« Le juge des libertés et de la détention ». A l’oxymore de son appellation répond l’ambivalence de l’institution dans le procès pénal. Créé par la loi du 15 juin 2000 renforçant la protection de la présomption d’innocence et les droits des victimes, le magistrat s’impose, à l’origine, comme le compromis attendu entre la nécessité d’un nouveau contrôle de la détention provisoire et l’attachement français à l’institution du juge d’instruction. Investi d’un rôle central en la matière, le juge judiciaire a également vocation à intervenir dans le cadre de mesures diverses, que son contrôle irrigue les enquêtes pénales ou qu’il s’étende à d’autres contentieux, comme en matière de privation de liberté des étrangers, de visites et saisies administratives ou encore de l’hospitalisation sans consentement. La succession de modifications sporadiques de ses pouvoirs confirme sa fonction malléable, au service d’une quête pérenne : la protection des libertés, l’équilibre de l’avant-procès. Au rythme des louvoiements du législateur, le magistrat peine, pourtant, à s’identifier dans le processus pénal : hier au service des libertés, aujourd’hui de la coercition. Alors que l’institution semble poser les sédiments d’une nouvelle perception de la phase préparatoire du procès, l’évolution de son rôle préfigure d’autres mutations : de la justice pénale, des acteurs judiciaires, l’esquisse, enfin, d’une équation processuelle singulière. La présente recherche propose ainsi de situer ce magistrat au coeur de ces évolutions, comme la trame embryonnaire d'un "renouveau" de la phase préparatoire du procès. / « The Judge for freedom and detention » [Le juge des libertés et de la détention]. The oxymoron of its name reflects the ambivalence of this institution in criminal matters. Founded by the June 15, 2000 statute which reinforces the protection of presumption of innocence as well as the victims’ rights, this magistrate originally imposed itself as the expected compromise between the necessity of a new control over custody and ties of the French to the institution of the investigating judge [juge d‟instruction]. Empowered with a central role in this matter, the judiciary judge must also intervene when various measures are considered, both during criminal investigations and other types of litigations, such as those depriving foreigners of their freedom, administrative search and seizures or hospitalization without consent. The succession of the sporadic modifications of its powers only confirms the flexible nature of its function to serve a never ending quest: the protection of civil liberties and the balance of the pre-trial. As the legislator hedges, the institution struggles to find its place within the criminal process. Yesterday dedicated to civil liberties, today to coercion. Whilst the institution seems to set the basis for a new perception of the pre-trial phase, the evolution of its role announces further transformations: to criminal justice, to the judiciary actors and finally, the preparation of a singular equation in the litigation process. The present paper offers to locate this magistrate within these evolutions as the embryonic plot of a “new era” in the pre-trial phase.

À l’heure actuelle, le droit du cautionnement est une matière totalement désagrégée. Cet éclatement du droit du cautionnement provient essentiellement de l’abondance et de la superposition des textes : on ne compte plus les multiples interventions du législateur, ni les rebondissements jurisprudentiels. La matière aurait pu être simplifiée si elle avait bénéficié de la réforme du droit des sûretés avec l’ordonnance du 23 mars 2006. Mais il n’en est rien.Associée au droit des sociétés, cette matière en devient d’autant plus complexe. En droit des sociétés, le cautionnement est une garantie des plus répandues. Il constitue la plupart du temps, pour la société, un acte dangereux car il peut avoir des conséquences préjudiciables pour celle-Ci. En même temps, la réglementation doit garder une certaine souplesse afin de respecter les exigences de rapidité de la vie des affaires. Cette conciliation est délicate à réaliser.Cette étude se propose d’appréhender le lien existant entre le cautionnement et les règles du droit des sociétés. Pour mener à bien cette entreprise, il convenait d’envisager le sujet sous deux angles, à savoir d’une part le cautionnement donné par une société, et d’autre part, celui consenti au profit d’une personne morale.Un tel cautionnement qu’il soit donné par une société, ou en sa faveur, est de nature à soulever des difficultés au regard des principes gouvernant le droit des sociétés. C’est pourquoi, certaines règles ont été fixées. Le cautionnement se trouve ainsi gouverné par des règles de droit des sociétés spécifiques, au-Delà des règles de droit commun qui le régissent. Mais cela passe également par l’exploitation du formalisme supposé protéger la caution personne physique, les obligations du créancier telles que l’obligation d’information, de mise en garde, le principe de proportionnalité…Si la loi Dutreil a échoué dans son impératif de cohésion et de simplification du droit du cautionnement, peut-On dire que l’avenir est à une unification des différentes législations relatives au cautionnement ? / At present, surety law is a matter that has totally been breaking apart. This fragmentation of surety law is mainly due to the abundance and overlapping of legislative acts: there are more interventions on the part of the legislator, more jurisprudential developments than we can count. The matter could have be simplified, had it benefited from the reform of security law in accordance with the order of 23 March 2006. But that was not the case.In relation to corporate law, the subject is becoming even more complex. In corporate law, surety is the most widespread guarantee. To a company it represents, most of the time, an unsafe act because it may suffer adverse consequences from it. At the same time, regulation should retain some flexibility to meet the speed requirements of the business world. This is a delicate balance to achieve.This study aims at grasping the relationship between surety and the rules of corporate law. To carry out this undertaking, it was appropriate to consider the subject from two different angles, namely the surety bond as it is issued by a company, and that as granted for the benefit of a legal person.Such guarantee whether it is granted by a company or to it, is liable to give rise to difficulties with regard to the principles governing corporate law. Which explains why certain rules have been set. The guarantee is therefore governed by specific corporate rules that transcend the common law rules made to that effect. But it also involves meeting the formal requirements designed to protect the individual guarantor, and binding the creditor to obligations such as the duty of disclosure, duty of warning, the principle of proportionality ...If the Dutreil law has failed to observe the requirements of cohesion and simplification of surety law, can we therefore say that the future is dependent on a unification of the various laws pertaining to surety?

