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This study examined temporal trends and socioeconomic differences in alcohol use and drunkenness among Swedish 15-year-old students between 2001/02 and 2017/18. Data were obtained from the Health Behaviour in School-aged Children (HBSC) study conducted in 2001/02, 2005/06, 2009/10, 2013/14 and 2017/18 (n ≈ 1500/year). Socioeconomic status (SES) was measured using two alternative indicators: educational aspirations and family affluence. Logistic regression models were used to investigate the relationships between drinking measures and SES indicators. The results showed a significant decline in alcohol use and drunkenness among Swedish 15-year-old students from 2001/02 to 2017/18. Educational aspirations almost consistently statistically negatively predicted regular alcohol use and drunkenness. Family affluence only had a weak effect on adolescent drinking behavior with a tendency for less affluent students reporting less alcohol use and drunkenness. Trend analyzes within the subgroups indicated that the downward trend was mirrored in all SES groups, but it was not equally steep in all groups. The decrease was generally weaker among students with lower educational aspirations but stronger among students from less affluent families. This study suggests that different aspects of SES may influence adolescent drinking in opposing directions. In future efforts aimed at reducing alcohol use and drunkenness among adolescents, students with lower educational aspirations should be the target population.

Магистерская диссертация посвящена изучению стратегии обличения повседневных грехов общества «бунташного» XVII века, отраженной в рукописном сборнике «Статир», написанном в это время в Орле-городке Перми. Исследуются структура и содержание проповедей против пьянства, лени, украшательства, лицемерия. Анализ позволяет выявить особенности авторской аксиологии, проявляющейся в принципиально иных аспектах обличения грехов, чем было принято в христианской традиции ранее. Также делается вывод о талантливом синтезе святоотеческой традиции составления проповедей против грехов и пришедшим с запада схоластическим канонам, как в области композиции проповеди, так и в выборе образных средств. / The master's thesis is devoted to the study of the strategy of exposing the everyday sins of the "rebellious" society of the XVII century, reflected in the manuscript collection «Statir», written at that time in the Orel town of Perm. The structure and content of sermons against drunkenness, laziness, embellishment, and hypocrisy are investigated. The analysis reveals the features of the author's axiology, which manifests itself in fundamentally different aspects of the denunciation of sins than was previously accepted in the Christian tradition. It is also concluded that there is a talented synthesis of the patristic tradition of composing sermons against sins and scholastic canons that came from the West, both in the field of sermon composition and in the choice of figurative means.

Le projet concerne la culture et le rôle social du vin français en Pologne entre la moitié de XVIIe et le début du XIXe siècle. Le but de ce travail est la présentation du procès de réception, de différentes formes de perception et de rôle social du vin dans le pays qui n’appartient pas à la zone de la culture de vin.Le XVIIIe siècle, c’est le temps des grands changements sociaux. Les changements des attitudes, de l’aspiration, de la sensibilité et des façons de communication sont les symptômes de la révolution de consommation. Les valeurs contemporaines d’économies chrétiennes se mettent à la négociation. C’est ce phénomène de la consommation qui provoque leur remplacement par l’égalitarisme et l’individualisme. À partir des informations concernant la vente, la consommation et la production de vin on peut montrer les modifications de la société en Pologne.Ce n’est pas que la société qui est soumise aux changements, mais si dynamiquement se varie le vin. Les nouvelles méthodes de production et de conservation apparaissent. Elles facilitent l’exportation non seulement de seule boisson, mais également de mode, de goûts et de culture matérielle liée à cette boisson. Les goûts de dîneurs ont évolué ensemble avec les ustensiles et la façon de laquelle le vin a été servi à la table – française ou polonaise.L’observation de l’influence du vin, si important élément de la culture française, sur la création des goûts des Polonais et leurs imaginations liées avec France et les Français, s’inscrit identiquement dans l’idée de la coopération franco – polonaise et donne les chances d’apparition d'influence mutuelle de deux cultures. / The project concerns the cultural and social role of French wine in Poland from the middle of the 17th to the beginning of the 19th century. The aim of this work is to demonstrate the process of reception, different forms of perception and social role of wine in a country not belonging to the wine culture sphere.The 18th century is a time of major social transformations. Changes in attitudes, aspirations, sensitivity and ways of communicating are signs of a consumer revolution. Old Christian principles are becoming to be negated and it is the phenomenon of consumerism which replaces them with egalitarianism and individualism. The analysis of information regarding the sale, consumption and production of wine helps to demonstrate the transformation of the Polish society.Apart from society, the wine itself also changes dynamically, with the appearance of new methods of its production and preservation enabling the export of not only the drink itself, but also of the fashion, taste and material culture connected with it. On its way from the cellar to the table, wine is accompanied by objects which become the inseparable elements of the drinking culture. The glasses and ways of serving wine evolve together with the taste of the banqueters.Research in the influence of wine on the development of Poles’ taste and their image of France and the French is naturally compatible with the idea of Polish-French cooperation and provides an opportunity to demonstrate the mutual influence of the two cultures.

