Made available in DSpace on 2016-04-26T18:15:19Z (GMT). No. of bitstreams: 1 O Violao na Era do Disco.pdf: 1552859 bytes, checksum: 0a6e9bc8f1e3dda79176cc3c97f8225c (MD5) Previous issue date: 2006-03-13 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This thesis shows how the classical guitar canon is a phenomenon of the twentieth century in contrast, for example, with the piano, violin and orchestral repertoires, whose canons had been formed step by step since the end of the eighteenth century and dependent as such on the criteria fixed by its interpreters through the medium of sound recording. The project highlights especially, the Age of LPs (1950-90) as the central part of a process where the act of listening to recordings seems to be as important as the edition of music scores. So, for the guitar, the writing is also a sound, and the music is primarily the musicians. Therefore, there are important analogies between the ascension and stabilization of the instrument in the international concert scene and the conceptual development of the recordings, which moves from the Recital LP , simulacrum of live performance, to the Art Work LP , influenced by the historically informed performance and constituting a kind of sound simulacrum of the edited music score. Two important artists who contributed to this process are studied here: Andrés Segovia (1893-1987) and mainly Julian Bream (1933), whose wide phonographic work, released during the second half of the twentieth century, has been analyzed in contrast with the recordings made by Segovia in the first half of the century. Taking that into consideration, authors such as Dahlhaus, Adorno, Lotman, Said and especially Bloom provide decisive conceptual tools for the thesis. Based on this theoretical approach, our study of Juliam Bream s discography has been divided into three moments: the poetical origins (the swerving from Segovia); the middle period (constitution of an independent voice); and the late phase ( misreading of the precursor). The thesis also includes a detailed research of the recordings made by both interpreters and it restores the original context of their albums / Esta tese procura mostrar como ao contrário, por exemplo, dos repertórios pianístico, violinístico e orquestral, cujos cânones formaram-se pouco a pouco desde finais do século XVIII o cânone do violão clássico é um fenômeno do século XX e, como tal, bastante dependente de critérios sonoros fixados por seus intérpretes através de gravações. Em especial, o trabalho destaca a Era dos LPs (aproximadamente 1950-90) como centro de um processo no qual a escuta de discos parece ser ao menos tão importante quanto a edição de partituras. Assim, para o violão, a escrita é também som, e as músicas são antes de tudo os músicos. Há, portanto, fortes analogias entre o processo de ascensão e estabilização do instrumento no cenário internacional de concertos e o desenvolvimento conceitual do disco, que caminha do LP Recital , simulacro da performance ao vivo, para o LP Obra , influenciado pela performance historicamente informada e espécie de simulacro sonoro da partitura editada. Dois artistas centrais para esse processo são estudados no trabalho: o espanhol Andrés Segovia (1893-1987) e sobretudo o inglês Julian Bream (1933), cuja larga obra fonográfica lançada durante a segunda metade do século XX analisamos contra o pano de fundo das gravações realizadas por Segovia na primeira metade do século. Para tanto, autores como Dahlhaus, Adorno, Lotman, Said e especialmente Bloom fornecem ferramentas conceituais decisivas para a fundamentação teórica da pesquisa. A partir desses pressupostos, dividimos nosso estudo crítico da discografia de Julian Bream em três momentos: as origens poéticas, onde predomina o desvio em relação a Segovia; o período médio, caracterizado pela constituição de uma voz própria independente; e a fase de maturidade, onde ocorre a desleitura do precursor. Nesse percurso, o trabalho realiza também um minucioso levantamento das gravações dos dois intérpretes e recupera o contexto original de seus discos

<p>De klassiska sjökrigsteorierna har åtskilliga år på nacken. Fortfarande anses emellertid Julius S. Corbetts och Alfred T. Mahans idéer äga sin giltighet – trots att den tidigare var verksam under första halvan 1900-talet och den senare under framförallt den andra halvan av 1800-talet. Syftet med arbetet har varit att undersöka huruvida dessa teoretikers syn på strategier i sjökriget som fenomen kan anses relevanta i det moderna sjökriget. Slaget om Falklandsöarna i början 1980-talet har betecknats som en av de första drabbningarna till sjöss som utspelats i en modern telekrigsmiljö. Utgångspunkt har varit att studera i vilken utsträckning Corbetts och Mahans teorier kan skönjas i utförandet av den brittiska operationsplanen i Falklandskriget. Genom en kvalitativ textanalys av Mahans och Corbetts litterära verk, och litteratur om dessa, har adekvata indikatorer tagits fram. Dessa har jämförts med en fallstudie som utgjorts av Falklandskriget. Slutsatsen blev att teorierna – och då framförallt Corbetts tankar – äger sin giltighet, om än inte bokstavligen och i varje detalj, men som en övergripande förklaring på vilket sätt framgång i modern sjökrigsföring kan uppnås.