Music scholars have long been trying to determine the major influences on the Ballades of Fryderyk Chopin. Some, like Karol Berger, have pointed to ideological influences of the Polish emigration in Paris, while others, like James Parakilas, have given credit to the generic characteristics of the European literary ballad. In my own view, however, the most salient extra-musical factor in the background to Chopin's Ballades are Ballady, a series of poems by the 19th century Polish poet Adam Mickiewicz. / After Chopin's death, Mickiewicz's Ballady were frequently associated with Chopin's Ballades, and in the first chapter I demonstrate this by examining the reception history of these works. In the next chapter I analyze the ideology of the Polish emigration in Paris, including prominent themes of alienation, powerlessness, morbid anxiety, pilgrimage, and nostalgia, which were used by that expatriate society to identify itself. Finally, in the third chapter, I trace analogies between these themes and their manifestations in Mickiewicz's Ballady. This analysis of Mickiewicz's poems forms the basis of my interpretation of Chopin's Second Ballade, where I discuss how certain textual and thematic features of the poems taken as a group can be mapped onto the form and musical discourse of the piano piece. / In sum, although the associations between specific poems and Chopin's Ballades have been made by many authors, no one has distilled a single narrative archetype from the group of Mickiewicz's Ballady to apply to Chopin's works.

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Ce mémoire se penche sur les dynamiques inhérentes aux déplacements dans l’exercice du pouvoir au Moyen-âge en prenant pour exemple le cas de Frédéric Barberousse, empereur du Saint-Empire de 1152 à 1190. En se basant sur la source qu’est la Gesta Friderici I Imperatoris, écrite par Otton de Freising et son continuateur, Rahewin, le but de cette étude est d’exposer la manière dont les déplacements s’ancraient dans l’exercice du pouvoir. Nous débutons avec un survol historique mettant en place la situation précédant l’arrivée au pouvoir de Barberousse, de même qu’une exposition de l’évolution du pouvoir et des institutions reliées à son exercice en Germanie et dans l’Empire. Ensuite, au fil des écrits d’Otton de Freising et de Rahewin, nous voyons que le souverain se devait de se déplacer afin d’à la fois s’enraciner dans la tradition de la royauté germanique itinérante tout en se rapprochant des notions judiciaires et juridiques nouvelles au XIIe siècle. Ainsi, son règne se trouvait au centre d’une redéfinition du pouvoir dans l’Empire, en opposition directe avec la papauté. L’ouvrage étudié, qui était en fait un outil de la propagation de l’idéologie impériale des Hohenstaufen, permet ainsi de mieux comprendre la nécessité des voyages de l’empereur dans l’exercice de ses fonctions, tout en représentant le souverain comme le seul détenteur du pouvoir chrétien suprême. / This memoir examines the dynamics inherent to the movements in the exercise of power in the Middle Ages, taking as example the case of Frederick Barbarossa, emperor of the Holy Roman Empire from 1152 to 1190. By studying the Gesta Friderici I Imperatoris as the main source of this paper, the goal of this text is to expose the ways in which movements and travels were anchoring parts in the exercise of power. The first part consists in a brief historical overview establishing the situation of the Empire before Barbarossa’s coronation, as well as an exhibition of the evolution of power and institutions linked to its exercise in the Empire. Afterwards, through the writings of Otto of Freising and Rahewin, we see that the sovereign had to travel his lands in order to both be rooted in the tradition of the German itinerant kingship, while also striving towards the new legal concepts of the XIIth century. Thus, Frederick’s reign was at the center of a redefinition of power in the Empire, in direct opposition to the papacy. The studied book, which was actually a tool aiming to spread the imperial ideology of the Hohenstaufen dynasty, gives the reader a better understanding of the needs for the emperor’s journeys in the exercise of his functions, while also representing the monarch as the only holder of the supreme Christian power.

This study examines what Busoni meant by "formal deficiencies" when he described his 1884 version of Chopin Variations, and reveals that changes made to the 1884 version during its process of revision in 1922 correct the "formal deficiencies" and show a fundamental change in Busoni's compositional style and perception of musical motion. Including a detailed analysis of the modifications, omissions, and additions made to the 1922 version (including an examination of the Chopin Prelude in C minor, op. 28, No. 20 as a theme to reveal aspects of its construction used in the variation process), which shows how these changes affect the work's compositional structure.

The term ballade is the French and German spelling of the English word "ballad" and the Italian ballata. Although each of these terms is derived from the Latin ballare, meaning "to dance," each denotes an entirely different meaning. The synonomous usage of these terms is definitely misleading (1,p. 67), Frederic Chopin, 1810-1849, was first to use this term as a title for piano compositions. The purpose of this study is to reveal the formal characteristics of each of the four ballades that Chopin wrote for solo piano and to determine,through a comparison of the similarities and differences, some identifying characteristics of a ballade. These characteristics will be illustrated through a formal analysis of each ballade.

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The first part of this paper examines the fundamental principles of landscape photography starting with the formation of landscape as a concept and a painting genre, up to landscape photography and its various identities as an art medium, a document, an imperialistic weapon, a tool of identification. The beginning of landscape photography is presented with special focus on mountain photography. The theme moves American West where the first National Park was born, an institution that can be both praised for bringing people closer to nature, and blamed for keeping people away from direct natural experience.

Historiographie de la campagne électorale de 2016 aux États-Unis, une entreprise documentaire afin de comprendre les événements, et un effort d’analyse du discours de deux animateurs avec les outils, notamment, de la théorie des affects.

Chopin’s artistic philosophies were heavily indebted to his love of vocal music and his staunch belief that vocal expression represented the supreme essence of musical declamation. To his contemporaries in the Parisian salons, his veneration of the vocal ideal illuminated the expressive significance of Chopin’s musical language. Influenced by the dramatic function of operatic and vocal works, and by interpretive trends that associated literary programs with instrumental (textless) music, Chopin’s contemporaries searched for concealed narratives within his piano nocturnes. This thesis considers the narrative function of Chopin’s late nocturnes within the sociopolitical and musical culture of the Parisian salons, and utilizes a modern approach to narratology that resonates with a prominent facet of historical interpretation. The study reveals a specific reception in which audiences, influenced by the philosophies of Polish messianism, heard national narratives, sung pronouncements of his Polish nationality, and political support for the Polish nation in Chopin’s nocturnes. / Graduate