Version remaniée de: Thèse de doctorat--Histoire et philologie--Paris--EPHE, 2004. / Bibliogr. p. 1009-1053.

<p>Authenticity within the hip-hop community has been a topic of conversation amongst researchers for a number of years. The hip-hop movement started in the 1970&rsquo;s and has steadily grown over the years into a worldwide phenomenon. Although the success of hip-hop is regarded by the majority of the hip-hop community as positive, it has also caused significant issues in terms of (mis)representation and (in)authenticity. One aspect of authenticity that has been foregrounded is race. Can a white hip-hop artist be considered authentic in the hip-hop discourse community? To examine this question, this paper will explore the authenticity of white hip-hop artists Macklemore and Iggy Azalea. In order to explore how their authenticity has been both constructed and challenged by the hip-hop discourse community, authenticity will be considered in two, overlapping forms: authenticity in terms of the linguistic community and authenticity in terms of the hip-hop community. Through an examination of the artists&rsquo; lyrics, commentary in response to their music videos, and interviews with the artists, I will analyze how Macklemore and Azalea have attempted to construct themselves as authentic hip-hop artists and how others have contested their identity. Through this analysis, I will investigate how authenticity has evolved to include or exclude community members, specifically how authenticity is ascribed or contested when a community member&rsquo;s most visible identity feature (in this case race) does not align with the norms. </p>

Th. 3e cycle--Lett.--Paris 10, 1984.

<p> Rozelia Kennedy Abstract The purpose of this study was to explore the life and work of LaFayette, nonviolence and conflict reconciliation from an adult education perspective. This study explores LaFayette&rsquo;s life from an early age through his involvement in the Civil Rights Movement, his contributions to adult education, and his current views on social change. The nonviolence conflict reconciliation LaFayette teaches is based on the philosophy and strategies of Martin Luther King, Jr. During the last 50 years, LaFayette has been kidnapped, threatened, and survived ventures into hostile environments in his effort to teach nonviolence philosophy, strategies, and methods. </p><p> This historical/biographical study used semi-structured interviews to obtain information from LaFayette directly and from a plethora of media, books, and articles about him. Semi-structured interviews were also used to interview his family members and colleagues. </p><p> Despite the numerous awards and recognitions LaFayette has received, he had not been recognized in the field of adult education. Without realizing it, he incorporated some of the theories of adult education such as adult education agencies and categories during his workshop and encouraging institute participants to understand the first principle of the nonviolence training, which is <i>nonviolence is a way of life for courageous people</i>. </p><p> This study began with a review of LaFayette&rsquo;s family ties followed by his spiritual upbringing. It briefly outlined LaFayette&rsquo;s contributions to the Civil Rights Movement. LaFayette co-authored material and curriculum for the nonviolence training by codifying and creating a quality standard which has been used in important organizations he co-founded such as the Alternative to Violence Project and The Summer Institute at the University of Rhode Island Center for Nonviolence and Peace Studies. In addition to these two major institutions, the study included his contributions to adult education in six other institutions. </p><p> This study provides the most comprehensive, current, and overall picture of LaFayette&rsquo;s life and contributions. Education institutions, prisons, and community agencies could benefit from the information provided in this study including information about the nonviolence conflict reconciliation training.</p><p>

<p> Musicians often feel the extremes of highs and lows based on the nature of their work. In order to effectively communicate with an audience, the performer needs to express his or her musical ideas. This form of expression leaves the performer vulnerable, since the audience may either enjoy or disapprove of the performer&rsquo;s interpretation. With each performance, musicians are evaluated or judged by their peers and audiences as to whether or not they have performed at a level expected. Additionally, to have a successful performance, a musician must put on a good show in order to communicate to the audience. If the performance is not positively received by the audience, the performer may feel ashamed or embarrassed, and may even think that the severe reception reflects the performer&rsquo;s lack of aptitude as a musician. Furthermore, since musicians dedicate so much of their lives and time to practicing, preparing, and performing, oftentimes their identity revolves around being a successful musician. To speak to the audience successfully, a musician must be vulnerable with his or her performance. However, vulnerability can lead to degradation, and thus, a breakdown of mental health. An unfavorable critique of their performance may also make them feel inadequate as a human and professional. Therefore, musicians often suffer different types of anxiety connected with their performances. Depression is one dominant mental health issue prevalent in many musicians. </p><p> Not only is it the professional nature of the musicians&rsquo; work that highlights their depression, it is also the creative component of their work that intensifies their depression. Such was the case with Christian Ferras, a French violinist born in 1933. Ferras was considered a prodigy as a violinist and performed with many well known conductors, orchestras, and accompanists. Unfortunately, he battled with his depression throughout his career. Ferras took some time off from performing and teaching from 1967&ndash;1975, but ultimately was not able to regain the career that he wanted. In 1982 at the age of forty-nine, Ferras committed suicide by jumping out of his Paris apartment window.</p><p>