</p> / <p>The classic naval theories have been around for a considerable sum of time. Despite of these circumstances the ideas of Julius S. Corbett and Alfred T. Mahan are still regarded to be obligated their validity – even though that the foremost of them was active under the first part of the 1900 and the latter active particularly during the second part of the 1800. The purpose of the paper has been to examine whether these naval thinker view on strategy in naval warfare could be considered to be relevant in the modern naval warfare. The battle for the Falklands islands in the beginning of 1980 have been designated as one of the first encounters on the high seas that was situated in a modern electronic warfare environment. The starting point has been to study in which extension Corbett’s and Mahan’s theories could be notices in the execution of the British campaign plan in the Falklands war. Through a qualitative text study of Mahan’s and Corbett’s literary creation, and literature about them, adequate indicators have been brought forward. These have been comprehended with a case study consisting of the Falklands war. The conclusion where that the theories – particularly Corbett’s thoughts – still posses, if not figuratively and in every aspect, but as an overlooking clarification through in which way the success in modern navel warfare ought to be accomplished.</p>

<p>Några av de stora sjöteoretiker som vi utbildas på idag var verksamma i en tid innan insatsförsvaret, men deras teorier anses fortfarande vara användbara idag. Idag genomför svenska flottan andra typer av insatser än på slutet av 1800-talet, då teoretikerna Mahan och Corbett var verksamma. Kriget ser inte likadant ut idag och både tekniken och taktiken har utvecklats. Är de teorier vi utbildas på, tillämpbara idag? Syftet med denna uppsats är att undersöka teorier om skydd av handelsfartyg och jämföra hur detta skydd genomförs i nutid med fokus på insatsen i Adenviken. Utgångspunkten har varit att genom kvalitativ textanalys beskrivit Mahans, Corbetts och Vegos teorier om skydd av handelstransporter. Dessa har jämförts med varandra samt med en fallstudie genomförd på Operation Atalanta. En av slutsatserna är att teoretikerna Mahan, Corbett och Vego har liknande teorier. De talar omsäkra hamnar, konvoj, eskort och säkra färdvägar som metoder att skydda handelstransporter. Skillnaden är hur metoderna genomförs samt hur viktiga de är. De metoder av Mahan och Corbett som återfinns i Operation Atalanta är framförallt eskort, men även vikten av säkra farleder och knutpunkter. Vegos metoder som återfinns är även eskortföretag, men även vikten av luftherravälde vid skydd av handeltransporter och att arbeta med att vidta förebyggande åtgärder.</p> / <p>Mahan and Corbett, which we study today, were operating in an era before the Cold War and international military intervention, but are still considered useful. Today the Swedish fleet carries out other types of missions than in the late 1800s, when Corbett and Mahan were active. War does not look the same today as both technology and tactics have evolved. Are the theories we study, applicable today?The purpose of this paper is to examine theories about the protection of merchant ships and compare Mahans, Corbetts and Vego theories with how it is implemented in the present day, focusing on the operation of the Gulf of Aden. This paper uses qualitative text analysis to describe Mahan, Corbettand Vegos theories, on the protection of commercial shipments. These were compared with each other and the results were later applied to a case study on Operation Atalanta. One of the conclusions are that Mahan, Corbett and Vegos theories are similar, concerning securingports, convoy, escort and securing routes. The difference however is how to apply these methods and the importance of them. Mahan and Corbett's theories, which are applicable to Operation Atalanta concern escort, and the importance of safe routes and hubs. Vegos theories which are applicable are escorts and the importance of air supremacy for the protection of trade and transport to work with preventive measures.</p>