The impetus for this study was the question of whether the information, which has been handed down on Czech architects who worked with Le Corbusier is true or not. Working in the studio of one of the leading architects of the 20th century was a crucial formative experience for dozens of architects while also being an attractive entry in their résumés. The doctoral thesis Myth and Reality: The Czech Assistants of Le Corbusier 1924-1937 is based on vast research of primary sources abroad as well as in the Czech Republic. The thesis critically examines the information known in the literature until now. The study aims to look behind the curtain of the formation of the existing historiography of Czech architectural modernism. It proves that architects themselves often entered history by means of their self- promotion skills. Parts of the thesis consist of a verified and critical list of Czech assistants at Le Corbusier's studio in 35 rue de Sèvres in Paris, detailed analysis of how work was conducted in the studio and an analysis of related sources. The work presents 13 Czech architects who worked in the studio of Le Corbusier and Pierre Jeanneret in the period between the two World Wars. The study follows individual forms of dialogue between young architects and Le Corbusier. In some cases, the research of...

The thesis focuses on texts written and translated by members of Group 42, Jiřina Hauková and Jiří Kolář, specifically. It begins with a description of 1940s' literary context, incorporating poetical principles stated by Jindřich Chalupecký, the leading theorist of the Group 42. The research section of the thesis begins with an analysis of Jiřina Hauková's Přísluní and Cizí pokoj and Jiřího Kolář's Křestný list, Ódy a variace and Limb a jiné básně, poetry collections directly influenced and heading towards the poetic principles of the Group 42. This is followed by an analysis of the translations of poems by Dylan Thomas, Carl Sandburg and T. S. Eliot, the key being a comparison of various published versions. In case of Thomas and Sandburg, these are versions by the same translator published in different selections; in case of Eliot, these are versions by different translators. The thesis is concluded by the answer to the question whether and to what extent Jiřina Hauková and Jiří Kolář fulfil the poetic requirements of the Group 42 and to what extent their own poetics are present in the translations.

This dissertation is devoted to a monographic processing of the work of sculptress Maria Bartuszová (1936, Prague - 1996, Košice). Methodologically, it is mainly based on the compilation and evaluation of knowledge from the in-depth research of the first list of works of M. Bartuszová "Catalogue Raisonné 2012-2018", Collection of drawings and photographs from the Archive of M. Bartuszová, biography, exhibitions and bibliography. It is divided into four chapters, in which it deals with the sculpture of M. Bartuszová, its transformations in the period of her ceramics studies at the Academy of Fine Arts, Design and Architecture during the 1950s in Prague, continues by tracking her sculptural beginnings since 1961, and it deals with the circumstances of her relocation to Košice where she lived most of her life. It tracks her work during the normalization period of the 1970s until the end of the 1980s, when the totalitarian regime ended with the Velvet revolution. It explores the reasons why her work was little exhibited and also why it was little known and reflected by the professional circles. Based on the process of assembling parts of the organism of her oeuvre reconstructs technological experimental procedures, original terminology of the sculptor, creative intentions, dating of works and their...

West European Impulses of Bulgarian Diabolism (A Look at the Bulgarian Literature of the 1920s) Abstract Keywords: Bulgarian literature, expressionism, avant-garde, diabolism, horror fiction, marvelous, uncanny, Menippean carnival discourse, romanticism, naturalism, individualism Svetoslav Minkov (1902-1966), Vladimir Poljanov (1899-1988), Georgi Rajčev (1882 - 1947), Čavdar Mutafov (1889-1954) Contrary to its generally innovative potential for Bulgarian literature, the phenomenon called Bulgarian diabolism has been a marginal one from the point of view of literary discourse. The interest of postmodern writers and reviewers has given rise to accentuating some of the partial aspects of the works of Svetoslav Minkov, Vladimir Polyanov, Georgi Raychev and Chavdar Mutafov. However, with the exception of Thomas Martin's monograph Der bulgarische Diabolismus. Eine Studie zur bulgarischen Phantastik zwischen 1920 und 1934, published in 1993, works explicating the nature of the phenomenon in Bulgarian literature have been missing. Due to their novelty and impurity, the syncretic writings of Bulgarian diabolists, blending fading individualistic modernist tendencies together with elements of romantic fiction of horror in the generally expressionist roots of their works, were a phenomenon difficult to rank for their...