<p> Elbert Peets (1886-1968) designed some significant town plans in the early to mid-twentieth century. His design work was successful and well regarded at the time, and his plans for Greendale, Wisconsin and Park Forest, Illinois were influential for post-World War II suburban developments. These town plans, and others such as Wyomissing, Pennsylvania and Washington Highlands, Wisconsin have continued to be vibrant and successful neighborhoods. Peets also wrote widely, and most notably was the co-author of <i>The American Vitruvius; An Architect&rsquo;s Handbook of Urban Design.</i> However, though these contributions were notable, Peets has been largely neglected in the historiography of twentieth century urban and landscape studies. Histories of the period have tended to focus on a few heroic figures and major movements like the advent of International Style modernism. This study adds to the history of the period by showing that the appearance of a monolithic narrative of the time is incomplete and that including alternative points of view like Peets&rsquo;s provides both a more accurate and more interesting history. </p><p> There are three primary arguments for this study. The first is that the quality of the work itself merits recognition. Beyond noting that there was interesting work being done, the qualities that made Peets&rsquo;s work notable, emphasis on user-centered humanistic designs, inclusion of site-specific ecological features, and concentration on the primacy of social streets as the centerpiece of neighborhood plans, were distinctly at odds with the dominant narrative of the modernist agenda. The second argument, and the one that has not received attention, is that the plans incorporate sensitivity to ecological concerns that grew from the growth of scientific forestry, the rise of ecological science, and the growing conservation movement at the beginning of the twentieth century. Peets was exposed to these trends from his education at Harvard&rsquo;s Landscape Program, and to a greater degree than his contemporaries, he incorporated those concepts into his town plans in the form of riparian protection zones and greenways. Finally, this study will interrogate the reasons that Peets has been overlooked. His association with the Garden City movement and with a precedent-based design approach at the time that European modernism as advocated by Le Corbusier, Gropius, and Hilberseimer resulted in his being associated with a traditionalism and historicism that was falling out of fashion. This study will recognize Peets&rsquo;s contributions, and more broadly will investigate how the vagaries of fashion in design trends result in a significant figure being overlooked. </p><p> This study will challenge the dominant narrative of the rise of modernism by recognizing an alternative and competing path for urban design. Peets&rsquo;s work, along with other critiques of the modernist agenda that noted the anti-urbanist implications of modernist urban renewal and its devaluing of social streets, illustrates an overlooked and valuable episode in the trajectory of mid-century urban planning practice and urban theory.</p>

Sarah Orne Jewett's spiritual beliefs, fostered by Theophilus Parsons and influenced by the culture around her, permeated her early fiction and can be seen as late as "The Foreigner." Her relationship with Professor Theophilus Parsons of Harvard College was rich and proved fundamental to her development of spiritual tenets, especially Swedenborgianism. Parsons was instrumental not only in Jewett's personal development, but also in her growth as a young writer. He helped her to sort out his and Swedenborg's ideas, as well as offered her guidance to the publishing world of Boston in the 1870s. Jewett was also a writer very much in tune with her time. Many nineteenth century Americans were electrified by spiritualist phenomena and were in active pursuit of extrasensory communication among themselves and with the departed. This great energy did not bypass Jewett. She actively pursued the occult throughout her lifetime. In her private papers, letters and manuscripts, she explores elements of the occult. This pursuit is also manifested in her published work. From her first book, Deephaven, to "The Foreigner," one of her last stories published in the Atlantic, Jewett probes the elements of her spiritualist beliefs in the public eye. Another aspect of her spiritualism is the creation of women characters who are herbalists and healers. Almira Todd, Jewett's finest herbalist, is the quintessential woman, mature, wise, and knowledgable in the healing arts. Todd's experience in "The Foreigner" punctuates Jewett's lifelong belief. Todd's vision of the ghost makes her the living link between the two worlds. The gates are "standin' wide open," and Almira Todd is positioned in the doorway. Todd, too, not only knows of the close proximity of the two worlds, but also makes a strong community within this one. By examining these elements of Jewett's life and writing, we have a new lens through which to view her work. Understanding Jewett's relationship with Theophilus Parsons and her belief in Parson's faith enrich our knowledge of Jewett and offer another possibility for interpreting her work.