Några av de stora sjöteoretiker som vi utbildas på idag var verksamma i en tid innan insatsförsvaret, men deras teorier anses fortfarande vara användbara idag. Idag genomför svenska flottan andra typer av insatser än på slutet av 1800-talet, då teoretikerna Mahan och Corbett var verksamma. Kriget ser inte likadant ut idag och både tekniken och taktiken har utvecklats. Är de teorier vi utbildas på, tillämpbara idag? Syftet med denna uppsats är att undersöka teorier om skydd av handelsfartyg och jämföra hur detta skydd genomförs i nutid med fokus på insatsen i Adenviken. Utgångspunkten har varit att genom kvalitativ textanalys beskrivit Mahans, Corbetts och Vegos teorier om skydd av handelstransporter. Dessa har jämförts med varandra samt med en fallstudie genomförd på Operation Atalanta. En av slutsatserna är att teoretikerna Mahan, Corbett och Vego har liknande teorier. De talar omsäkra hamnar, konvoj, eskort och säkra färdvägar som metoder att skydda handelstransporter. Skillnaden är hur metoderna genomförs samt hur viktiga de är. De metoder av Mahan och Corbett som återfinns i Operation Atalanta är framförallt eskort, men även vikten av säkra farleder och knutpunkter. Vegos metoder som återfinns är även eskortföretag, men även vikten av luftherravälde vid skydd av handeltransporter och att arbeta med att vidta förebyggande åtgärder. / Mahan and Corbett, which we study today, were operating in an era before the Cold War and international military intervention, but are still considered useful. Today the Swedish fleet carries out other types of missions than in the late 1800s, when Corbett and Mahan were active. War does not look the same today as both technology and tactics have evolved. Are the theories we study, applicable today?The purpose of this paper is to examine theories about the protection of merchant ships and compare Mahans, Corbetts and Vego theories with how it is implemented in the present day, focusing on the operation of the Gulf of Aden. This paper uses qualitative text analysis to describe Mahan, Corbettand Vegos theories, on the protection of commercial shipments. These were compared with each other and the results were later applied to a case study on Operation Atalanta. One of the conclusions are that Mahan, Corbett and Vegos theories are similar, concerning securingports, convoy, escort and securing routes. The difference however is how to apply these methods and the importance of them. Mahan and Corbett's theories, which are applicable to Operation Atalanta concern escort, and the importance of safe routes and hubs. Vegos theories which are applicable are escorts and the importance of air supremacy for the protection of trade and transport to work with preventive measures.

De klassiska sjökrigsteorierna har åtskilliga år på nacken. Fortfarande anses emellertid Julius S. Corbetts och Alfred T. Mahans idéer äga sin giltighet – trots att den tidigare var verksam under första halvan 1900-talet och den senare under framförallt den andra halvan av 1800-talet. Syftet med arbetet har varit att undersöka huruvida dessa teoretikers syn på strategier i sjökriget som fenomen kan anses relevanta i det moderna sjökriget. Slaget om Falklandsöarna i början 1980-talet har betecknats som en av de första drabbningarna till sjöss som utspelats i en modern telekrigsmiljö. Utgångspunkt har varit att studera i vilken utsträckning Corbetts och Mahans teorier kan skönjas i utförandet av den brittiska operationsplanen i Falklandskriget. Genom en kvalitativ textanalys av Mahans och Corbetts litterära verk, och litteratur om dessa, har adekvata indikatorer tagits fram. Dessa har jämförts med en fallstudie som utgjorts av Falklandskriget. Slutsatsen blev att teorierna – och då framförallt Corbetts tankar – äger sin giltighet, om än inte bokstavligen och i varje detalj, men som en övergripande förklaring på vilket sätt framgång i modern sjökrigsföring kan uppnås. / The classic naval theories have been around for a considerable sum of time. Despite of these circumstances the ideas of Julius S. Corbett and Alfred T. Mahan are still regarded to be obligated their validity – even though that the foremost of them was active under the first part of the 1900 and the latter active particularly during the second part of the 1800. The purpose of the paper has been to examine whether these naval thinker view on strategy in naval warfare could be considered to be relevant in the modern naval warfare. The battle for the Falklands islands in the beginning of 1980 have been designated as one of the first encounters on the high seas that was situated in a modern electronic warfare environment. The starting point has been to study in which extension Corbett’s and Mahan’s theories could be notices in the execution of the British campaign plan in the Falklands war. Through a qualitative text study of Mahan’s and Corbett’s literary creation, and literature about them, adequate indicators have been brought forward. These have been comprehended with a case study consisting of the Falklands war. The conclusion where that the theories – particularly Corbett’s thoughts – still posses, if not figuratively and in every aspect, but as an overlooking clarification through in which way the success in modern navel warfare ought to be accomplished.

