Histories of the working class in France have largely ignored the existence of working-class conservatism. This is particularly true of histories of the interwar period. Yet, there were an array of Catholic and right-wing groups during these years that endeavoured to bring workers within their orbit. Moreover, many workers judged that their interests were better served by these groups. This thesis explores the participation of workers in Catholic and right-wing groups during the 1930s. What did these groups claim to offer workers within the wider context of their ideological goals? In which ways did conservative workers understand and express their interests, and why did they identify the supposed ‘enemies of the left’ as the best means of defending them? What was the daily experience of conservative workers like, and how did this experience contribute to the formation of 'non-left' political identities? These questions are addressed in a study of the largest Catholic and right-wing groups in France during the 1930s. This thesis argues that, during a period of left-wing ascendancy, these groups made the recruitment of workers a top priority. To this end, they harnessed particular elements of mass political culture and adapted them to their own ideological ends. However, the ideology of these groups did not simply reflect the interests of the workers that supported them. This thesis argues that the interests of conservative workers were a rational and complex product of their own experience. They were formed by a large range of materials, from preconceived attitudes to issues such as gender and race, to the everyday experience of bullying and intimidation on the factory floor. This thesis shows that workers could conceive of their interests in a number of different ways, and chose from a range of different groups to try and further them.

The Algerian War (1954-62) has been recognised by historians, sociologists and cultural theorists as one of the most divisive episodes in recent French history. Yet the historiography of the conflict is marked by periods when the war was broadly absent from the national memorial sphere, contrasting against others where violent memories of the conflict have coalesced around issues such as immigration, torture, and historical education. This thesis articulates how these and other social frameworks have influenced the cultural memory of the 1.2 million French military service conscripts, or appelés, who served during the Algerian War. Taking a quantitative and qualitative approach, informed by a Halbwachsian model of collective memory formation, and interdisciplinary readings on the social frameworks of Algerian War memory in France, this thesis thus outlines a historiography of constructions of the appelés in French cultural memory, which pays due attention to the medium in which that memory is constructed. Beginning with an overview of a wide corpus of appelé cultural memories from five media, through dialogue with historical, cultural and sociological literature about the conscripts and models of Algerian War memory, the thesis develops an appelé specific phasing of cultural memory. The thesis then advances four case studies which each examine constructions of the appelés in a distinct medium, and situates them within the appropriate phase in the evolution of appelé cultural memory. These studies consider the construction of the appelés in: firstly, television news magazine Cinq colonnes à la une (1959-60); secondly, two prose texts, Philippe Labro’s Des Feux Mals Éteints (1967) and Noël Favrelière’s Le Déserteur (1973); thirdly, Marc Garanger’s photo album La Guerre d’Algérie vue par un appelé du contingent (1984); and finally, three sets of texts drawn from contemporary online digital media.

This thesis presents a new simulation model for DC fuses used to protect semiconductor devices using PSCAD /EMTDC. The basic construction and operation of fuses is discussed, highlighting the difference between the operations of AC and DC fuses. The melting and arcing models of the fuse are implemented separately. The modeling concept is explained in detail and the model is validated with experimental results. / text