Ira Allen was the quintessential late-eighteenth-century frontier entrepreneur. At the age of 21, he founded the Onion River Land Company, a loose family partnership designed to speculate in land titles to the disputed northern New England territory known as the New Hampshire Grants. By the time he turned 40, Allen claimed ownership of more than 100,000 choice acres along the eastern shore of Lake Champlain. Where most of his contemporaries saw an inhospitable wilderness, Allen anticipated a Champlain Valley of thriving communities, busy commercial centers, and extensive trade, all under his profitable control. Combining a romantic faith in the future of the backcountry with a relentless drive to acquire more land, he devoted his life to the elusive goal of prosperity in the area he called "the country my soul delighted in." Yet there was more to Allen's tangled career than land speculation and development schemes. He was a key figure in the oligarchy that preserved the independence of the fledgling State of Vermont during the American Revolution, serving as Vermont's first Treasurer, Surveyor-General, and tireless ambassador-at-large. Absorbing the rhetoric of the national struggle against England, he adapted it for local application by writing books, pamphlets and broadsides that described Vermont as an unyielding opponent of foreign and domestic tyranny. After the war, Allen led the drive to create the University of Vermont, which he envisioned as a beacon of republican virtue and educational opportunity for the common man. When his Green Mountain empire collapsed, he planned revolutions in Canada and Mexico in desperate, unsuccessful attempts to regain his lost power and wealth. In his grand dreams, remarkable achievements, and ultimate failure, Ira Allen was an outstanding example of the backwoods leaders whose blending of personal and public priorities influenced the development of the American frontier from Maine to the Carolinas.

This dissertation examines the political economy of the United States in the second quarter of the twentieth century, focusing on the public career of David E. Lilienthal. This is not a biography, but rather, uses Lilienthal's career as a lens for viewing the American economy at a time when the relationship between the state and private economic enterprise underwent a profound transformation. A student of Felix Frankfurter at Harvard Law School, Lilienthal went to work as a labor lawyer with Donald Richberg in the aftermath of the 1922 railroad shopcraft strike and helped craft the legislation that culminated in the Railway Labor Act of 1926. During 1931-1933, Lilienthal reorganized the Wisconsin Public Service Commission under Governor Philip La Follette, establishing a reputation as a regulatory activist that resulted in his appointment to the board of the newly-chartered Tennessee Valley Authority (TVA). After a protracted struggle with TVA chairman Arthur E. Morgan, Lilienthal gained control of the agency, where he remained until the end of World War II. During the interwar period, Lilienthal was a participant in the formation of what has come to be known as a "Keynesian" political-economic perspective. Working with colleagues such as Frankfurter and social reformer Morris L. Cooke, as well as elements from both corporate capital and organized labor, Lilienthal designed an agenda for aggressive federal intervention in the marketplace with a macroeconomic approach for coordinating the relationship between mass production and mass consumption. Through the Electric Home and Farm Authority's low-cost appliance program, through high-wage, pro-union labor policies at the agency, and most importantly through the TVA's promotion of cheap and plentiful electricity, Lilienthal was experimenting with the growth-oriented policies that came to characterize Keynesianism. This position became prominent in the New Deal during the mid-1930s, creating salients within the federal government of a social democratic state. By the end of the decade, however, political opposition and the conservative implications of this growth perspective moderated the Keynesian agenda for the TVA and the New Deal.

Despite increased scholarly attention, the framework within which the oeuvre of eighteenth-century German poet Jakob Michael Reinhold Lenz (1751-1792) is being received is still very narrow. Lenz who in German literary history remained in the shadow of his famous contemporary Johann Wolfgang Goethe for much of the last two hundred years is now seen as an artist in his own right. Lenz has at the same time become a much mythologized figure for his mental illness. The relative inaccessability of Lenz' later works, as well as artistic adaptions of his biography and work contribute to a fascinating yet distorted image of Lenz. I argue that our perception of his illness plays a significant role for the critical assessment of his work as scholars continue to focus only on the short period between between 1772-1778. It is widely believed that a mental breakdown in 1778 abruptly ended his career, and consequently the reception breaks off after this point. Biographical research, however, suggests that Lenz remained active as a writer and intellectual during his later years while also struggling with episodes of his illness. In this interdisciplinary study, I examine how literary and medical research dealt with Lenz' mental illness and contributed to the prevailing myth of his sudden descent into "madness." I show how posthumous diagnoses of schizophrenia in Lenz' case are generally based on incomplete biographical data for the later part of his life. By incorporating recent research on psychoses, I suggest instead that Lenz may have suffered from manic-depressive illness which would explain the documented episodes of his later life and at the same time allow for continued creative work. I also trace the myth surrounding Lenz' illness back to the eighteenth century by locating his case within contemporary discourses of insanity. My analysis finally considers how Lenz' life and search for artistic identity were informed by the experiences of manic-depressive illness throughout his life, and traces poetic representations of illness in his dramas and prose.