O presente trabalho propõe avaliar a habilidade do Modelo Regional Climático, versão 4, (RegCM4) em simular a variabilidade temporal e espacial do sinal associado à propagação da Oscilação de Madden-Julian (OMJ) nos trópicos. A avaliação foi feita através da comparação dos dados observados obtidos do conjunto da Reanálise do ERA-Interim e dos dados simulados pelo RegCM4, para o período de 2005 a 2009. Foram utilizados dados globais diários de precipitação, Radiação de Onda Longa Emergente e componentes zonal do vento em 850 e 200 hPa, provenientes da Reanálise do ERA-Interim, tanto na simulação, quanto nos dados observados. Como condição inicial do modelo, optou-se pela utilização da banda tropical, cujo principal aspecto é o de simular características tanto da circulação quanto dos padrões de precipitação tropicais. Para a validação do modelo, foi utilizada a precipitação diária do Global Precipitation Climatology Project (GPCP). Todos os dados foram filtrados na escala de 30-60 dias a fim de se observar o sinal referente à OMJ. A análise dos padrões globais de precipitação e Radiação de Onda Longa (ROL), após filtragem, permitiu a seleção de cinco áreas, com sinais associados à OMJ, sendo elas: África (AFR), Indonésia (IND), Norte da América do Sul (NAS), Nordeste brasileiro (NEB) e Sudeste brasileiro (SEB). A área NEB, apresentou valores de correlação linear de 0,63 e 0,32 para a anomalia e anomalia de ROL filtrada, respectivamente. Já a área SEB, apresentou valores de correlação linear de 0,30 e 0,54, para a anomalia e anomalia de ROL filtrada. O BIAS calculado entre o modelo e a precipitação do GPCP, para as estações secas (MAI-OUT) e chuvosas (NOV-ABR) mostrou que para a América do Sul, Sul do continente Africano e Índico, o modelo superestima os valores de precipitação do GPCP nas duas estações do ano. Quanto à análise multivariada entre a ROL, vento zonal em 850 e 200 hpa a comparação com o obtido para os dados do Era-Interim, a Empirical Orthogonal Function (EOF1) aplicada aos dados do RegCM4 apresenta convecção e inibição da convecção em áreas distintas da faixa longitudinal entre 15º N e 15º S. Enquanto os valores mínimos de EOF1 para ROL (intensificação da convecção) do Era-Interim são observados próximo a 90º L, os valores mínimos de ROL para os dados do RegCM4 são observados próximos à 120º O, com defasagem longitudinal de 30º. L, enquanto os valores máximos da EOF1 para ROL (inibição de convecção) do Era-Interim são observados próximo a 150º L, os valores máximos para os dados simulados pelo RegCM4 são observados próximos à 60º L, com uma defasagem longitudinal de 90°. / The present work proposes to evaluate the ability of the Regional Climatic Model (RegCM4) to simulate the temporal and spatial variability of the signal associated with the propagation of the Madden-Julian Oscillation in the tropics. The evaluation was done by comparing the observed data obtained from the Reanalysis of the ERA-Interim and the data simulated by RegCM4, for the period from 2005 to 2009. Daily global data were used for precipitation, Emergent Long Wave Radiation and zonal wind components at 850 and 200 hPa from the ERA-Interim Reanalysis, both in the simulation and in the observed data. As initial conditions of the model, we chose to use the tropical band, whose main characteristic is to simulate the circulation and the tropical precipitation patterns. The validation of the model was performed with the daily precipitation of the Global Precipitation Climatology Project (GPCP). All data were filtered in the 30-60 day scale in order to observe the signal concerning the MJO. The analysis of the global precipitation and Outgoing Longwave Radiation (OLR) patterns, after filtration, allowed the selection of five areas, with signs associated to the MJO, being: Africa (AFR), Indonesia (IND), North of South America (NAS), Northeast Brazil (NEB) e Southeast Brazil (SEB). The NEB area presented linear correlation values of 0,63 and 0,32 for the anomaly and filtered anomaly of OLR, respectively. The SEB area presented linear correlation values of 0.30 and 0.54 for the anomaly and anomaly of filtered OLR. The BIAS calculated between the model and GPCP precipitation for the dry (MAY-OCT) and rainy seasons (NOV-APR) showed that for South America, South Africa and Indian continent, the model overestimates precipitation values of GPCP in the two seasons. The multivariate analysis between OLR, zonal wind at 850 and 200 hp compared to that obtained for Era-Interim data, the EOF1 applied to RegCM4 data presents convection and convection inhibition in different areas between 15º N and 15º S. While the minimum Empirical Orthogonal Function (EOF1) values for OLR (convection enhancement) of the Era-Interim are observed close to 90º E, the minimum OLR values for the RegCM4 data are observed close to 120º O, with a longitudinal lag of 30º. And while maximum EOF1 values for OLR (convection inhibition) of the ERA-Interim are observed close to 150º E, the maximum values for the simulated data by RegCM4 are observed close to 60º E, with a longitudinal lag of 90º.

