Thesis (thèse conplémentaire)--Paris. / Issued also without thesis statement. Includes indexes. Includes bibliographical references (p. [9]-11).

Thesis (D. Min.)--McCormick Theological Seminary, 2003. / Includes bibliographical references (leaves 41-44).

Thesis (thèse conplémentaire)--Paris. / Issued also without thesis statement. Includes indexes. Includes bibliographical references (p. [9]-11).

L’histoire du Cabinet des estampes de Genève et de ses collections, est un sujet aux aspects multiples. Celui-ci est fondé en 1886 pour réunir les collections de la Ville et son fonds d’estampes est évalué à cette époque à plus de 110.000 pièces, résultant d’apports successifs, ayant pour origine la collection du premier Musée des Beaux arts de la Ville et la collection de François Burillon.L’enrichissement des collections, après 1910, font aujourd’hui de ce cabinet l’un des cabinets suisses importants, avec un fonds estimé à environ 350.000 pièces dont environ 150.000 acquises après 1956 et orienté en majorité sur l’art contemporain.L’histoire d’un Cabinet d’estampes ne se résume pas à l’enrichissement de ses collections. C’est aussi l’histoire d’une institution culturelle vouée aux Beaux-arts sous ces différents aspects. Si le travail sur les collections reste la base de son activité, elle comprend également une vie au quotidien dont il est rarement fait état. C’est aussi les relations avec son public et les moyens qu’il lui donne pour accéder à ses collections, une activité qui va prendre de plus en plus d’importance et se traduit principalement par la mise en place d’expositions temporaires. / The department of prints at the Musée d‘art et d’histoire of Geneva and his collections has along and complex history. Originally founded in 1886 to bring together all works on paper owned by the City of Geneva, it was split into a prints and drawings collection by the mid 1890’s. The print collection then was attached to the former museum of applied arts until 1910 for then being integrated into the library. From 1910, i.e. the founding of the Musée d’art et d’histoire, until 1952, the print collection remained in the main museum. This year it was transferred into an adjacent building. The Cabinet des Estampes, recently designed under the name of Cabinet d’arts graphiques includes a wide range of works: some 350’000 prints and 25’000 drawings, but also ca. 400 pastels, artist’s books, multiples and photographs and a large collection of printing plates. The history of a prints room is not only dedicated to the development and management of his collections. It includes also the life of a museum under his different aspects. If the work on collections remains his principal activity, it is also the daily life, rarely mentioned, but also his relations with the public: direct access to the collections and temporary exhibitions.

Sexuality is one of the most central elements of human existence. Throughout history, attacks on women have been common during armed conflict. Frequently military forces have viewed sexual violence as a spoil of war, a punishment to defeated populations, or as the deviance of rogue soldiers. However, there are conflicts in which sexual violence is used as a weapon. In these conflicts, sexual violence evolves from a facet of conflict to genocide. When a military force’s command utilizes systematic and widespread sexual violence as a weapon of war, in both intent and effect, it fulfills every condition of the Geneva Convention standards of genocide. Three cases are analyzed within this thesis: Chile under the Pinochet dictatorship, Rwanda during its genocide, and Bosnia during the break-up of the former Yugoslavia. Motivations for each of the conflicts varied. However, the constant in all three conflicts was the intended elimination of a specific group and the implementation of a policy of sexual violence in order to do so. In order for crimes to be considered genocide they must fulfill one of the following conditions, as stated in Article 2 of the Geneva Conventions, any of the following acts committed with intent to destroy, in whole or in part, a national, ethnical, racial, or religious group, as such: A. Killing members of the group; B. Causing serious bodily or mental harm to members of the group; C. Deliberately inflicting on the group the conditions of life calculated to bring about its physical destruction in whole or in part; D. Imposing measures intended to prevent births within the group; E. Forcibly transferring children of the group to another group. Egregious acts of sexual violence and torture were utilized by all three respective commands in order to murder, incur grievous mental and physical harms, destroy the group’s ability to procreate in the future and impose measures upon the group intended to bring about its end. This work demonstrates that irrespective of the cause of a conflict, when systematic and widespread sexual violence is used as a weapon of war, it is genocide.

The theoretical part of diploma thesis The Treatment of Prisoners of War in Afghanistan addresses the international law response to events related with the "war on terror". It also highlights the fact that the application of international law is necessary for harmonization national legislation of the states with international rules. In this case the United States of America. The empirical part of the thesis points out to the case of prison torture in detention center Bagram. The aim of this thesis is posing a question whether nowadays it is possible to capture and define the legal issues that arise with the torture of prisoners of war.

