Recent Berlioz studies tend to stress the significance of the French tradition for a balanced understanding of Berlioz's music. Such is necessary because the customary emphasis on purely musical structure inclines to stress the influence of German masters to the neglect of vocal and therefore rhetorical character of this tradition. The present study, through a fresh examination of Berlioz's vocal-orchestral scores, sets forth the various orchestrational patterns and the rationales that lay behind them.

Cette thèse de doctorat porte sur l’analyse du thème de l’animalité et de la bestialité dans L’Homme qui tue d’Hector France, roman écrit en 1878 et La Bête humaine d’Émile Zola, roman qui date de 1890. Ces œuvres constituent deux regards croisés sur la France, l’un sur un pays vu de l’intérieur et l’autre sur un pays diagnostiqué à la lumière de sa politique coloniale. L’enjeu est de mettre en relief jusqu’à quel point ces deux œuvres contemporaines l’une de l’autre, à la fois se répondent mutuellement et se séparent inéluctablement. Dans leurs parcours, dans leurs positions politiques et idéologiques, dans leurs rapports à la France, dans leurs modes d’intervention dans l’actualité brûlante de l’époque, tout sépare France et Zola. Mais à force de creuser dans les différences, des ressemblances peuvent surgir. Au-delà de la parenté thématique de leurs œuvres dans le récit qu’elles font de la condition humaine à l’aune de l’animalité et de la bestialité, des accointances qui se tissent, de près ou de loin, entre les figures auxquelles donne lieu la métaphore de la bête humaine, des destinées similaires sinon identiques de certains personnages, les écarts sont si importants pour oser les occulter par un simple recensement de motifs, de thèmes et de mythes communs aux deux auteurs. Ce sont ces écarts qui sont extrêmement précieux. Plus les disparités se distendent entre les deux écrivains, plus les motivations de ce rapprochement deviennent plus justifiées et plus fécondes. Lire Zola et France l’un par rapport à l’autre, et éventuellement l’un contre l’autre, c’est repenser une partie importante de la carte littéraire de la deuxième moitié du XIXe. Cette redéfinition passe par la nécessité de mettre face à face le centre et la périphérie, le blason et son ombre, le monument et son fantôme / The present doctoral thesis aims at the analysis of the theme of animality and bestiality in Hector France’s The Man who Kills (L’Homme qui tue), a novel written in 1878 and Emile Zola’s The Human Beast (La Bête Humaine) which dates around 1890. These two works represent two crossed visions on France, one on a country viewed from outside and the other on a state diagnosed in the light of its colonial politics. The purpose is to highlight the extent to which these two contemporaneous works at once mutually respond to and yet inescapably break off from each other. In their plots, in their political and ideological positions, their relationships to France, their modes of intervention in the blazing events of the time, everything separates France from Zola. However, digging deep into the differences, certain similarities can come up to the surface. Beyond the thematic link between their works that belies the narration they make of the human condition to either animality or bestiality, the more or less interwoven acquaintances, between the figures resulting from the metaphor of the human beast, or the similar if not identical destinies of certain characters, the gaps are too important to be overshadowed by a mere inventory of motifs, themes, and myths common to both writers. It is these very gaps which are extremely genuine. The more the disparities widen up between the writers, the more the motivations of this merging become more justified and fruitful. To read Zola and France in relation to each other, and eventually the one against the other, is to re-think over an important part of the literary map of the second half of the nineteenth century. This redefinition follows from the necessity of bringing face to face the centre and the periphery, the blazon and its shadow, the monument and its phantom

Diss.--Würzbourg, 1993. / Bibliogr. p. 529-549. Index.