I denna studie går jag igenom min analys och förklarar relevanta delar av min konstnärliga samt tekniska tolkning av Hans Werner Henzes Drei Tentos. I inledningen ger jag en bild av min egen bakgrund och min ingång till detta verk. Huvudsyftet med studien är att analysera verket och att kunna komma fram till direkta och konkreta direktiv till den konstnärliga interpretationen. För att göra detta använder jag mig av partitur- och notationsprogrammet Sibelius (7.5) samt ordbehandlingsprogrammet Word (2011). Studien ger svar på en del frågor men lämnar också öppna trådar som kan besvaras genom mer ingående studier av kompositörens egen bakgrund och om hela verket ”Kammermusik 1958”.

This dissertation explores theologies of suffering through engagement with five theologians from across fifteen centuries of the Christian tradition: Gregory the Great, Julian of Norwich, Jeremy Taylor, C.S. Lewis and Ivone Gebara. It uses a typological method to examine the types of responses that are advocated by each theologian, and the relation of their responses to five theological touchstones: Humanity, Sin and Evil; God’s Providence; Salvation; Christ; and Eternal Life. The Introductory Chapter provides an exploration of the definitions and etymologies of suffering and grief; a description of the typological method; an examination of notable relevant literature; and an introduction to the five thinkers. Chapter One is an examination of the life and writings of the 6th century pope Gregory the Great, with particular focus on The Book of the Pastoral Rule and Moralia. Gregory understands suffering to be a discipline sent by God to the faithful. Chapter Two is an examination of the life and Revelations text of the 13th century English mystic Julian of Norwich, who focuses on the reward God desires to give those who suffer. Chapter Three is an examination of the life and writings of 17th century Anglican bishop Jeremy Taylor, with particular focus on Holy Living and Holy Dying. Taylor places an emphasis on the lifelong practice of faithfulness in preparation for death. Chapter Four is an examination of the life and writings of 20th century Anglican theologian and author C. S. Lewis, with particular attention to The Problem of Pain, The Chronicles of Narnia, A Grief Observed, and Letters to Malcom. Lewis offers the example of one who is willing to engage with the depth of his grief and to question God on his road to acceptance. Chapter Five is an examination of the life and writings of contemporary Brazilian, feminist and liberation theologian Ivone Gebara, with particular focus on her book Out of the Depths and her engagement with Latin American author Isabel Allende. Gebara questions traditional understandings of suffering, as well as when suffering is to be accepted and when suffering is unjust and should be combated. The Concluding Chapter constructs a contemporary theology of suffering drawing on the insights and wrestling with the challenges raised by the varying perspectives of the five theologians. The goal is to provide a hopeful and nuanced way of thinking theologically about suffering for contemporary Christians. The contemporary theology affirms the importance of the call, found in Gebara, to combat unjust suffering through acts of love and mercy, while also affirming that acceptance of the reality of endemic suffering, found in all five theologians, can provide one with opportunities to grow spiritually, live more faithfully and to experience the blessings in the midst of suffering that are a foretaste of heavenly bliss.

Thèse dirigée sous la direction conjointe de Lise Lamarche et Jean Trudel. / Cette thèse étudie les relations artistiques entre le Canada et la France à la fin du XIXe siècle et définit la place qu’occupe l’atelier libre qu’est l’Académie Julian dans le réseau artistique parisien, tout en privilégiant comme étude de cas le passage de ses élèves canadiens entre 1880 et 1900. Soucieux d’entreprendre une étude fouillée sur cette institution artistique et de revenir aux documents d’archives et autres témoignages, nous privilégions la voix des étudiants et des journalistes de l’époque pour décrire tant l’atmosphère que le fonctionnement de l’Académie Julian en précisant notamment les stratégies développées par Rodolphe Julian lui-même pour faire de cette école un lieu quasi incontournable pour qui veut suivre une formation artistique de qualité. La personnalité de Rodolphe Julian, tout comme celle de Marie Bashkirtseff – que nous percevons comme le porte-parole « visible » de l’Académie Julian – seront mises à l’avant-plan puisque, en plus des élèves eux-mêmes, ces deux personnes furent les véritables ambassadeurs promotionnels de l’établissement. Rodolphe Julian, entrepreneur hors norme, doit être étudié pour lui-même afin d’appréhender la complexité propre au personnage et de saisir pleinement l’originalité de son école. Notre étude se penchera sur l’homme et son établissement qui ont incité des générations d’étudiants, dont les peintres canadiens – amateurs curieux ou professionnels accomplis – à cumuler, en plus d’un savoir-faire technique acquis par leur formation dans cet établissement, des labels de promotion et de visibilité (prix, médailles, distinctions) favorables au plein épanouissement commercial d’une carrière artistique au Canada. L’art français est alors fort prisé par la classe dominante canadienne