The following study describes the French colonisation in New France and focuses on the inability of the French to establish a presence in North America. This research is based on two essential parts. The first part includes two chapters. The first describes the beginning of the exploration and the first establishment of the permanent French colonies in North America. The second is about the emergence of a strong French empire and the factors that led to the temporary success of the French colonies. The second part consists of the factors that led to the weakening of this empire and contributes to the failure of a permanent French presence in North America.

Over the past three decades, the plays and productions of Theatre de la Vieille 17 have made significant contributions to French Canadian children's theatre. Their productions embrace a fantastical and imaginative narrative that make them accessible to most audiences. As much as this company shows a remarkable openness to the world, it maintains strong ties to the Franco-Ontarian theatre milieu. This thesis examines key elements that have contributed to La Vieille 17's continual commitment to children's theatre as well as ways in which its productions and policy making have resulted in its increasing artistic and financial success. This study begins by looking at La Vieille 17's three most significant plays: Le Nez, Mentire, and Meta. This analysis takes into consideration the narrative of each play, production elements, co-producers and collaborators, funding, the scope of their tour, and awards and recognition. Each of these aspects contribute to giving these productions a broader world view and help to establish La Vieille 17 as a leading producer of children's theatre. The second part of this thesis analyses key moments during the company's history as well as moments in which it has acted as a common front with other Franco-Ontarian theatre companies. Both of these activities have shaped La Vieille 17's children theatre programming and have led the company to create a successful model in which to produce their works.

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Dans cette étude, nous examinons la question de l'identité et de la langue en Ontario français. Nous nous intéressons plus particulièrement aux discours identitaires, tels que représentés dans cinq pièces de théâtre contemporaines franco-ontariennes : Par osmose, L'Hypocrite, Zag, French Town et Mathieu Mathématique. Les dramaturges (respectivement le collectif Les Draveurs, Michael Gauthier et Michel Ouellette) exploitent des thèmes comme la place du français en Ontario et l'assimilation aux anglophones, l'histoire franco-ontarienne, mais aussi des thèmes généraux comme l'hypocrisie, l'adolescence et la famille. Les pièces Par osmose, L'Hypocrite et Zag s'adressent à un public adolescent et mettent en scène des personnages adolescents, tandis que French Town s'adresse aux adultes et Mathieu Mathématique aux enfants. En nous basant sur le corpus de l'Ontario français de Raymond Mougeon, nous avons pu mesurer l'écart entre la représentation d'une communauté – son histoire, sa langue et sa culture – et ses caractéristiques linguistiques. Nous montrons que l'écart entre les usages et les représentations dépend en grande partie du thème de la pièce et du public cible.

Over the past three decades, the plays and productions of Theatre de la Vieille 17 have made significant contributions to French Canadian children's theatre. Their productions embrace a fantastical and imaginative narrative that make them accessible to most audiences. As much as this company shows a remarkable openness to the world, it maintains strong ties to the Franco-Ontarian theatre milieu. This thesis examines key elements that have contributed to La Vieille 17's continual commitment to children's theatre as well as ways in which its productions and policy making have resulted in its increasing artistic and financial success. This study begins by looking at La Vieille 17's three most significant plays: Le Nez, Mentire, and Meta. This analysis takes into consideration the narrative of each play, production elements, co-producers and collaborators, funding, the scope of their tour, and awards and recognition. Each of these aspects contribute to giving these productions a broader world view and help to establish La Vieille 17 as a leading producer of children's theatre. The second part of this thesis analyses key moments during the company's history as well as moments in which it has acted as a common front with other Franco-Ontarian theatre companies. Both of these activities have shaped La Vieille 17's children theatre programming and have led the company to create a successful model in which to produce their works.

Inaug.-diss.--Königsberg i Pr. / "Quellenübericht": p. [198]-213.

Thesis--Amsterdam. / Includes bibliographical references.

