La biographie intellectuelle de François Picavet (1851-1921) fournit l’occasion d’explorer les débuts de l’histoire de la philosophie médiévale en tant que discipline institutionnalisée, en France, de 1880 à 1920. Figure oubliée du médiévisme philosophique, Picavet fut maître de conférence à l’EPHE (section des sciences religieuses) dès 1888, puis directeur d’études à partir de 1907, secrétaire du Collège de France en 1904 et chargé de cours en histoire des philosophies médiévales à la Faculté des lettres de la Sorbonne dès 1906.Le parcours académique de Picavet s’inscrit dans un contexte particulier, qui voit l’histoire de la philosophie médiévale s’implanter de façon structurée et stable dans l’enseignement supérieur français. De même que d’autres disciplines institutionnalisées, l’histoire de la philosophie médiévale tire profit de la nécessité d’une réforme profonde du système universitaire, articulée dans les sphères politiques et scientifiques dès les années 1860 puis prolongée sous l’impulsion de la IIIe République, et qui aboutit à l’émergence de nouvellesstructures institutionnelles dans l’enseignement supérieur français (fondation de l’EPHE en 1868, création de nouveaux enseignements à la Sorbonne, dont une charge de cours en histoire de la philosophie médiévale en 1906). L’historiographie originale de Picavet restreint la signification des questions philosophiques médiévales qui demeurent liées à leur contexte historique d’origine: chaque système philosophique est ainsi l’expression partielle d’une civilisation donnée, au même titre que les expressions scientifiques, artistiques et artisanales que celle-ci est en mesure de produire et qui la caractérisent. / The intellectual biography of François Picavet (1851-1921) is an opportunity to explore the early days of the history of mediaeval philosophy as an institutionalised discipline in France from 1880 to 1920. A forgotten figure of the study of mediaeval philosophy, Picavet was a lecturer at EPHE (Religious Sciences department) from 1888 and director of studies from 1907, secretary of the Collège de France in 1904 and lecturer in the history of mediaeval philosophy at the Arts Faculty of the Sorbonne from 1906 onwards. Picavet’s academic career took place within a particular context in which the history of mediaeval philosophy came to be established in a structured and stable manner in French higher education. Like other institutionalised disciplines, the history of mediaeval philosophy benefited from the need for deep-seated reform of the university system, which was expressed in political and scientific circles from around 1860 and continued under the Third Republic, resulting in the emergence of new institutional structures in French higher education (the foundation of EPHE in 1868 and the creation of new courses at the Sorbonne, including a history of mediaeval philosophy course in 1906). Picavet’s original historiography confines the significance of mediaeval philosophical questions, which remain bound to the historical context in which they originated: thus, every philosophical system is the partial expression of a given civilisation, just like the scientific, artistic and craft related expressions which it produces and which characterise it.

Cette thèse porte sur la carrière musicale de Joseph Kohaut (1734–1777), l’un des derniers luthistes dans l’Europe des Lumières. Appartenant à la deuxième génération des musiciens originaires des pays de la couronne de Bohême, ce luthiste, né à Vienne et décédé à Paris, représente un cas intéressant de la migration des musiciens au XVIIIe siècle. L’étude se consacre à la présentation des origines et de la famille proche du musicien (son père Jacob Joseph Kohaut et son frère aîné Karl Kohaut), ainsi qu’à la carrière musicale du luthiste proprement dite. Le patronage aristocratique s’y révèle le moteur principal aussi pour son œuvre, y compris ses opéras comiques qui contribuèrent à la notoriété de Kohaut également en déhors de la France. Enfin, cette étude traite les œuvres des deux frères Kohaut en s’intéressant aux attributions douteuses et propose un catalogue thématique du corpus entier indexant toutes les sources connues. / This thesis focuses on the musical career of Joseph Kohaut (1734–1777), one of the last known lute players in Europe of the Enlightenment. Belonging to the second generation of the musicians originated from the Czech lands, this lutenist, born in Vienna and dead in Paris, represents an interesting case of the migration of musicians in the 18th century Europe. After having examinated the origines of the musician and his close family (his father Jacob Joseph Kohaut and his older brother Karl Kohaut), the study analyses his own musical career. The aristocratic patronage becomes apparent as an important reason for his musical production, including his comic operas that made him famous also outside France. Finally, this study addresses the compositions of both brothers Kohaut, taking interest in problematic attributions, and offers a thematic catalogue of all works registering their all known sources.