désireuse d’acquérir pour ses salons un portrait ou un paysage. En cela, l’acquisition d’un enseignement rigoureux basé sur l’étude de la composition et du modèle nu répondra à cette attente de la clientèle tout en ayant par la suite un impact direct dans les méthodes d’apprentissage offertes au pays. Un grand nombre des anciens élèves canadiens de l’Académie Julian chercheront par leur formation à propager et à implanter un système d’enseignement des arts similaire à celui acquis à l’Académie Julian, permettant ainsi à des générations d’artistes de bénéficier de leur expérience outre-Atlantique comme d’autres artistes-professeurs l’avaient fait avant eux. L’axe principal de la thèse repose sur l’idée selon laquelle l’éclatement progressif de la reconnaissance de l’École des beaux-arts au profit des ateliers privés transforme les prérequis à l’accès à la formation et présente, dans son lien à l’économie – dans le rapport art et industrie – l’artiste comme un entrepreneur qui adapte et développe son discours et sa production à la demande du marché. Au Canada, l’offre d’éducation technique et de formation professionnelle met de l’avant un modèle artistique français. En ce sens, le voyage qu’entreprennent les artistes en direction de la ville de Paris prend tout son sens comme destination d’étude et de labellisation du statut de l’artiste. En plus de faire l’histoire de l’Académie Julian et de son fondateur, Rodolphe Julian, l’objectif de cette thèse est de répertorier la présence des artistes canadiens dans cette école tout en soulignant l’apport qu’offre cette institution dans la reconnaissance de la formation artistique liée au système honorifique que l’école et ses professeurs parviennent à contrôler en favorisant leurs élèves au Salon. Pour atteindre notre objectif, nous privilégions une division en trois chapitres, reliés l’un à l’autre par une thématique commune, soit l’éducation artistique française. Dans la logique qu’impose le déplacement outre-Atlantique des peintres, le premier chapitre aborde cette question du point de vue canadien pour ensuite définir le contexte français. Dans cette première partie, nous présentons les structures à la disposition des artistes au Canada et nous précisons le réseau de formation disponible au XIXe siècle. Les figures clés que sont Napoléon Bourassa ainsi que l’abbé Joseph Chabert sont prises en exemple pour aborder la question de la formation artistique au pays où le modèle pédagogique français est utilisé. La commande du curé Sentenne pour la chapelle Notre-Dame du Sacré-Cœur de la basilique Notre-Dame de Montréal illustre la quasi-nécessité qu’ont les peintres canadiens de devoir faire le voyage en direction de Paris pour poursuivre leur formation artistique et permet de comprendre que le lieu de production est tout aussi important pour l’œuvre que pour l’artiste. À cette époque, la renommée de l’École des beaux-arts de la ville de Paris, avec la réforme de 1863, fait de cet établissement l’un des plus prestigieux du monde. Toutefois, malgré des efforts de restructuration, l’établissement reste en marge de son époque ce qui favorise l’essor des « Académies libres » dont la plus célèbre est l’Académie Julian. Le second chapitre est entièrement consacré à cette école et à son fondateur, présenté comme un homme d’affaires avisé et un petit maître de la peinture. Jusqu’alors reléguée au second plan par rapport à son Académie, l’étude du personnage permet de saisir l’originalité de son établissement lorsqu’il décide, entre autres, d’y accepter les femmes. Conscient du potentiel qu’offre son école – susceptible d’accueillir des artistes du monde entier – nous analysons les stratégies d’expansion et de promotion de l’Académie mises en place par Rodolphe Julian et nous nous attardons à l’utilisation du personnage de Marie Bashkirtseff pour atteindre ces deux objectifs. Le troisième chapitre définit pour sa part les motifs et la formation acquise auparavant qui incitent les peintres de notre corpus à vouloir poursuivre leur formation artistique à Paris, et plus particulièrement chez Julian. Le milieu socio-économique (et socio-linguistique, tous deux liés) et l’influence d’un maître de formation européenne apparaissent comme des facteurs propices à leur inscription à l’Académie Julian et c’est par les archives de l’école que nous mettons à jour les différents abonnements et le temps passé dans cet établissement par les peintres canadiens. Les inscriptions disponibles sur les fiches d’abonnement permettent – avec l’analyse de témoignages connexes – de définir le fonctionnement de cette institution de formation artistique. Ainsi, à partir de documents d’archives, le séjour parisien du peintre canadien Joseph Saint-Charles fait l’objet d’une étude de cas qui permet de relier l’artiste à l’Académie Julian, mais aussi de déterminer les stratégies qu’il met en place pour se faire reconnaître comme peintre professionnel, en France, mais aussi au Canada lorsque ses succès sont rapportés dans les journaux. Malgré la disparition des registres de l’école, nous abordons cependant la question des Canadiennes de passage à l’Académie Julian et soulignons les inégalités qui subsistent entre les sexes. Malgré certaines disparités, il n’en demeure pas moins que même pour la gent féminine, l’établissement se présente comme un tremplin d’insertion et de reconnaissance de la pratique artistique, que