed by the infiltration of macrophages and vascular smooth muscle cells (VSMC). VSMC are responsible for the increase of lesion size, the formation of a fibrous cap, and eventually contributing to the plaque instability. In this study, we were interested in the role of ARF6 in the vascular smooth muscle cells and its pathological implications in atherosclerosis. ARF are a family of GTPases that act as molecular switches and are involved in diverse physiological mechanisms, such as vesicular traffic and membrane lipid transformation. In VSMC, ARF6 is important for cell proliferation and migration, two processes involved in atherosclerosis. We therefore hypothesize that the GTPase ARF6 is involved in the development of atherosclerosis through its impact on VSMC. First, we studied the role of ARF6 in the mechanism of cell invasion. In atherosclerosis, multiple environmental factors affect VSMC invasion. We verified the impact of ARF6 on platelet-derived growth factor (PDGF-BB) and angiotensin II (Ang II)-mediated invasion. Using a human model, we observed a reduction of invasion in the absence of ARF6. We have demonstrated that this mechanism is due to the effect of ARF6 on the activity of the matrix metalloproteinase MMP14. Second, we wanted to verify the role of ARF6 in atherosclerosis in an in vivo model. Using an accelerated inducible atherosclerosis model, we inhibited ARF6 in smooth muscle cells. After ten weeks of high-fat diet, we observed a reduction in the size of atherosclerotic lesions in ARF6 KO mice. This reduction was accompanied by a decrease in the expression of proinflammatory factors. In our in vitro model, ARF6 depletion reduced lipid uptake by downregulating the lipidic transporter expression. Also, ARF6 was responsible to activate inflammation signaling pathways. In summary, we have demonstrated the impact of ARF6 in the pathological modulation of VSMC in atherosclerosis. Indeed, ARF6 contributes to the pathogenicity of VSMC through its ability to modulate cell invasion and induce proinflammatory actions.

This thesis seeks to interpret the cinematic representations of Hong Kongers’ identity quest during a transitional state/stage related to the sovereignty transfer. The Handover transition considered is an ideological one, rather than the overnight polity change on the Handover day. This research approaches contemporary Hong Kong cinema on two fronts and the thesis is structured accordingly: Upon an initial review of the existing Hong Kong film scholarship in the Introduction, and its 1997-related allegorical readings, Part I sees new angles (previously undeveloped or underdeveloped) for researching Hong Kong films made during 1982-2002. Arguments are built along the ideas of Hong Kongers’ situational, diasporic consciousness, and transformed ‘Chineseness’ because Hong Kong has lacked a cultural/national centrality. This part of research is informed by the ideas of Jacques Derrida, Homi Bhabha and Stuart Hall, and the diasporic experiences of Ien Ang, Rey Chow and Ackbar Abbas. With these new research angles and references to the circumstances, Part II reads critically the text of eight Hong Kong films made during the Handover transition. In chronological order, they are Boat People (Hui, 1982), Song of the Exile (Hui, 1990), Days of Being Wild (Wong, 1990), Happy Together (Wong, 1997), Made in Hong Kong (Chan, 1997), Ordinary Heroes (Hui, 1999), Durian Durian (Chan, 2000), and Hollywood Hong Kong (Chan, 2002). They meet several criteria related to the undeveloped / underdeveloped areas in the existing Hong Kong film scholarship. Hamid Naficy’s ‘accented cinema’ paradigm gives the guidelines to the film analysis in Part II. This part shows that Hong Kongers’ self-transformation during transition is alterable, indeterminate, and interminable, due to the people’s situational, diasporic consciousness, and transformed ‘Chineseness’. This thesis thus contributes to Hong Kong cinema scholarship in interpreting films with new research angles, and generating new insights into this cinematic tradition and its wider context.