1 Abstract A monograph on Jan Kotík (1916-2002) introduces both his art and theoretical work, it deals with a historical and cultural context of the now-defunct Czechoslovakia. Kotík's - an artist's, theoretician's, published author's, educator's - artwork enjoys a prominent position in the context of Czech art of the second half of 20th century. An art-historical assessment of artwork was based on Kotik's artwork inventory and on all the documentation on Kotik's life and art work archived in the Documentation Department of the Institute of Art History of the Academy of Sciences of the CR and in private archives in the CR and Berlin. The study is based on a method of organic combination of biographical data and art-historical data with quotation of Kotik's theoretical texts. An evolution of artist's work is demonstrated chronologically with the context to Czech and world art. The monograph includes chapters: "Father Pravoslav's Art Studio and Study Years", "Art Group 42", "Possibilities of Applied Art", "Painting-Object", "Stay in Berlin", "Returns".

Ce mémoire s’intéresse à la notion d’expérimentation en jeu vidéo pour jeter un éclairage conceptuel productif sur le terme vague « jeu vidéo expérimental ». Postulant que le jeu vidéo s’inscrit à la fois dans le domaine des arts (par l’entremise de la création de composantes visuelles, audio ou narratives par exemple), des sciences (notamment parce qu’il dépend de l’avancement des nouvelles technologies numériques) et du design, l’auteur s’inspire des formes variées et parfois distinctes d’expérimentations à travers l’ensemble de ces domaines afin de décrire non pas une méthode expérimentale unique, mais un espace vaste composé de multiples démarches expérimentales. L’auteur montre finalement comment l’on peut réfléchir l’espace expérimental d’un jeu en s’inspirant de la systémique, puis relève quelques formes et figures expérimentales uniques aux domaines ludiques et vidéoludiques. Ce mémoire inclut aussi un compte rendu rétrospectif de création ainsi que quelques réflexions autour d’une oeuvre développée par l’auteur tout au long de sa recherche, l’album musical vidéoludique pour ordinateur Hoverboy. D’abord imaginée comme une oeuvre foncièrement expérimentale, l’auteur revient sur son processus de création et recadre sa démarche en fonction de ses réflexions théoriques autour de la notion d’expérimentation vidéoludique. Cette double démarche de recherche et de création menée en parallèle ouvre des réflexions méthodologiques sur la recherche-création. / This thesis examines the notion of experimentation in video games to shed a productive conceptual light on the vague term “experimental video game”. Postulating that video games are simultaneously part of the arts (through the creation of visual, audio, and narrative components for example), sciences (notably because it relies on technological advancements), and design, the author leans on by the varied and sometimes distinct forms of experimentation across all these fields in order to describe not one singular experimental method, but a vast space which consists of multiple experimental approaches. The author finally shows how we can contemplate the experimental space of a game by drawing inspiration from systems theory, then identifies some unique experimental forms and figures in games and video games. This thesis also includes a retrospective creation report journal as well as some observations on a work developed by the author throughout their research, the computer-based videoludic music album Hoverboy. First imagined as a fundamentally experimental work, the author looks back on their creative process and reframes their approach regarding their theoretical observations around the notion of video game experimentation. This dual approach of research and creation carried out in parallel leads to methodological discussions on research-creation.

Indiana University-Purdue University Indianapolis (IUPUI) / Although many of Lola Ridge's poems champion the causes of minorities and the disenfranchised, it is too easy to state that politics were the sole reason for her neglect. A simple look at well-known female poets who often wrote about social or political issues during Ridge's lifetime, such as Edna St. Vincent Millay and Muriel Rukeyser, weakens such a claim. Furthermore, Ridge's five books of poetry illustrate that many of her poems focused on themes beyond the political or social. The decisions by critics to focus on selections of Ridge's poems that do not display her ability to employ multiple aesthetics in her poetry have caused them to present her work one-dimensionally. Likewise, politically motivated critics often overlook aesthetic experiments that poets like Ridge employ in their poetry. Few poets during Ridge's time made use of such drastically varied styles, and because her work resists easy categorization (as either traditional or avant-garde), her poetry has largely gone unnoticed by modern scholars. Chapter two of my thesis focuses on a selection Ridge's social and political poems and highlights how Ridge's social poetry coupled with the multiple aesthetics she employed has played a part in her critical neglect. My findings will open up the discussion of Ridge's poetry and situate her work both politically and aesthetically, something no critic has yet attempted. Chapter three examines Ridge’s role as editor of Modern School, Others and Broom. Ridge's work for these magazines, particularly Others and Broom, places her at the center of American modernism. My examination of Ridge's social poetry and her role as editor for two leading literary magazines, in conjunction with her use of multiple aesthetics, will build a strong case for why her work deserves to be recovered.

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