ce soit par l’acquisition d’un apprentissage académique traditionnel où prédomine la maîtrise du dessin ou par le fait d’obtenir la « correction » des maîtres consacrés de la peinture française. Bien qu’il faille reconnaître le fondement des critiques que rapportent les élèves sur leur passage à l’Académie Julian, nous remarquons que, pour la plupart, le but véritable de leur inscription vise à les préparer à leur future carrière comme artistes professionnels et leur permet d’obtenir la consécration qu’offre le fait d’être admis au Salon national des artistes français avec l’appui de l’école et de ses professeurs, qui orienteront ce que certains qualifieront de « produit Julian ». / This thesis examines the artistic relations between Canada and France at the end of the nineteenth century, and the legacy of the ‘ateliers libres’ of the Académie Julian within the Parisian arts network. Through a case study, it focuses on the experience of Canadian students at the institution between 1880 and 1900. A conscious desire to provide a detailed study of this art institution drawing upon its annals and various personal accounts underlies the recourse to testimonies by students and journalists of the time to describe the prevailing atmosphere at the Académie Julian as well as its general management, its origin, and the strategies adopted by Rodolphe Julian himself to shape his school into ‘the institution de rigueur’ for those who sought artistic training of the highest calibre. Along with the students themselves, the personality of Julian as well as that of Marie Bashkirtseff – considered to be the "visible" spokesperson of the Académie – are at the forefront of this research since these two individuals were the true ambassadors of the Académie. Rodolphe Julian, an exceptional entrepreneur, must be examined in his own right to provide an understanding of his complexity and to fully grasp the originality of his Académie. This research examines both the man and his school, which together enticed generations of students, including Canadian painters (curious amateurs and accomplished professionals alike) to acquire not only the technical know-how during their training at the Académie Julian but also earn accolades and awards (prizes, medals and distinctions) inextricably associated with a commercially successful artistic career in Canada. During that period, French art was highly valued by the dominant Canadian upper and middle classes eager to purchase portraits and landscapes to adorn their living rooms. Indeed, rigorous instruction based on the study of composition and nudes met students’ expectations and directly influenced training methods in their home country. As a result of their training, a large number of former Canadian students of the Académie Julian sought to perpetuate an art education system similar to that of the Académie Julian, thus enabling generations of artists to benefit from their transatlantic experiences as other artist-professors had done before them. The main thrust of this thesis is its contention that the progressive change in perception of the École des Beaux Arts towards recognition of the "ateliers privés" influenced training prerequisites, shifting the artist into an economic space, intertwining the arts with industry: the artist as entrepreneur capable of adapting and developing his discourse and production in response to market conditions. In Canada, the diversification of technical education and professional training favoured the French artistic model. For artists, studying in Paris was meaningful; it was also a means of enhancing their status. In addition to tracing the history of the Académie Julian and that of its founder, Rodolphe Julian, this thesis also seeks to identify the presence of Canadian artists in the Académie, and to highlight its contribution to the recognition of fine arts training and its interplay with the honorary system of the Salon, which the Académie and its instructors controlled, by favouring their students. This thesis comprises three chapters, each linked by an overarching theme: the French art education system. Defining the French artistic context from a Canadian perspective, Chapter 1 deals with painters who were compelled to cross the Atlantic. The first section outlines the training possibilities available to artists in Canada and the training network available to artists in the 19th century. In covering the topic of art education in a country where the French teaching model prevailed, key figures such as Napoléon Bourassa and Abbé Joseph Chabert, are cited. Curé Sentenne’s commission for Montréal’s Notre-Dame Sacré-Cœur chapel of the Notre-Dame Basilica illustrates the near necessity for Canadian painters to travel to Paris to pursue their artistic training and helps explain why the place of production was just as important for an artwork as it was for the artist. At that time the reputation of the École des Beaux-Arts in Paris, consolidated by the reform of 1863, made this establishment one of the most prestigious in the world. However despite restructuring efforts, the Académie remained out of touch with the times, and this favoured the rise of the ‘Académies libres’, the most famous of all being the Académie Julian. Chapter II is devoted entirely to the Académie Julian and its founder, an astute businessman and ‘petit maître de la peinture’. The study of the