In this study the choral-orchestral compositions produced by Hector Berlioz are examined in detail for characteristics of musical form, textual setting, and methods of scoring for chorus and orchestra. Reasons for the preponderance of the choral-orchestral medium in Berlioz' output are examined in two introductory chapters. The initial chapter concerns Berlioz' personal experiences as an observer, conductor, and critic of choral music, while the second is devoted to Parisian customs in regard to the choral-orchestral medium during the eighteenth and early nineteenth centuries. Included in the historical chapter is a discussion of the haute-contre (high tenor or countertenor) voice preferred in French choruses of that period plus a short review of French orchestral practices, operatic choruses, the French Chapel, Parisian concert societies, and the Paris Conservatory. Especially important is the segment on revolutionary musical fetes which fostered grandiose compositions for chorus and instruments of extremely simple structure. Berlioz' sense of form was governed by his Gallic heritage and for this reason many critics have accused him of formlessness, when in fact his compositions invaribly revolve around a succinct formal plan, admirably executed. Berlioz added to the conservative French tradition which favored the strophe and the Rondeau (an unvarying refrain following disparate couplets) a decidedly learned and classical approach to music structuring; unfortunately, this unique combination of academic compositional techniques and Gallic forms has been a source of perplexity for analysts in search of traditional Germanic forms. Surprisingly, Berlioz makes frequent use of such complex compositional devices as augmentation, fugato, canon, pedal point, and even cantus firmus.

Hector Berlioz (1803-1869) a effectué deux séries de concerts en Russie (en 1847 et 1867-1868, à Moscou et Saint-Pétersbourg). Le compositeur français lui-même considérait ces tournées comme les plus grands triomphes de sa carrière. Cette image d’un accueil massivement positif de Berlioz en Russie, fondée principalement sur les témoignages du compositeur lui-même, reste encore peu étudiée car les sources russes sont difficilement accessibles. La présente thèse a donc pour objectif de reconstituer l’histoire des relations entre Berlioz et la Russie, du vivant du compositeur, pour mieux comprendre les raisons de son succès. Grâce à des documents conservés dans les archives russes et jusqu’alors inédits – des articles de presse, des affiches, des dossiers administratifs, de la correspondance (dont trois nouvelles lettres de Berlioz) – nous présentons un récit plus nuancé des rapports entre Berlioz et la Russie. Ce travail est présenté sous trois angles : 1. La réception critique de Berlioz par la presse russe (environ 360 articles, publiés entre 1833 et 1869) et le rôle de cette dernière dans la formation de l’image de Berlioz ; 2. La pratique d’exécution des œuvres de Berlioz en Russie, aussi bien lors de ses visites qu’en son absence (y compris de nouveaux détails sur l’organisation de ses tournées) ; 3. Les contacts de Berlioz avec différents musiciens russes, comme M. Glinka, A. Verstovskij, V. Kologrivov, A. Lvov et M. Balakirev ; la dédicace de la Symphonie fantastique au tsar Nicolas Ier ; les arrangements par Berlioz de deux œuvres de D. Bortnânskij. Cette étude permet de mieux comprendre les relations artistiques entre la France et la Russie au XIXe siècle, mais également l’importance de Berlioz pour la culture et la musique russes. / French composer Hector Berlioz (1803-1869) organized two series of concerts in Russia (in 1847 and 1867-1868, in both Moscow and St. Petersburg). The musician himself considered these tours as the greatest triumphs of his career. This image of a massively positive reception of Berlioz in Russia – based primarily on his own accounts – has been little studied due to the inaccessibility of Russian sources. The goal of the present thesis is therefore to reconstruct the history of the relationship between Berlioz and Russia during the composer's lifetime, in order to better understand the reasons for his success. Drawing on unpublished documents from the Russian archives – press, posters, administrative files, correspondence (including three new letters from Berlioz) – we present a more nuanced account of the relationship between Berlioz and Russia. This theme is approached from three perspectives: 1. The critical reception of Berlioz in the Russian press (about 360 articles, published between 1833 and 1869) and the role of the press in the formation of Berlioz's image; 2. The performance of Berlioz's works in Russia, both during his visits and in his absence (with new details about the organization of his concert tours); 3. Berlioz's contacts with several Russian musicians, including M. Glinka, A. Verstovskij, V. Kologrivov, A. Lvov and M. Balakirev; his dedication of the Symphonie fantastique to tsar Nicholas I; his arrangements of two works by D. Bortnanskij. This study helps to better understand artistic relations between France and Russia in the 19th century, but also Berlioz's importance for Russian culture and music.

