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  • About
  • The Global ETD Search service is a free service for researchers to find electronic theses and dissertations. This service is provided by the Networked Digital Library of Theses and Dissertations.
    Our metadata is collected from universities around the world. If you manage a university/consortium/country archive and want to be added, details can be found on the NDLTD website.
111

Élites dirigeantes, sortie de crise et reconstruction post-conflit dans les États africains de la Région des Grands Lacs.1990-2013 / Governing Elites, end of crisis and post-conflict reconstruction in the African States of the Great Lakes Region

Demba, Guy-Eugène 31 January 2014 (has links)
Depuis plus de deux décennies, un nombre d’Etats africains dits du champ de la Conférence Internationale sur la Région des Grands Lacs sont enlisés dans des conflits armés à la fois intra-étatiques et internationalisés. Du génocide rwandais aux guerres civiles au Congo-Brazzaville, en Angola, en Ouganda, au Burundi, ou encore aux violences politiques armées incessantes en Centrafrique, en passant par la Grande Guerre Africaine en RDC, nombreux et importants sont les mécanismes de résolution de conflits qui ont été expérimentés, de nature aussi bien bilatérale, communautaire, régionale, qu’onusienne. Malheureusement, les concepts de sortie de crise et de reconstruction post-conflit demeurent de vains mots, eu égard aux résurgences et aux prolongements des conflits dans cette Région. Ainsi, en mobilisant l’approche néo-élitiste s’inscrivant dans un dépassement de la réalité empirique, après avoir passé en revue toutes les grandes théories philosophico-politico-sociologiques des élites, défendues par les auteurs classiques comme Wilfredo Pareto, Gaetano Mosca etc., d’un côté, et en recourant à la théorie de Johan Galtung de paix négative versus paix positive, d’autre part, cette étude se propose de mettre en évidence le rôle des élites dirigeantes dans la dynamique de pacification de la Région. Et après avoir défini et déterminé celles-ci, le travail démontre la difficulté de résoudre les conflits due à l’hétérogénéité sociologique caractérisant la Région. Puis, il souligne les mécanismes de l’entretien d’une paix négative par les élites dirigeantes, en interaction avec les autres protagonistes. / For more than two decades, a number of African States within the scope of the International Conference on the Great Lakes Region have sunk into both armed intrastate and domestic conflicts. From the Rwandan genocide to civil wars in Congo-Brazzaville, Angola, Uganda, and Burundi, or the constantly armed political violence in the Central African Republic (CAR), through the Great African War in the Democratic Republic of Congo (DRC), numerous and important mechanisms for conflict resolution have been experienced, bilateral, communitarian, regional, as well as Onusian. Unfortunately, the concepts relative to the end of crisis and post-conflict reconstruction still remain empty words, given the revivals and extensions of conflicts in that Region. Thus, by mobilizing the neo-elitist approach which goes the empirical reality, after reviewing all the major elitist philosophical, political and sociological theories defended by the classical authors such as Wilfredo Pareto, Gaetano Mosca, etc. On one hand, and by resorting to Johan Galtung’s theory on negative peace versus positive peace, on the other, this dissertation aims at highlighting the role played by governing Elites in the peace process within the Region. After defining these elites, this monography shows the difficulties of solving conflicts due to the regional sociodemographic heterogeneity. Then, it emphasizes mechanisms for keeping negative peace by the governing Elites, in interaction with other protagonists.
112

The aesthetics of absence and duration in the post-trauma cinema of Lav Diaz

Mai, Nadin January 2015 (has links)
Aiming to make an intervention in both emerging Slow Cinema and classical Trauma Cinema scholarship, this thesis demonstrates the ways in which the post-trauma cinema of Filipino filmmaker Lav Diaz merges aesthetics of cinematic slowness with narratives of post-trauma in his films Melancholia (2008), Death in the Land of Encantos (2007) and Florentina Hubaldo, CTE (2012). Diaz has been repeatedly considered as representative of what Jonathan Romney termed in 2004 “Slow Cinema”. The director uses cinematic slowness for an alternative approach to an on-screen representation of post-trauma. Contrary to popular trauma cinema, Diaz’s portrait of individual and collective trauma focuses not on the instantenaeity but on the duration of trauma. In considering trauma as a condition and not as an event, Diaz challenges the standard aesthetical techniques used in contemporary Trauma Cinema, as highlighted by Janet Walker (2001, 2005), Susannah Radstone (2001), Roger Luckhurst (2008) and others. Diaz’s films focus instead on trauma’s latency period, the depletion of a survivor’s resources, and a character’s slow psychological breakdown. Slow Cinema scholarship has so far focused largely on the films’ aesthetics and their alleged opposition to mainstream cinema. Little work has been done in connecting the films’ form to their content. Furthermore, Trauma Cinema scholarship, as trauma films themselves, has been based on the immediate and most radical signs of post-trauma, which are characterised by instantaneity; flashbacks, sudden fears of death and sensorial overstimulation. Following Lutz Koepnick’s argument that slowness offers “intriguing perspectives” (Koepnick, 2014: 191) on how trauma can be represented in art, this thesis seeks to consider the equally important aspects of trauma duration, trauma’s latency period and the slow development of characteristic symptoms. With the present work, I expand on current notions of Trauma Cinema, which places emphasis on speed and the unpredictability of intrusive memories. Furthermore, I aim to broaden the area of Slow Cinema studies, which has so far been largely focused on the films’ respective aesthetics, by bridging form and content of the films under investigation. Rather than seeing Diaz’s slow films in isolation as a phenomenon of Slow Cinema, I seek to connect them to the existing scholarship of Trauma Cinema studies, thereby opening up a reading of his films.

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