Ce projet de thèse, développée en co-tuelle entre l’université de Malaga et l’EPHE, est centré les mutations des langages architecturaux telles qu’elles se profilent en Italie et en Espagne, particulièrement en Andalousie, au milieu du XVIème siècle. Vis-à-vis de l’Italie, l’assimilation des principes vitruviens par les architectes espagnols est tardive et s’appuie sur des traités. Dès les années trente fut publié celui de Diego de Sagredo, Las medidas del romano, centré sur les proportions du corps humain et les ordres architecturaux. En 1552, eut lieu traduction du Quatrième et Troisième Livre de Sebastiano Serlio par Francisco de Villalpando, suivi par deux traductions du traité de Vitruve, rédigées d’une part par Miguel de Urrea en 1568, mais éditée seulement en 1582, et d’autre part celle de Lazaro de Velasco, entre 1554 et 1564. C’est en Andalousie que l’on peut observer un processus d’assimilation des règles provenant de l’Antiquité dans l’œuvre d’Andres de Vandelvira comme la Sacrée Chapelle du Sauveur et la sacristie de Cathédrale de Jaén, l’un des témoignages les plus remarquables de la Renaissance espagnole. Dans le domaine profane, Pedro Machuca avait instauré déjà vers 1527 au palais de Charles V à Grenade des ordres vitruviens avec lesquels il s’était familiarisé pendant un séjour à Rome en 1517-1520. Le long chantier de ce monument révèle la manière dont les spécificités du vocabulaire changent dans les décennies suivantes, en passant d’un classicisme sincère vers un classicisme ornemental. Ce travail propose d’analyser de manière détaillée l’influence de ces traités sur l’évolution des langages architecturaux, en se concentrant sur un choix de monuments des deux pays représentatifs des mutations qui se profilent durant cette période. Ces analyses éclairciront la manière dont se conjuguent les modèles importés et les traditions locales dans de nouvelles synthèses. Une attention particulière sera prêtée aux savoir-faire techniques qui, dans le cas de l’Espagne, restent étroitement liée aux corporations et aux chantiers des cathédrales tardo-médiévales. En-dehors d’une confrontation des modes d’assimilation dans les deux pays, nous allons également suivre la mise au point d’un processus codification des langages dans les deux pays qui se met progressivement en place, selon des rythmes différents, sans toutefois unifier le répertoire formel. Nous allons procéder par une étude détaillée de monuments, particulièrement de Vandelvira et d’Alessi, fondée sur une analyse archéologique et archivistique. L’objectif est de s’éloigner des concepts généralement admis comme celui du maniérisme en faveur d’une analyse ciblée des témoignages. Après avoir détecté les modèles provenant des traités qui ont été adoptés, nous allons nous interroger sur les modalités d’assimilation, sur le plan formel et technique. Une étude du contexte historique dans lequel se place cette adoption révélera la signification du prototype, souvent lié à des légitimations politiques. Ce parallélisme entre l’Italie et l’Espagne révélera l’importance que revêtent les traditions autochtones lors de ces mutations progressive. D’autre part, notre réflexion cherchera aussi à mettre en évidence la persistance de principes classiques instaurés pendant cette période, dont certains garderont une actualité pendant plusieurs siècles. Ce travail assurera une meilleure compréhension du classicisme des années 1550-1560 en Espagne, appuyée sur une mise en parallèle avec l’Italie. Il permettra de dégager clairement le rôle joué par les traditions locales et la manière dont ces dernières forment de nouvelles synthèses avec des modèles provenant des traités. / This thesis project, developed under the tutorship shared by Málaga University and L’EPHE, focuses on the transformations which the architectural languages experience in Italy and Spain, particularly in Andalusia, during the second half of the sixteenth century. In comparison to Italy, the Spanish architects’ assimilation of the Vitruvian principles occurred later in time and it was based on the treatises. During the thirties decade, Diego de Sagredo’s treatise The Roman’s Measures was published, which deals with the human body proportions and the architectural orders. The translation of Sebastiano Serlio’s Quarto and Terzo Libro, by Francisco de Villalpando, happened in 1552, and subsequently two more translations of the Vitruvian treatise were written by Miguel de Urrea in 1568, though published in 1582, and Lázaro de Velasco, between 1554 and 1568. In Andalusia we may observe the process of assimilation of Antiquity principles in Andres de Vandelvira’s works, as in the Sacred Chapel of the Saviour and in the Sacristy of Jaén’s Cathedral, one of the most remarkable testimonies of the Spanish Renaissance. In the profane architecture domain, Pedro Machuca, in the Palace of King Charles the Fifth, circa 1527, had already incorporated the Vitruvian principles that he had acquired during his voyage to Rome between 1517 and 1520. The the long building process of this monument shows the manner in which the specificities of the architectural vocabulary changed in the following decades, evolving from a more honest Classicism to a more ornamental one. This project proposes a detailed analysis of the influence of artistic treatises on the evolution of architectural languages, concentrating on a classification of the most representative works in this period in Jaén and Geneva. This study will elucidate the manner in which imported models merge with local traditions. We devote especial attention to the technical craftsmanship that, in the case of Spain, is narrowly linked to the stonemasons’ skill and the building system for the later medieval cathedrals. We proceed through a detailed study of the monuments, mainly works of Vandelvira and Alessi, based on architectural and archival research. The objective is distance our conclusions from generally assumed concepts, like Mannerism, in favour of an analysis determined by testimonies. Once we identity the models that emerge from the adapted treatises, we question ourselves about the way those models are assimilated at a formal and technical level. The study of the historical context in which this adaptation develops will reveal the significance of the models, often related to political legitimizations. This parallelism between Italy and Spain shows the importance that local traditions gain in the event of these progressive transformations. On the other hand, we will evince in our reflection the persistence of the classical principles established during this period, some of which would endure for centuries. This project ensures a better understanding of Classicism between 1540 and 1575 in Spain, supported by a parallelism with Italy. Thus we may clarify the role local traditions play and the way they produce a new synthesis with the models extracted from the artistic treatises.

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