第一章：諸論 一、樂府源流二、研究動機三、各章順序四、各節要旨 第二章張籍及其樂府詩 第一節：張籍小傳第二節：張籍樂府詩的命題第三節：張籍樂府詩的內容分析一、 暴露戰爭罪惡的樂府詩二、諷諭社會問題的樂府詩１．諷諭重稅２．諷諭徭役３． 諷諭官吏４．諷諭仙思三、代婦女訴怨的樂府詩第四節：張籍樂府詩的形式一、句 式二、平仄三、用韻四、語法第五節：張籍樂府詩的表現技巧一、比興二、設問三 、比擬四、警句五、結構第六節：小跋 第三章：王建及其樂府詩 第一節：王建小傳第二節：王建樂府詩的命題第三節：王建樂府詩的內容分析一、 厭惡戰爭的樂府詩二、諷諭社會的樂府詩三、議論生死的樂府詩四、為宮女訴怨的 宮詞樂府詩第四節：王建樂府詩的形式一、句式二、古體與近體絕句第五節：王建 樂府詩的表現技巧一、鑲嵌二、疊句三、疊字四、結構第六節：小跋 第四章：白居易及其樂府詩 第一節：白居易小傳第二節：白居易樂府詩的命題第三節：白居易樂府詩的內容分 析一、長恨砍與琵琶行二、體恤民困的樂府詩三、褒美節烈的樂府詩第四節：白居 易樂府詩的形式一、句式二、用韻三、對仗四、語法第五節：白居易樂府詩的表現 技巧一、諷諭二、疊句三、用典四、結構第六節：小跋 第五章：元稹及其樂詩的命題 第一節：元稹小傳第二節：元稹樂府詩的命題第三節：元稹樂府詩的內容分析一、 諷女禍亂國的樂府詩二、設苛徵厭戰的樂府詩三、諷仕途艱險樂的樂府詩第四節： 元稹樂府詩的形式一、句式二、對仗、三、語法第五節：元稹樂府詩的表現技巧一、 比興 二、諷諭三、結構第六節：小跋 第六章：劉禹錫及其樂府詩第一節：劉禹錫小傳第二節：劉禹錫樂府詩的命題第三節 ：劉禹錫樂府詩的內容分析一、寫巴蜀民歌的竹枝樂府詩二、歌武陸土俗呡風的樂府 詩三、感喟懷古的樂府詩第四節：劉禹錫樂府詩的形式一、句式二、詩體與內容的關 係第五節：劉禹錫樂府詩的表現技巧一、摹狀二、比擬三、結構第六節：小跋 第七章：韓愈及其樂府詩 第一節：韓愈小傳第二節：韓愈樂府詩的命題第三節：韓愈樂府詩的內容分析一、鬱 鬱不得行其志的樂府詩二、諷權奸亂政的樂府詩三、厭惡是非混淆的樂府詩第四節： 韓愈樂府詩的形式一、句式二、平仄三、用韻第五節：韓愈樂府詩的表現技巧一、怪 字與怪詞二、感喟句三、語助詞四、結構第六節：小跋 第八八章：孟郊及其樂府詩 第一節：孟郊小傳第二節：孟郊樂府詩的命題第三節：孟郊樂府詩的內容分析一、北 貧困無助的樂府詩二、設苛徵虐民的樂府詩三、諷征戍不休的欒府詩第四節：孟郊樂 府詩的形式一、句式二、平仄三、對仗第五節、孟郊樂府詩的表現技巧一、感嘆二、 比興三、結構第六節：小跋 第九章：李賀及其樂府詩 第一節：李賀小傳第二節：李賀樂府詩的命題第三節：李賀樂府詩的內容分析一、懷 才不遇的樂府詩二、感喟人生短促的樂府詩三、多病苦吟的樂府詩四、對歷史人事追 懷的樂府詩五、對鬼狐神仙遐思樂的樂府詩第四節：李賀樂府詩的形式一、句式二、 雜言體的用韻三、古體詩的對仗第五節：李賀樂府詩的表現技巧一、用字二、奇句三 、結構第六節：小跋 第十章：結論 一、中唐樂府是否入樂二、樂府詩集古題與新題歸類的矛盾三、無法確認的－－疑似 樂府詩四、中唐樂府詩人多喜新題樂府五、樂府與變文詩歌有關聯六、樂府詩衰微與 詞的興起七、中唐樂府詩的影響附：參考書目 /

This thesis examines works of theatre and film that explore a refusal of acting. Acting has traditionally been considered as something false or as pretending, in opposition to everyday life, which has been considered as something real and truthful. This has resulted in a desire to refuse acting, evident in the tradition of the anti-theatrical prejudice where acting is considered to be seductive and dangerous. All the works that I examine in this thesis are relatively recent and all of them explore the paradox that in our (postmodern) times a gradual reversal has occurred where everyday life is seen as more and more false or as pretending or simulating (ie. containing acting and theatricality) and conversely, acting in theatre and film has become the place where people have begun searching for reality and truth and where ‘acting’ and pretending in life can be revealed and refused. The result of this paradox - and what I also discuss as a confusion of acting and living - is that the place in which acting can be refused has shifted; the ethical desire to refuse acting (in theatre and in life) is turning up in the aesthetic domain of acting itself. In my first chapter I study works by filmmaker István Szabó and playwright Werner Fritsch, who represent the desire to refuse acting in the context of fascism where theatrical and filmic spectacle was used by the Nazis to seduce the population and where actors during this period also experienced an inability to separate their political and artistic lives. In my second chapter I look at the way Genet’s The Balcony and Ang Lee’s Lust, Caution explore the desire to refuse acting as a result of a confusion of acting and living in the context of sexual (sadomasochistic) role-play. And in my third chapter I examine the way Warhol’s The Chelsea Girls, von Trier’s The Idiots and Affleck’s I’m Still Here represent a refusal of acting and theatricality altogether, responding to the way that ‘acting’ in life may have become an all-pervasive substitute (a simulation) for living. Foundational to the development of this thesis and a major source of material is my analysis of three theatrical productions with Free Theatre Christchurch, directed by Peter Falkenberg, in which I was involved as an actor and in which a refusal of acting was explored.