This thesis presents an analysis of crime trends and social control during the dramatic transformation of Sweden's social landscape in the nineteenth and early twentieth centuries, set against the background of the modernization process in the country as a whole and the city of Sundsvall and environs in particular. What assumptions about crime were evident in public debate? How did crime levels vary from region to region, and what were the changes over time? What strategies did government and local authorities try for combating crime? Did the joint efforts by government, local communities, and the voluntary sector actually solve the problems that social change was believed to have caused?When it comes to theory, the interpretative framework is based on Anthony Giddens's argument about modernity and modernization, making particular use of a few central points about what the changes meant for the structuration of society. Giddens's ideas about changes in social control are refined with Michel Foucault's and David Garland's work on the increasingly disciplinary trend seen in the exercise of the law and public control. The analysis of modernity's ramifications for the transformation of both social structures and crime alike has also benefitted from Robert Putnam's and Travis Hirschi's insights into the importance of social capital and social bonds for a well-functioning, low-crime society.The process by which Sweden was transformed from an overwhelmingly agrarian country to an urban, industrial society left its mark on crime patterns. To the contemporary mind, industrialization, migration, and urbanization were the underlying causes of the high levels of serious crime in the society. The start of the nineteenth century had seen a rise in criminality, with both petty crime and lethal violence becoming more common. At the same time, there was a heated debate about the socio-economic problems that were such a strain on the structure of society. The analysis finds that there were large differences in prosecutions in the country and between cities. The Sundsvall area was among those that saw a dramatic change in crime in the course of becoming a major industrial region. At the same time, the thesis shows that there were plenty of cities in Sweden, however rapidly they grew, that had low crime rates. However, the widespread fear of industrialization, migration, and urbanization was often unfounded. For example, both lethal violence and public order offences reached their lowest recorded levels in the interwar period. By then, new cures were sought for the social and moral ills of society. The state's sphere of influence had expanded. New social reforms, including a modified crime policy, were launched. The state became even more assertive, and the same was true of civil society. Society would attend to the moral education of a number of different groups. Moral virtues were to be instilled in the workshy, alcoholic, or criminal, in order to produce disciplined and cultured citizens. The attention of social activists, the scientific community, civil servants, and local and national politicians shifted from crime per se to the far broader issue of asociality. Modernization gave the voluntary sector a significant role in the social organization of the day, shaping new forums for interpersonal relationships and strengthening social ties. The thesis makes the case that two distinct periods, each with its specific social structures and crime patterns, can be observed; one belonging to the nineteenth century, the other to the first four decades of the twentieth century.Finally, the similarities between the history of crime in Sweden and, for example, the US or the UK are highlighted. As in Britain and North America, the early industrialization period saw weakened social bonds, and a time of greater violence and disorder ensued. After a while however, the situation stabilized, and crime rates began to drop again. When industrial societies ceased to be 'frontier communities' at the forefront of modernization, and instead became more mature communities, crime levels fell as people's commitment to their communities was renewed.