The master thesis focuses on a more detailed analysis of the premises of British politics in relation to the Middle East after the First World War. Attention is focused especially on the territory of Mesopotamia, which is the center of all actions of neighboring states and the interests of the great powers. The thesis also includes the events of the war and the subsequent diplomatic negotiations held mostly at the Paris Peace Conference. Everything is viewed mainly from the perspective of British Empire and it's leaders. The finall goal of the work is to anchor the British mandates in the geographical area of the Middle East to the Ankara Agreement.

François Couperin (1668-1733) was one of the earliest French Baroque composers to merge the Italian style into the French tradition. He had great influence on the development of French Baroque music from the end of the seventeenth century until his death. Couperin's four Concerts Royaux and the ten Concerts Nouveaux (published in 1722 and 1724) were written for the enjoyment of Louis XIV. Those suites were popular in the court before they were published, as they were requested to be performed every Sunday during the years 1714 and 1715 to give pleasure to the king. Rittrato dell'amore is the ninth suite out of the fourteen suites. The purpose of this study is to provide a performance guide and a practical edition of François Couperin's Neuvième Concert Ritratto dell' amore. It also contrasts Italian style and French tradition in the Baroque period, and how Couperin blended both styles together in his Neuvième Concert. In addition, this dissertation summarizes the general principles of Baroque performance practice that one may encounter in Neuviéme Concert, including notes inégales (unequal notes), ornamentation, over-dotting, and other issues. It is especially important for one to understand the performance style of French Baroque music in order to perform these works appropriately, since its notation did not adequately notate rhythmic expectations as traditionally understood and the realization of ornamentations in this period and style is highly specific. The tradition was indeed lost in terms of aural transfer and has been reconstructed through published scholarly work in the last century that is based on treatises of the time. Ongoing scholarly and artistic work should bring us ever closer to the ideals of the period.

Having been introduced in Sweden in the 1980’s, one would perhaps have thought postmodern philosophy to be a thing of the past. As it turns out, the debate on postmodernism is still very much alive. But the term ‘postmodernism’ in 2021 is complex and sometimes misunderstood. In public discourse, the term has moved beyond its status as a continental philosophy or as a denomination for certain historical conditions of the late twentieth century. Today, it appears, people use ‘postmodernism’ as an invective for relativism, post-truth and ‘empty words’. Two books, published in 2020, even warn the Swedish people for a postmodern invasion of both the academics and Swedish government. The humanities, apparently, are especially corrupted by postmodern thinking. Is this true? As a rhetorician, I ask myself to what extent postmodern theory has had an influence on Swedish rhetoric in the 40 years since the discipline was re-established within higher education.  This essay examines course syllabuses, teaching material, Swedish articles in the periodical Rhetorica Scandinavica, doctoral theses, and the complete works published by Sweden’s eight professors of rhetoric. Early on, I found that there was very little information available about the development of  Swedish rhetoric –even less about a postmodern rhetoric in a Swedish context. Thus, this essay is to be looked at as both a history of Swedish postmodern rhetoric – the first of its kind – and as an examination of the occurrence of postmodern theory within Swedish rhetoric. I find that postmodernism has not, as opposed to the critics’ claims, played a key role in the development of Swedish rhetoric. Its presence has, however, significantly increased within the field of rhetoric since 2010, and I discuss why that might be. Further, I discuss what can be said to define the Swedish postmodern rhetoric, and what the future might hold for this specific branch of rhetorical studies and research.

Hier comme aujourd'hui, les hommes ne relatent un élément du temps antérieur que lorsqu'il a une fonction, une utilité pour eux-mêmes et pour leurs contemporains. Le rappel du passé n'a lieu qu'au moment où ceux qui le rappellent croient qu'il est dans leur intérêt de le faire. Ainsi, à la veille de la Révolution française, un petit groupe d'hommes de lettres publia une Histoire des hommes illustres de la Provence qui se voulait une vaste fresque de modèles à imiter dans un avenir très rapproché. Ce futur extrait du passé se composait d'individus que la Nature avait doués d'un esprit supérieur apte au commandement et n'ayant d'autre but que celui d'apporter protection, consolation et guérison à l'ensemble ' de la communauté. En somme, des sauveurs de la patrie. / Québec Université Laval, Bibliothèque 2013