The geologist James Hector (1834-1907) was, by any measure, the most important and influential scientist in nineteenth century New Zealand. In the mid 1860s, he became the first Director of the New Zealand Geological Survey and the Colonial Museum. Thereafter he ran the Colonial Laboratory, set up the Meteorological Service and the Wellington Botanical Gardens and was responsible for the establishment of the New Zealand Institute, acting as its manager and editor of its Transactions and Proceedings for more than 30 years. This work explores the formative years of his career from his early years in Scotland, his experiences with the Palliser Expedition in Canada, and pivotally, his first four years in New Zealand as the first Otago Provincial Geologist. By the time of James Hector�s entry as a medical student to Edinburgh University in 1852, he had already developed a strong interest in natural history, particularly geology. Although he graduated M.D. from Edinburgh in 1856, that course of study served only as a means of access to the natural sciences. Hector�s interest and training in geology developed at an opportune time, when there was increasing demand for geologists to explore the expanding industrial British Empire for coal and other mineral raw materials. Hector�s reputation in geology in Edinburgh brought him to the attention of that most influential British geologist, Sir Roderick Murchison, whose recommendation led to his appointment to the British North American Expedition of 1857 (the Palliser Expedition). Hector was acknowledged, on several counts, as a major contributor to the success of the expedition. When the Otago Provincial Government in New Zealand requested advice on the appointment of a geologist for the province, Murchison predictably proposed Hector. Having reviewed and assessed his work in North America, this thesis deals with the arrival of Hector as Otago Provincial Geologist in Dunedin during the prosperity of the gold rush of the early 1860s. For the first nine months he explored the central and eastern areas of the Province (Chapter 2) and the following year led the exploration of the West Coast, where there was potential for coal, gold and timber-and reputedly copper-and the prospect of providing a commercial route to Melbourne. The two month long expedition up the Matukituki Valley preceded the exploration by ship of the West Coast of the South Island as far north as Martins Bay. The latter became a major triumph on the strength of the contemporary perception of a route between Queenstown and Martins Bay potentially opening up a direct contact between Dunedin and Melbourne. From mid-1864, Hector�s life was governed by the organisation of the International Exhibition, which opened in Dunedin in January 1865. In that context, he travelled to seek support and participation from the other provinces of New Zealand, a political and administrative commission which he combined with geological exploration. After the closure of the successful Exhibition in May 1865 and subsequent to the conclusion of his appointment on 1st April 1865, Hector left Otago in August to take up the newly created post of Director of the New Zealand Geological Survey in Wellington. The parting was not administratively smooth and relations between Hector and the Otago Provincial Government were strained by the lack of a final, definitive, report on the Geology of Otago. An overview of Hector�s geology, specifically his interest in coal and gold, and the evolution of his views on the vexed question of the role of glaciers as geomorphologic agents is provided. James Hector was a man of versatile ability and strong leadership. His scientific skills as a field geologist and the administrative abilities, developed during his explorations in British North America and southern New Zealand, led ultimately to his long and successful career as New Zealand�s chief scientist at a formative time in its history.

Photoproduction has been used at colliders for decades in order to study hadronic properties of matter. The energy and luminosity of recent and future colliders allow probing also the electroweak sector through photon-photon and photon-proton interactions. At the HERA electron-proton collider, studies of the W boson production provide a stringent test of the Standard Model. At the LHC, photoproduction has to be separated from the overwhelming background of partonic interactions. A powerful ‘tagging’ technique can be introduced by adding special detectors placed far from the interaction point to detect forward scattered protons, usually present in photon-mediated processes. The HECTOR software package was written in order to provide accurate simulation of forward protons trajectories in the LHC beam-lines. These tools have been used in order to study the photoproduction of top quarks via flavor-changing neutral currents. This process is practically absent in the Standard Model, while it appears in some of its extensions. Detection of such a process would thus be an evidence for the existence of physics beyond the Standard Model.