« Pour respecter les droits d’auteur, la version électronique de ce mémoire [de cette thèse] a été dépouillée de certains documents visuels et audio‐visuels. La version intégrale du mémoire [de la thèse] a été déposée à la Division de la gestion des documents et des archives » / Cette thèse s’intéresse à la présence opérante, dans plusieurs discours fondateurs du modernisme et dans certaines de ses pratiques, de l’ivresse comme concept, c’est-à-dire comme façon de penser la création artistique, ou comme méthode concrète d’intoxication permettant d’y accéder. Dans la première partie de la thèse, nous observons comment, au 19e siècle, les spéculations sur les états de conscience modifiés (alcool, opium, haschich, etc.) ont croisé les considérations poïétiques et esthétiques. Pour ce faire, nous mettons en rapport le développement d’un imaginaire de l’ivresse nourri de références à la peinture et des écrits sur la création artistique faisant bon accueil aux dérèglements psychophysiologiques. Afin de problématiser ce rapport de l’art et de l’ivresse qui est pour nous constitutif de l’esprit du modernisme, nous sollicitons les points de vue de quatre auteurs qui ont adopté une perspective physiologique sur l’art : Stendhal, Balzac, Baudelaire et Nietzsche. Notre traitement vise à préciser le développement d’une pensée de l’ivresse spécifique à chacun sans perdre de vue le contexte sociohistorique élargi dans lequel ils ont respectivement évolué. Il nous est ainsi possible de retracer l’émergence de la figure de l’artiste intoxiqué et d’en déterminer les résonances idéologiques. Dans la seconde partie de la thèse, nous observons les incidences de cette construction sur les pratiques artistiques elles-mêmes au cours du 20e siècle. En premier lieu, nous constatons les défis et les problèmes concrets qu’ont pu poser les états d’intoxication dans l’exercice du métier de peintre. Nous mettons ainsi à jour les raisons qui ont conduit les artistes des premières avant-gardes à tenir l’ivresse à distance. Nous nous intéressons ensuite à des peintres qui, à partir de l’entre-deux-guerres, ont plutôt recherché les états d’ivresse et développé des stratégies pour les exploiter à des fins créatrices : S.I. Witkiewicz, Josef Sima, André Masson, Jackson Pollock et Kazuo Shiraga. Nous remarquons d’abord que ces démarches tendent à se détacher d’un formalisme pictural rigoriste en accordant plutôt une fonction déterminante à l’empathie dans la création et dans la réception de l’œuvre d’art. Nous proposons ensuite de distinguer deux types d’expressions picturales de l’ivresse : l’une qui nécessite encore l’expédient de la figuration, l’autre qui s’appuie sur une mise en mouvement spontanée du corps de l’artiste. Les notions de trace et d’aura théorisées par Walter Benjamin nous permettent de rattacher ces deux façons de pratiquer l’ivresse à des manières d’envisager la création artistique à une époque marquée par le taylorisme ainsi que par les technologies de reproduction de l’image. / This thesis examines the operating presence of intoxication as a concept in many of modernism’s founding discourses as well as in some of its practices. Intoxication is considered both as a way to understand artistic creation and as a chemically-induced state allowing artists to access a specific kind of creativity. The first part of the thesis shows how, in the 19th century, speculations about altered states of consciousness (alcohol, opium, hashish, etc.) intersected with poietic and aesthetic considerations. To demonstrate this, we link the development of an imaginary construct of intoxication that is filled with references to painting with writings on artistic creation that celebrate psychophysiological disorders. To support our hypothesis that the relationship linking art and intoxication is constitutive of the spirit of modernism we solicit the points of view of four writers who have adopted a physiological perspective on art: Stendhal, Balzac, Baudelaire and Nietzsche. Our aim is to elaborate notions of intoxication that are specific to each without losing sight of their respective sociohistorical contexts. By doing so, it becomes possible to delineate the emergence of the figure of the intoxicated artist and to analyze its ideological character. In the second part of the thesis, we observe the implications of this construct on artistic practices during the 20th century. We begin by attesting to the challenges and material difficulties which states of intoxication can pose to painters. We thereby identity reasons why artists from the early avant-gardes kept their distance from intoxication. We then turn to painters who, from the inter-war period on, instead sought states of intoxication and developed strategies to exploit them to creative ends: S.I. Witkiewicz, Josef Sima, André Masson, Jackson Pollock and Kazuo Shiraga. First, we observe how these processes tend to detach themselves from a rigorist pictorial formalism, granting instead a determining function to empathy in the creation as well as the reception of the artwork. We go on suggest two distinct types of pictorial expression of intoxication: one which still requires the expedient of figuration, the other which is grounded in a spontaneous involvement of the artist's body. The notions of trace and aura theorized by Walter Benjamin allow us to tie these two modes of practicing intoxication to ways of conceiving artistic creation during a period distinguished by Taylorism as well as by image reproduction technologies.