This dissertation examines two films directed by Quentin Tarantino, whom I have situated as a postmodern film director, within the theoretical context of the philosophies of two postmodern philosophers: Jean Baudrillard and Jean-François Lyotard. I argue that the major institutions of society, such as the family and religion, are viewed as grand narratives, in Lyotard’s sense of the term, which Tarantino repeatedly subverts. Overlapping with this intersection of Lyotard’s philosophy in Tarantino’s films is the Baudrillardian loss of the real, which manifests as hyperreality in many scenes. I suggest that Tarantino makes a conscious effort to create such hyperreality with the creation of playful signifiers in his films. I examine selected scenes to find Baudrillard’s “successive phases of the image” (Baudrillard 2010:6) that lead to the creation of a simulacrum. The compelling intersections between the creation of Baudrillardian simulacra and the subversion of Lyotard’s grand narratives are explored within selected scenes which are deconstructed by means of film narratology, semiotic analysis and narrative analysis. The combination of the various methods of media research in this thesis enables what Jane Stokes calls “a more textured understanding” (2008:27) of the films under discussion. A close reading from a semiotic point of view facilitates a deconstruction of some obscure elements, such as the embedded meaning in lyrics and dialogue or the messages implicit in the mise en scène. / English Studies / M. A.

Thesis (MA)--Stellenbosch University, 2002. / ENGLISH ABSTRACT: This thesis contains the results of an investigation into the elements of the horror story and the Gothic novel in three contemporary works. The investigation was conducted within the theoretical framework of the original historical Gothic novel of the eighteenth century, in comparison with contemporary theorization on the Gothic, with specific reference to the study of Eddy Bertin, and to some extent Hendrik van Gorp and Fred Botting. Four conventions of the Gothic genre were identified, and were applied to an Afrikaans novel and drama, as well as a Dutch novel, to establish to which extent the Gothic manifests itself in these contemporary texts. The study focussed on The night only has one eye (1991) by Francois Bloemhof, Crossing/ Passion (1994) by Reza de Wet and A heart of stone (1999) by Renate Dorrestein. From these texts, which were read within a Gothic framework, it could be deduced that there is a deviation from the conventional Gothic texts within both the Afrikaans and the Dutch texts. This deviation especially occurs with regard to characterization, with specific reference to the female character. The authors use the traditional Gothic characters as a point of departure, but bring about renewal in the texts by making them part of a wider philosophical field. The portrayal of the themes of good versus evil, space and tension, also shows a deviation from the Gothic conventions. An important finding in this study is that the Gothic genre in its pure form can not successfully be traced in contemporary literature. The three texts under discussion show the occurrence of allogamy between the different sub-categories of horror. A further important conclusion is that these three texts cannot be merely categorized as Popular literature because of the renewal it brings regarding the traditional Gothic conventions. / AFRIKAANSE OPSOMMING: Hierdie tesis bevat die resultate van 'n ondersoek na elemente van die gruwelverhaal en die Gotiese roman in drie kontemporêre tekste. Die ondersoek is gedoen binne die teoretiese raamwerk oor die genre van die oorspronklike historiese Gotiese roman van die agtiende eeu, in vergelyking met die hedendaagse teoretisering oor die Gotiek, met spesifieke verwysing na die navorsing van Eddy Bertin, en in 'n mindere mate Hendrik van Gorp en Fred Botting. Vier konvensies van die Gotiese verhaaltipe is geïdentifiseer en toegepas op 'n Afrikaanse roman en drama, asook 'n Nederlandse roman, om vas te stel in watter mate en op watter wyse die Gotiek gemanifesteer word in dié hedendaagse tekste. Die navorsing fokus op Die nag het net een oog (1991) van Francios Bloemhof, Drif (1994) van Reza de Wet en Een hart van steen (1999) van Renate Dorrestein. Dié tekste vertoon al drie duidelik Gotiese kenmerke, maar vertoon daarbyook opvallende afwykings van die tradisionele verskyningsvorme van die Gotiek. Dit geld veral vir karakterisering - meer spesifiek die vroulike karakter en die verhouding tussen die twee geslagte. Die outeurs gebruik die tradisionele Gotiese tipe karakters as vertrekpunt, maar bring vernuwing deur die tekste deel te maak van 'n wyer filosofiese veld. Die tekste se hantering van ander konvensies op die terrein van die tematiese (die goeie versus die bose), ruimte en spanning wyk ook af van die historiese Gotiek. 'n Belangrik aspek wat in die ondersoek na vore kom, is dat die Gotiek as verhaaltipe selde nog in sy suiwer vorm in literatuur aangetref word. Die drie tekste onder bespreking toon in watter aansienlike mate kruisbestuiwing plaasvind tussen die onderskeie sub-kategorieë van die riller. Laastens word daar aangevoer dat die Gotiese en gruwel-elemente binne dié drie tekste op so 'n vernuwende wyse geproblematiseer en uitgedaag word, dat dit nie sonder meer as triviaalliteratuur beskou kan word nie.