The geologist James Hector (1834-1907) was, by any measure, the most important and influential scientist in nineteenth century New Zealand. In the mid 1860s, he became the first Director of the New Zealand Geological Survey and the Colonial Museum. Thereafter he ran the Colonial Laboratory, set up the Meteorological Service and the Wellington Botanical Gardens and was responsible for the establishment of the New Zealand Institute, acting as its manager and editor of its Transactions and Proceedings for more than 30 years. This work explores the formative years of his career from his early years in Scotland, his experiences with the Palliser Expedition in Canada, and pivotally, his first four years in New Zealand as the first Otago Provincial Geologist. By the time of James Hector�s entry as a medical student to Edinburgh University in 1852, he had already developed a strong interest in natural history, particularly geology. Although he graduated M.D. from Edinburgh in 1856, that course of study served only as a means of access to the natural sciences. Hector�s interest and training in geology developed at an opportune time, when there was increasing demand for geologists to explore the expanding industrial British Empire for coal and other mineral raw materials. Hector�s reputation in geology in Edinburgh brought him to the attention of that most influential British geologist, Sir Roderick Murchison, whose recommendation led to his appointment to the British North American Expedition of 1857 (the Palliser Expedition). Hector was acknowledged, on several counts, as a major contributor to the success of the expedition. When the Otago Provincial Government in New Zealand requested advice on the appointment of a geologist for the province, Murchison predictably proposed Hector. Having reviewed and assessed his work in North America, this thesis deals with the arrival of Hector as Otago Provincial Geologist in Dunedin during the prosperity of the gold rush of the early 1860s. For the first nine months he explored the central and eastern areas of the Province (Chapter 2) and the following year led the exploration of the West Coast, where there was potential for coal, gold and timber-and reputedly copper-and the prospect of providing a commercial route to Melbourne. The two month long expedition up the Matukituki Valley preceded the exploration by ship of the West Coast of the South Island as far north as Martins Bay. The latter became a major triumph on the strength of the contemporary perception of a route between Queenstown and Martins Bay potentially opening up a direct contact between Dunedin and Melbourne. From mid-1864, Hector�s life was governed by the organisation of the International Exhibition, which opened in Dunedin in January 1865. In that context, he travelled to seek support and participation from the other provinces of New Zealand, a political and administrative commission which he combined with geological exploration. After the closure of the successful Exhibition in May 1865 and subsequent to the conclusion of his appointment on 1st April 1865, Hector left Otago in August to take up the newly created post of Director of the New Zealand Geological Survey in Wellington. The parting was not administratively smooth and relations between Hector and the Otago Provincial Government were strained by the lack of a final, definitive, report on the Geology of Otago. An overview of Hector�s geology, specifically his interest in coal and gold, and the evolution of his views on the vexed question of the role of glaciers as geomorphologic agents is provided. James Hector was a man of versatile ability and strong leadership. His scientific skills as a field geologist and the administrative abilities, developed during his explorations in British North America and southern New Zealand, led ultimately to his long and successful career as New Zealand�s chief scientist at a formative time in its history.

Doctorat en philosophie et lettres / info:eu-repo/semantics/nonPublished

Hector Berlioz's Messe solennelle, his first publicly performed work, was important to his establishment in Paris as a composer. Although he later destroyed the Mass, he reused parts of the Resurrexit movement in three of his later works: Benvenuto Cellini (1836), the Grand messe des morts (1837), and the Te Deum (1849). This study examines the Resurrexit and its subsequent borrowings. In each instance that Berlioz borrowed from the Resurrexit, he extracted large sections and placed them in the context of later works. Each time that borrowing occurred, Berlioz constructed the surrounding music so that portions from the Resurrexit would fit stylistically and a seamlessly into the texture. In each borrowing, he left the melody unaltered, changing harmony and orchestration instead. This pattern of borrowing demonstrates that Berlioz developed his concept of melody early in his career, and that his method of self-borrowing was consistent in each subsequent use of the Resurrexit.