man himself, which has so far served as a backdrop to a more detailed study of the Académie reveals the innovative nature of his establishment particularly with regard to his decision to admit women to study in his studios. Aware of the prospects his school offered, he was willing to accommodate artists from all over the world. His strategies for the expansion of the Académie are analyzed as well as the role of Marie Bashkirtseff in this respect. Chapter III describes the motivations and preliminary apprenticeships, which encouraged the artists being studied here to pursue their education in Paris, specifically at the Académie Julian. The socio-economic context – perhaps the socio-linguistic as well, since they are interrelated – and the influence of a master of European training appear to be the deciding factors. The institution’s archives shed light on the registration of Canadian painters and the time they spent there. The entries in the records of the Académie along with various personal accounts make it possible to understand how this training institution was managed. Based on information retrieved from the archives, the time that Canadian painter Joseph Saint-Charles spent in Paris is used as a case study not only to link the artist to the Académie Julian but also to determine the strategies which enabled him to be recognized as a professional painter in France as well as in Canada where his successes were widely reported in the press. Although there is no record of Canadian women in the archives of the Académie Julian, their role is nevertheless analyzed, underlining the prevailing gender inequalities. In spite of certain disparities, for female artists the Academy nevertheless constituted a springboard for inclusion and recognition of their artistic practice, whether it was through acquiring a traditional academic apprenticeship where the mastery of drawing prevailed or by working “under the guiding hands” of acclaimed Masters of French painting. Although the validity of criticisms leveled by students against their school must be acknowledged, for most of them the real purpose of their enrolment was to prepare their future careers as professional artists, facilitate their rite of passage to the "Salon national des artistes français", thanks to the support of the Académie and its instructors, and be “emblazoned” with the ‘Julian trademark’.

The Madden-Julian oscillation (MJO), also known as the 30-60day oscillation, is the strongest of the intraseasonal climate oscillations in the tropics and has significant derivative effects on extratropical circulation and intraseasonal climate. It has recently been shown that the stratospheric quasi-biennial oscillation (QBO) modulates the amplitude of the boreal winter MJO such that MJO amplitudes are larger on average during the easterly phase (QBOE) than during the westerly phase (QBOW). A major possible mechanism is the decrease in static stability in the lowermost stratosphere under QBOE conditions resulting from relative upwelling associated with the QBO-induced meridional circulation. Here evidence is presented that tropical upwelling changes related to the 11year solar cycle also modulate the boreal winter MJO. Based on 37.3years of MJO amplitude data, the largest amplitudes and occurrence rates, and the weakest static stabilities in the tropical lower stratosphere, occur during the QBOE phase under solar minimum (SMIN) conditions while the smallest amplitudes and strongest static stabilities occur during the QBOW phase under solar maximum (SMAX) conditions. Conversely, when the QBO and solar forcings are opposed (QBOW/SMIN and QBOE/SMAX), the difference in occurrence rates becomes statistically insignificant. During the coming solar minimum, at least one additional winter in the QBOE/SMIN category should occur (possibly as early as 2017/2018) during which especially large MJO amplitudes are expected and an initial test of these results will be possible. Plain Language Summary An ongoing issue in climate science is the extent to which upper atmospheric processes, including solar forcing, can influence tropospheric climate. It has recently been shown that an internal oscillation of the stratosphere, the quasi-biennial oscillation, can modulate the amplitude and occurrence rate of intraseasonal climate oscillations in the tropical Pacific during northern winter. These intraseasonal oscillations, the most important of which is the 30-60day Madden-Julian oscillation, have significant derivative effects on climate outside of the tropics, including impacts on rainfall events over the continental United States. Here evidence is presented that the amplitude of the Madden-Julian oscillation during northern winter is also modulated by the 11year solar cycle. The modulation is such that amplitudes and occurrence rates are largest under solar minimum conditions when the quasi-biennial oscillation is in its easterly phase and smallest under solar maximum conditions when the quasi-biennial oscillation is in its westerly phase. However, the available time record (37.3years of satellite measurements) is limited. During the coming solar minimum, at least one additional winter in the solar minimum/easterly category should occur (possibly as early as 2017/2018) during which larger-than-average amplitudes are expected and an initial test of the proposed relationship will be possible.