This thesis, bearing the name "The crime of drunkenness according to § 360 of Act No. 40/2009Coll., Criminal Code" aims to analyse and understand deeper the crime of drunkenness in all its aspects. Initially, it deals with the historical kontext of this crime and the development of its conception through history to this day. The thesis also describes terms of diminished sanity and insanity as well as other terms related to the crime including the institute actio libera in causa in both of its forms. This crime is indeed an atypical one, whilst being one of the methods of dealing with illegal deeds committed by inflicted insanity. Such crime lies in the fact that the offender of an act otherwise criminal (one lacking an important sign of a crime) had, prior to such act, induced himself to a state of insanity by culpable consuming or applicating an addictive substance. Insanity as itself exclude criminal culpability of the offender, however not in cases hen offender self-inducing it by consuming or applicating an addictive substance, which makes the crime of drunkenness unique. No less interesting is that, in a way, the crime of drunkenness overcomes the principle nullum crimen sine culpa, or no crime without culpability, since it is composed of two separate actions, while culpability revers only to...

A brief analysis of South African Law relating to intoxication as a defence prior to 1988 is given. This is followed by an in-depth discussion and evaluation of the statutory crime created by section 1 (1) of the Criminal Law Amendment Act 1 of 1988. Various points of criticism against the wording of section 1 (1) as well as the problems with regard to its application in practice are set out. In conclusion a draft for a new, more effective wording for section 1 (1) is given / Criminal & Procedural Law / LL.M. (Criminal & Procedural Law)

A brief analysis of South African Law relating to intoxication as a defence prior to 1988 is given. This is followed by an in-depth discussion and evaluation of the statutory crime created by section 1 (1) of the Criminal Law Amendment Act 1 of 1988. Various points of criticism against the wording of section 1 (1) as well as the problems with regard to its application in practice are set out. In conclusion a draft for a new, more effective wording for section 1 (1) is given / Criminal and Procedural Law / LL.M. (Criminal & Procedural Law)

Cette thèse se propose d’étudier l’expression du mouvement dans la poésie grecque ancienne et plus particulièrement le lien qui unit la mort au mouvement de chute dans la poésie homérique. La question du mouvement apparaît en filigrane dans toutes les études qui se préoccupent de la mort en Grèce ancienne et de ses différentes représentations. À travers non seulement différentes expressions métaphoriques, mais aussi via la chute des corps sur le champ de bataille, la chute de certains objets et le plongeon de différents personnages, le mouvement illustre la mort ou son imminence. Loin de figurer seulement le plongeon de l’âme vers les Enfers, le mouvement de chute figure aussi un large éventail d’états émotionnels et s’avère un moyen efficace d’exprimer des états altérés de conscience, par exemple le passage entre la vie et la mort, le sommeil, la folie et l’ivresse, mais aussi des émotions d’une grande intensité telles que la colère, la douleur et la tristesse. Cette utilisation du mouvement de chute dans la poésie grecque s’exprime dans l’imaginaire poétique, mais également dans les pratiques rituelles recensées dans la poésie homérique. En effet, dans l’Iliade, le mouvement de chute, qui apparaît dans la libation, le serment rituel et les rites funéraires, ne signifierait pas seulement la mort, mais dans certains cas, la mort sans inhumation. Cette découverte nous permet de poser un regard nouveau sur les pratiques rituelles du poème qui mettent en lumière la véritable volonté des Achéens, explicitée au chant 3 (Il. 3. 