Après la victoire militaire du général Franco, le 1er avril 1939, s’instaure en Espagne une dictature militaire et ecclésiastique. Un « temps du silence » commence pour les vaincus de la guerre. À partir de 1945, cependant, la dictature surnage après la défaite des régimes qui avaient été ses modèles ; elle va traverser plusieurs étapes. L’époque médiane du franquisme (1945-1959) sera celle de la consolidation du régime, qui s’affiche désormais comme nationalcatholique.Dans le domaine photographique, les pratiques professionnelle et amateur vont se heurter à de sévères et nombreux interdits, et l’imagerie nationale sera celle du repli sur soi, du respect des conventions. La photographie espagnole sera adepte du franquisme ou sa vassale obligée ; ses avant-gardes seront balayées, les reportages, muselés, et les mouvements rétrogrades, comme le pictorialisme tardif, magnifiés. Une photographie qui ne donnera qu’une vision borgne de la réalité, tant les sujets traités obéissent à une certaine nostalgie de commande, aux reflets maniérés et académiques d’un passé révolu.Un élan de modernité et des minces filets d’air libre surgiront néanmoins de la province – où naîtront des associations d’amateurs – ainsi que de la vision des quelques photographes étrangers qui parcourent l’Espagne à cette époque. En interrogeant les usages et les pratiques, en scrutant l’esthétisme de ces images, nous tenterons de savoir dans quellemesure, de quelle manière et jusqu’à quel point les photographes espagnols et étrangers ont pu représenter la société espagnole de 1945 à 1959. Les uns, dans un discours de légitimation d’un pouvoir en place ; les autres, dans un esprit moderniste et humaniste / After General Franco’s victory on April 1st, 1939, a military and ecclesiastical dictatorship takes hold of Spain. A “time of silence” sets in for the vanquished of the war. After 1945, however, the dictatorship survives the demise of the political regimes it had modelled itself on and goes through several stages. Under the median period of Franquism (1945–1959), the regime, in a phase of consolidation, sets itself up as National-Catholic. In the realm of photography, both professional and amateur practices are up against harsh, manifold prohibitions, and the national imagery displays introversion and respect for conventions. Spanish photography proves the follower or mandatory vassal of Franquism; its avant-gardesare annihilated, its reports muzzled, while retrograde movements, such as late Pictorialism, are glorified. It conveys only a one-eyed vision of reality in that its subjects respond to a conventional nostalgia reflecting a bygone past in affected, academic fashion.However, a surge of modernity, as well as thin trickles of fresh air, emerges from the provinces –where amateur associations come into light– and from the vision of some foreign photographers then touring Spain. We will question common practices and scrutinize the esthetics of these images in order to find out how, to what extent and in what way theseSpanish and foreign photographers have managed to picture Spanish society between 1945 and 1959: some with a view to legitimizing the authorities in control, others in a modernist, humanist frame of mind

Constitutional Development of the Francoist Spain Summary in English The aim of the thesis is to describe political regime, legal order and especially the constitutional laws applicable in Spain during the governance of Francisco Franco Bahamonde between the years 1936 and 1975. Franco took part in the military uprising against the Second Spanish Republic and soon became the leader of the nationalist troops. As the head of state he constructed a "New State" inspired by the fascist, falangist and traditionalistic ideas. Under the influence of international circumstances after the Second World War he was forced to change his allies - Mussolini's Italy and Hitler's Germany was replaced by the United States - but his autocratic regime did not change a lot. It was still him who disposed of the unlimited power and whose status was unchangable. The free competition of the political parties was disabled as the only legal party was Francoist FET y de las JONS (later known as National Movement). During his reign Franco adopted seven constitutional laws which confirmed human rights and ideological principles of the regime and organized the state administration and public authorities. First of these laws was Labour Charter, adopted in 1938, followed by Law on the Cortes in 1942, Charter of the Spaniards in 1945, Law on...

Over the past three decades, the plays and productions of Theatre de la Vieille 17 have made significant contributions to French Canadian children's theatre. Their productions embrace a fantastical and imaginative narrative that make them accessible to most audiences. As much as this company shows a remarkable openness to the world, it maintains strong ties to the Franco-Ontarian theatre milieu. This thesis examines key elements that have contributed to La Vieille 17's continual commitment to children's theatre as well as ways in which its productions and policy making have resulted in its increasing artistic and financial success. This study begins by looking at La Vieille 17's three most significant plays: Le Nez, Mentire, and Meta. This analysis takes into consideration the narrative of each play, production elements, co-producers and collaborators, funding, the scope of their tour, and awards and recognition. Each of these aspects contribute to giving these productions a broader world view and help to establish La Vieille 17 as a leading producer of children's theatre. The second part of this thesis analyses key moments during the company's history as well as moments in which it has acted as a common front with other Franco-Ontarian theatre companies. Both of these activities have shaped La Vieille 17's children theatre programming and have led the company to create a successful model in which to produce their works. / Arts, Faculty of / Theatre and Film, Department of / Graduate