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This thesis examines the role played by intellectual dissidents in the French Communist Party from 1972 to 1981, focusing primarily on the philosopher Louis Althusser and the historian Jean Elleinstein, whose ideas in relation to the FCP were closer than previously thought. The introduction sets the background out in which the FCP evolved after the Second World War and brings us to the 1970s, the decade during which the FCP lost its steam against most expectations - as the thesis demonstrates it. The first chapter deals with the perception communist intellectual dissidents had of their Party’s internal organisation – an organisation which was deemed too rigid and too inflexible to encompass the plurality of opinion of its members. This rigidity was demonstrated by the Leadership’s refusal to recognise the right to create tendencies within the Party, as the second chapter of this thesis shows. In this context, the third chapter argues that communist intellectual dissidents felt suffocated by a Party which did not give them enough leeway, even more so since it claimed to be the Party of the working class – a position which threatened the Party’s adaptation to social change and which is developed in chapter four. However, this thesis also puts the criticisms expressed by Althusser and Elleinstein into perspective. Indeed, if these intellectual dissidents were free to express des idées libérales et avancées, this was not the case for the FCP leadership. The Soviet Union and its KGB had too strong a grip over the Party and its General Secretary, Georges Marchais, for the FCP leadership to be able to act freely. In that sense, if the FCP gave up the concept of dictatorship of the proletariat in 1976, as the fifth chapter shows, it could not criticise the Soviet Union too much, as chapter six demonstrates, nor get too close to the French Socialist Party as chapter seven shows, nor let its dissident intellectuals go on expressing des vues trop dérangeantes, as chapter eight concludes. Each chapter is set against the Party’s historical background and brings us to the modern times, which have seen the French Communist Party transform itself – a transformation which would have been welcomed by Althusser and Elleinstein back in the 1970s.

This thesis is concerned with the Revolutionary press in the provinces and Paris as it relates to the local female community. It aims to show that the Revolutionary press was a vehicle for community information both aimed at and originating from literate women who had access to printed material. That is to say, literate women used their local papers to advertise themselves and their wares, express their views on a subject, to seek answers to questions and also to refute false information which was circulating about them. In addition, local information which was relevant to women could be publicised in the pages of a newspaper and it would be read. Finally, when describing women in news reports these periodicals employed a stock of phrases and literary or linguistic devices to present a specific picture of the females in question. The way in which women were depicted was intended either to unite the Revolutionary community against a female foe or to exalt a particular woman as a beacon of Revolutionary virtues. The approach to the sources will be one of considering newspapers and journalistic rhetoric as being engaged in the process of creating their own view of the world from the raw material of actual events, views which promoted the political loyalties or the ethos of a particular journal. Since it aims to examine continuity and rupture between the pre-Revolutionary and Revolutionary press, the time-scale for this thesis is 1780-1800. This allows for comparisons and contrasts to be made and the thesis will show that although the provincial press contained many of the elements found in their pre-Revolutionary predecessors, the cultural changes engendered by the Revolution meant that new elements of journalistic language and new subjects for discussion developed or emerged. This work is located in the existing body of literature on the French regional and Parisian press in the eighteenth century, particularly the work of Jeremy Popkin, Hugh Gough, Jean Sgard, Gilles Feyel and Pierre Rétat. It is also linked to works on the wider world of contemporary print, for example by Robert Darnton and Roger Chartier and to the literature by Olwen Hufton, Sarah Maza and Joan Landes on the experience and roles of eighteenth-century French women. Its place in the midst of all this literature is that of drawing together the strands of Popkin's, Gough's, Sgard's and Feyel's work to argue that the Revolutionary newspaper was an instrument not simply of general information for a particular community or section of the population but also of communication on subjects which were of importance to, or which were deemed by editors or government officials to be of importance to women.

This PhD project examines changing conceptions of physical exercise and bodily health in eighteenth-century France. Enlightenment culture in Europe provided an atmosphere of reform within which both society and individual were viewed as malleable. A new criterion of social utility governed discussions of health and education, and highlighted the unreformed status of certain sections of society. There was an understanding in France that urban life generally, and the urban elite in particular, had degenerated. The idleness of the gens du monde was considered a significant factor in the corruption of modern French society; the physical languor it produced was seen to render people useless to the nation. Fears surrounding depopulation and military weakness gave further impetus to calls for reform. Good health and the physical strength associated with it were perceived to key to the reversal of both urban decline and military fragility. The mother-to-be, the child and the noble officer were targeted in the drive to produce healthy, virtuous citizens. The thesis argues that a transformed conceptualization of physical education, emerging from a preoccupation with preventive medicine, was central to ideas regarding the health and strength of the nation. Drawing on manuals concerned with health and education, discussions of health in the press, polemics on the function of the nobility, and the correspondence of the Société Royale de Médecine, a distinct shift is traced in the ways in which exercise was discussed in the second half of the century. This was characterised by a view of exercise which focused upon adding strength and vigour, in contrast to earlier accounts which defined movement as a means of balancing or stabilizing what entered or exited the body.