L'étude sédimentologique suivante a pour but de retracer et de préciser l'évolution paléogéographique du Tertiaire du massif des Bauges. Ce travail est le résultat d'une double étude sur le terrain et au laboratoire. L'étude sur le terrain consiste en une analyse séquentielle: stratonomie, figures et structures sédimentaires, litages. L'étude de laboratoire comporte des analyses granulométriques, des morphoscopies, morphométries et exoscopie des grains de quartz, l'étude de minéraux argileux, l'étude des minéraux lourds et la pétrographie. Les méthodes,de laboratoire (granulométrie, morphoscopie, morphométrie et exoscopie) sont exposées dans le chapître suivant. Pour chaque formation, nous étudierons successivement les résultats obtenus sur le terrain et au laboratoire ..

Alexis de Tocqueville est un auteur canonique du libéralisme. Son inscription au sein du libéralisme s’opère fréquemment par une accentuation unilatérale de sa défense de la liberté individuelle. Certes, Tocqueville défend la liberté individuelle, elle prend une place décisive dans son œuvre où l’objectif théorique proposé révèle sa volonté d’élever l’individu à côté de la société et de l’État. Mais cette défense est constamment pensée chez Tocqueville en interrogeant ses conditions de possibilité qui sont indissociables d’une culture politique où la participation politique est une dimension essentielle. Une participation politique qui fonde des habitudes collectives, une culture civique, assurant ainsi la pérennité des institutions démocratiques libérales. En ce sens, il est évident que le libéralisme de Tocqueville est déterminé par un cadre plus large que la seule défense de la liberté individuelle. Afin qu’elle s’épanouisse pleinement et véritablement, il y a une priorité absolue d’une pratique continue de la liberté, la liberté politique qui actualise sans repos les conditions de possibilité de la liberté individuelle. Cette pratique de la liberté politique contribue à la formation des «mœurs libres», ces habitudes collectives qui organisent une culture civique particulière, mœurs indispensables au maintien des sociétés libres. Nous identifierons donc Tocqueville à un libéralisme des mœurs. Afin de saisir adéquatement la réelle portée de la pensée tocquevillienne, nous dévoilerons les influences intellectuelles fondamentales qui ont présidé à l’élaboration de La Démocratie en Amérique. De fait, nous restituerons l’espace intertextuel entre Tocqueville et François Guizot. Cet espace révèle l’influence certaine de Guizot sur Tocqueville, mais il rend également saillante son insistance sur une pratique de la liberté politique. / Alexis de Tocqueville is a canonical author of liberalism. His inscription within liberalism often commented as a unilateral emphasis of the defence of individual freedom. Certainly, Tocqueville defends individual freedom and it is a decisive part of his work where his proposed theoretical objective reveals his will to elevate the individual to the level of society and the State. But this defence is always thought of by Tocqueville in his questioning of the conditions of possibility of freedom which are inseparable of a political culture where political participation is an essential dimension. A political participation which melts collective habits, civic culture, thus insuring the permanence of its liberal democratic institutions. It appears that the liberalism of Tocqueville is determined by a broader frame than the only defence of individual freedom. For a real individual freedom that flourishes entirely, there is the absolute preference for a continuous practice of freedom, political freedom which constantly updates the conditions of possibility of individual freedom. This practice of political freedom contributes to the development of « free manners », these collective habits which organize a particular civic culture, manners necessary to the assertion of the free societies. We shall identify Tocqueville with a liberalism of manners. To properly grasp the true range of the tocquevillian thought, we shall reveal the fundamental intellectual influences which governed the drafting of Democracy in America. Indeed, we shall restore the intertextual space between Tocqueville and François Guizot. This space reveals the certain influence of Guizot on Tocqueville, but also reveals his emphasis on a practice of political freedom.