276-301). Celle-ci consisterait non seulement à tuer les hommes et les enfants, et à mettre les femmes en esclavage, mais aussi à abandonner les corps de leurs ennemis aux éléments et donc de leur refuser l’inhumation, ce qui pose problème dans le contexte religieux de la Grèce ancienne. Le mouvement de chute, à travers le geste de projection, exprime une menace que le public grec devait parfaitement comprendre et qui s’avère centrale pour l’ensemble de l’intrigue. Il apparaît aussi que le mouvement posséderait une « efficacité magique » qui permettrait de déclencher et de sceller un serment. Durant toute l’Antiquité, la signification du mouvement change à travers le temps, s’approfondit, se complexifie et s’il permettait de représenter la mort et la tristesse chez Homère, durant toute la fin de l’époque archaïque jusqu’aux derniers jours de l’Empire romain, le mouvement prend parfois une connotation érotique. En raison de la capacité du mouvement à représenter différents états altérés de conscience et de ses liens étroits avec la mort et le deuil, le plongeon devient alors le modèle exemplaire de la souffrance amoureuse. Cette thèse permet donc d’observer l’évolution d’un motif qui conserve tout au long de l’Antiquité sa dimension mortifère, mais qui, encore aujourd’hui, exprime un lien poétique étroit entre la mort et l’érotisme. / This thesis proposes to study the expression of movement in ancient Greek poetry and particularly the link between death and the physical act of falling in Homeric poetry. The question of movement appears implicitly in all studies concerned with death in ancient Greece and its different representations. Through not only different metaphorical expressions, but also through the fall of bodies on the battlefield, the fall of certain objects and the plunge of different characters, human and divine, the movement illustrates death or its imminence. Far from representing only the plunge of the soul into the Underworld, the falling movement also represents a wide range of emotional states and proves to be an effective way of expressing altered states of consciousness, for example the passage between life and death, sleep, madness and drunkenness, but also emotions of great intensity such as anger, pain and sadness. This use of the movement in Greek poetry is expressed in the poetic imagination, but also in the ritual practices recorded in Homeric poetry. Indeed, in the Iliad, the movement of fall which appears in libation, ritual oath and funeral rites would not only mean death, but in certain cases, death without burial. This discovery allows us to take a new look at the ritual practices of the poem which bring to light the true will of the Achaeans, explicitly shown in the third book (Il. 3. 276- 301), which is not only to kill men and children, and to enslave women, but to abandon the bodies of their enemies to the elements and thus to refusing them burial, which is problematic in the religious context of the ancient Greece. The falling movement, through the gesture of projection, expresses a threat that the Greek audience had to fully understand and is central to the entire plot. It also appears that the movement would possess a "magical efficiency" which would make it possible to trigger and seal an oath. Throughout Antiquity, the meaning of the movement through time became more complex and if it represents death and sadness in Homer, throughout the end of the archaic period until the last days of the Roman Empire, the movement eventually took an erotic connotation. Because of his capacity to represent various altered states of consciousness and its close links with death and mourning, the plunge then becomes the exemplary model of the suffering in love. This thesis thus makes it possible to observe the evolution of a motive which preserves throughout Antiquity its mortiferous dimension, but which, even today, expresses a close poetic link between death and eroticism.