This thesis investigates the relationship between female performers, mass culture and the avant-garde in fin-de-siecle Paris. The work of the dancers, Jane Avril and Loïe Fuller, has received critical attention as the representation of either the popular stage or of early modernist experimentation, but not as an example of the site where these two artificially constructed classifications coalesced. This study seeks to fill that gap by offering a framework through which the experimental performance of these mass-cultural, female celebrities can be renegotiated in its immediate historical context. The argument is framed within the inherent dualism of the ideology and social constructions that shaped the fin de siecle. These binaries are considered alongside the cultural transformations that were demanded by the rapidly developing commodity culture of the period; a process that reveals the progressive destabilisation of these values and ideas as the new century approached. Chapter one engages with the theoretical concepts of the gaze that have framed approaches to voyeurism and objectification during the period. Chapter two discusses the problematic relationship between feminism and corporeality, a theme that is extended in chapter three with an investigation of responses to the new social role of the female celebrity. Chapter four focuses on the dancer Jane Avril and reveals the manner in which her performance subverted the contemporary associations between femininity, insanity and eroticism. Chapter five concludes this thesis with an exploration of the centrality of the work of Loïe Fuller to autonomous female performance and the avantgarde.

This thesis examines the representations of Saint Thérèse of Lisieux produced by the Carmel of Lisieux in the years between the saint’s death in 1897, and that of her sister Céline Martin (Soeur Geneviève de la Sainte-Face) in 1959. It examines the construction of an iconographical foundation for the saint’s cult, the commercial distribution of this iconography, the debate about its authenticity that emerged in the 1920s, and the efforts by the originators of the image to maintain legal control of it. It explores the process of cultural legitimation of these images by the Carmel of Lisieux and, through these, of the cult itself, through a variety of methods, from the articulation of ideas of spiritual and artistic authority, to presence in the mass market, to apologetic, and the use of legislation. The thesis begins by examining the work of the Carmel of Lisieux to visually reshape Thérèse Martin and recast her as a saint through their posthumous representations of her, giving her a new face to fit the existing devotional landscape. Particular emphasis is placed on Céline Martin, as the director of the visual elements of the cult and author of the canonical images of Saint Thérèse, and her personal conceptions of the authentic holy image. The dissemination of the Carmel’s representations of the saint through a programme of popular publications and consumer products is then examined, exploring how the saint was promoted to the Catholic faithful in the religious marketplace, and how the market was used to establish Céline’s images in the economy of popular devotion, giving Thérèse a foothold as a saint who could be believed in. The thesis then turns to the reaction to the Carmel’s visual recasting of Saint Thérèse, examining a group of popular biographies of the saint that appeared in the early twentieth century. Here a body of literature is identified where anxieties over the authentic representation of holy figures are played out, and the emergence of a new paradigm for the representation of the saint is traced. The Carmel is shown to have responded to this with a series of apologetics, where they again articulated the alleged authenticity of their images. Finally, the series of legal cases launched by the convent against producers of unauthorised images of the saint is examined. Here it is shown that the Carmel sought to define Céline Martin as the sole authentic Theresian iconographer through recourse to ideas of religious and artistic authority, using the law of the secular state to make claims to religious authenticity. The first substantial piece of research placing Saint Thérèse in the context of the history of modern French popular religious culture, this thesis provides an insight into the creation of a commercial, devotional cult at the beginning of the twentieth century and the nature of Catholic visual culture in France in the years between the Dreyfus Affair and the Second Vatican Council. In examining the production and dissemination of a cult’s images, the intellectual and legal controversies that followed, and the use of these processes by the originators of the image to legitimate their representations, it also sheds light on prevalent ideas of religious and artistic authenticity in France in the early twentieth century and the search for the ‘true’ face of the saint during that period.