La littérature contemporaine, dans un vaste mouvement d'exploration et d'expérimentation, préconise un élargissement des frontières génériques ainsi qu'un renouvellement des formes traditionnelles pour épouser les nouveaux questionnements propres à son temps. C'est dans ce contexte de «dynamisation» et d'hybridation que se développe, vers le milieu des années 1980, le genre de la fiction biographique dont les oeuvres qui s'y rattachent font surgir, par l'évocation, l'imagination et la rêverie narrative, de grands personnages qui ont marqué l'imaginaire collectif. Face à la résurgence de figures littéraires du passé dans l'imaginaire de nombreux écrivains, ce mémoire portera sur la représentation de la figure symbolique du poète maudit dans les fictions biographiques contemporaines. Il s'agit d'analyser le traitement réservé aux poètes maudits tels que Baudelaire, Verlaine et Rimbaud à l'intérieur d'oeuvres appartenant à ce genre récent. Pour ce faire, notre corpus sera formé de trois oeuvres qui revisitent ces poètes majeurs de la modernité poétique: Baudelaire en passant de Didier Blonde (2003), Rimbaud le fils de Pierre Michon (1991) et Verlaine d'ardoise et de pluie de Guy Goffette (1996). Le poète maudit étant une figure emblématique qui apparaît durant la seconde moitié du XIXe siècle et qui témoigne, à l'époque, d'une vision idéale de la littérature, cette étude tentera de comprendre les motifs d'une telle reprise. Il s'agira donc de reconstruire en détail la figure qui émane de cette écriture contemporaine, et ce à partir de trois angles d'analyse spécifiques qui témoignent d'un destin particulier, soit la relation difficile et problématique du poète à sa famille, ses rapports à la société de son temps ainsi que son inscription dans la tradition littéraire. De plus, ces fictions biographiques, puisqu'elles établissent un dialogue entre l'auteur contemporain et un personnage du passé qui le fascine, nous permettront de soulever les questions de la mémoire, de l'héritage et de la transmission qui hantent notre temps. Nous tenterons ainsi de comprendre le rapport entre l'orientation biographique de la fiction et l'état de la société et de la littérature d'aujourd'hui: Pourquoi les écrivains choisissent-ils de revisiter une figure appartenant au XIXe siècle? S'agit-il d'un moyen de légitimer leur propre statut dans le champ littéraire contemporain? ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Littérature contemporaine, Fiction biographique, Figure du poète maudit, Mémoire littéraire.

Det här självständiga arbetet i militärteknik avhandlar huruvida Försvarsmakten, med i huvudsak redan befintlig materiel, genom en teknisk aktiv skyddslösning kan uppnå en förbättrad skyddsförmåga mot indirekt eld. Förmågan som söks är främst avsedd för, men inte begränsad till, att kunna nyttjas för att erhålla ett förbättrat skydd av Försvarsmaktens internationella camper. Därmed utgörs hotbilden framförallt av granatkastarammunition och raketer vilka inom ramen för en teknisk aktiv skyddslösning först måste kunna detekteras för att sen medge förvarning, eller ännu hellre avvärjning, innan de når sitt mål. Arbetets resultat presenteras i form av Förvarsmaktens möjligheter idag tillsammans med en rekommendation om hur skyddsförmågan kan säkerställas på något längre sikt. / This thesis in Military Technology deals with whether the Armed Forces, with mainly pre-existing equipment and using a technical active protection solution, can achieve enhanced protection capability against indirect fire. The capability sought is primarily for, but not limited to, the purpose of obtaining greater protection for the Swedish Armed Forces’ international camps. The threat, typically mortar ammunition and rockets, should within the framework of a technical active protection solution be detectable in order to provide early warning and preferably also interception before reaching its target. The results of the thesis are presented as possibilities for the Swedish Armed Forces today and as recommendations on how this capability can be achieved in the longer term.

Thesis (Ph. D.)--University of Missouri-Columbia, 2003. / Typescript. Vita. Includes bibliographical references (leaves [295]-314). Also available on the Internet.

Thesis (Ph. D.)--University of Missouri-Columbia, 2003. / Typescript. Vita. Includes bibliographical references (leaves [295]-314). Also available on the Internet.

Zugl.: Diss.

The main intent of this thesis is to review the history and roots of the Cossack assembly, and to analyze its connection to western civilization. In terms of the roots of the Cossack assembly, this thesis will explore the Scytho-Sarmatian, the early Slavic, the Novgorodian, as well as the Turkic-Mongol influences that led to its creation. While the Zaporozhian Cossack assembly will be discussed, the primary focus of the history of the Cossack assembly section will deal with the Don Cossacks’ assembly, since the practices and traditions inherent in this structure are representative of most Cossack groups. In addition to reviewing the Sarmatian Hypothesis, this thesis will also examine the connections and parallels between the Arthurian legends, the ancient Iranian governing practices, and the Cossack assembly. It is thus hoped that this multileveled analysis will generate a comprehensive portrait of the Cossack assembly and, through its ancient Iranian predecessor’s connection to the Arthurian Round Table, prompt a reconsideration of analytical approaches to both the foundations of Cossack and western democracy. / text

Staging Medievalisms analyzes how twentieth- and twenty-first century performance constructs the Middle Ages. This work is in conversation with medievalism, the academic field concerned with the diverse ways post-medieval societies have re-imagined medieval narratives and tropes, often in service of their own values. As a result of centuries worth of re-definition, the term "medieval" is unstable, referring simultaneously to a fairytale prehistory and a dark age of oppression. I argue that performance, both in theatrical productions and in medieval-focused tourist spaces, allows an affective connection between the medieval past and the present, casting the Middle Ages as an inherently flexible backdrop for contemporary political and social concerns. In tourist spaces and plays about the Middle Ages, the performing body becomes the site where the medieval and the modern touch. I conduct close readings of six productions and three public spaces which stage the Middle Ages, examining which particular versions of the medieval they create, how they stage moments of historiographical contact, and how each uses the medieval to imagine their own historical contexts. Chapter one provides an overview of medievalism and its connection to performance studies, and subsequent chapters take up contemporary productions of medieval history, legend, and fantasy, respectively. Chapter two examines three recent stagings of Shakespeare's medieval history play Henry V, a work which stages two opposing versions of the medieval simultaneously. The Royal Shakespeare Company (1994), National Theatre (2003), and Austin, Texas (2009) productions offer commentary on modern warfare, using Henry's medieval battles as both evidence and setting. Chapter three analyses representations of the Holy Grail in Mort d'Arthur (2010), Spamalot (2005), and Proof (2001). Each re-imagines the Grail as a symbol of achievement and power, drawing different conclusions about contemporary society's need for the mystical. Chapter four takes up performances of the Middle Ages in the public sphere, examining how Disneyland, Medieval Times, and the Renaissance Faire offer visitors varying degrees of freedom to experience the medieval through their own bodies. Throughout, I argue that performance encourages affective connections to the medieval past as a reflection of contemporary desires. / text

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