The Best PhD Thesis in the Faculties of Architecture, Arts, Business & Economics, Education, Law and Social Sciences (University of Hong Kong), Li Ka Shing Prize, 2001-2003. / published_or_final_version / abstract / toc / Curriculum and Educational Studies / Doctoral / Doctor of Philosophy

The late Victorian and Edwardian period saw ritual become increasingly important in political life. Towns and cities were involved in conscious efforts to construct and project attractive images of themselves. These images were intended to encourage a sense of civic patriotism. Ceremonies, honorific titles, public events and civic architecture were essays in the invention of tradition. However, historians have applied the concept of the invention of tradition unevenly. Previous research has dwelt on the construction of images. Perceptions of official images and responses to them have been overlooked. This thesis employs a model which recognises images as processes with foundaitons in human relationships. It evaluates images in terms of intentionality, power, context and participation. The participative dimension is of particular importance, because images aimed to instil a sense of civic patriotism which would encourage citizens to make emotional and financial investments in their communities. Liverpool attained the status of a city in 1880. The civic ideology of the city was dominated by images of commerce and by notions of Imperial duty and public service which celebrated commercial virtues. Many aspects of urban life were shaped by civic image. This study does not confine itself to public events and pageantry, instead it explores such spheres as municipal art policy, Liverpool's public health record, the attempts to extend the city boundaries, civic hagiography, the foundation of the University, women and the ideal of citizenship and the influence of football on civic identity to demonstrate the importance of images in the city's social, political and institutional history. The purpose of the thesis is three-fold: to suggest that civic image opens new perspectives on Liverpudlian history, to discover why there were more conscious attempts to construct civic image and to restore participation to the study of civic image by unravelling the connections between image and patriotism.

[pt] Na filosofia política contemporânea, a problemática do reconhecimento pode ser enfocada sob duas perspectivas: como uma questão de autorrealização ou como uma questão de justiça. Fraser e Habermas assumem uma perspectiva deontológica e procedimental por meio da qual as reivindicações identitárias são tematizadas no espaço público, concebendo o reconhecimento como uma questão de justiça. Taylor e Honneth seguindo o modelo hegeliano, concebem o reconhecimento como uma questão de autorrealização, terminando por enfatizar a dimensão psicológica do reconhecimento. Pretendemos apresentar um diálogo entre os referidos autores, pois suas propostas teóricas são fundamentais para compreensão dos desafios propostos pelas sociedades multiculturais. O tema do reconhecimento, todavia, será analisado, não apenas em uma dimensão filosófica, mas também contemplando um aspecto fundamental: a proteção jurisdicional aos direitos fundamentais de minorias. Inicialmente, pretendemos estabelecer os conceitos essenciais acerca dos fundamentos filosóficos das teorias do reconhecimento; logo após, tais premissas teóricas serão articuladas com a análise de formas de ativismo judicial voltadas para a proteção de minorias estigmatizadas que se delinearam na jurisprudência do Supremo Tribunal Federal, do Superior Tribunal de Justiça e da Suprema Corte Americana. Em suma, estabelecidos os contornos teóricos acerca dos fundamentos filosóficos das teorias do reconhecimento, propugnamos compreender a dimensão simbólica das lutas por reconhecimento na arena jurídicoconstitucional, sob uma perspectiva filosófica, especialmente no que se refere ao papel dos tribunais superiores brasileiros (Supremo Tribunal Federal e Superior Tribunal de Justiça) e Suprema Corte americana na proteção de grupos estigmatizados cujas expectativas normativas, muitas vezes, não são satisfeitas pelas instâncias deliberativas. / [en] In contemporary political philosophy, the issue of recognition can be approached from two perspectives: either as a matter of self-realization or as a matter of justice. Fraser and Habermas take an ethical and procedural perspective through which the claims of identity are themed in the public space, conceiving recognition as a matter of justice. Taylor and Honneth, following the Hegelian model, see recognition as a matter of self-realization and eventually emphasize the psychological dimension of recognition. We intend to present a dialogue between these authors, because their theoretical propositions are fundamental to understanding the challenges posed by multicultural societies. The issue of recognition, however, will be examined not just in its philosophical dimension, but also in view of a fundamental aspect: the judicial protection of the fundamental rights of minorities. Initially, we intend to establish the essential concepts regarding the philosophical foundations of theories of recognition; following that, such theoretical premises will be coordinated with the analysis of forms of judicial activism aimed at protecting stigmatized minorities as outlined in the jurisprudences of the Higher Court of Justice and Federal Supreme Court, and of the U.S. Supreme Court. In short, once the theoretical outlines of the philosophical theories of recognition have been set, we aim at understanding the symbolic dimension of the struggle for recognition in the legal-constitutional arena from a philosophical perspective, particularly regarding the role of the higher Brazilian courts (the Higher Court of Justice and the Federal Supreme Court) and of the U.S. Supreme Court in the protection of stigmatized groups whose normative expectations are often not met by the deliberative bodies.

C. D. Friedrich est le plus souvent présenté, dans l’historiographie traditionnelle, comme un peintre oublié durant les décennies qui ont suivi sa mort à Dresde, en 1840. Peu connu en dehors de son Allemagne natale, il n’aurait été redécouvert que grâce à cette grande rétrospective de l’art allemand que fut la Berliner Jahrhundert Ausstellung de 1906. La première biographie du XXe siècle que lui consacre l’historien norvégien Andreas Aubert, Dieu, liberté, patrie (Gott, Freiheit, Vaterland, 1915) attire l’attention sur l’orientation politique et patriotique de certaines de ses peintures. Cette thèse propose de reconsidérer divers aspects de la réception de l’œuvre du peintre, en la plaçant, non plus dans le seul contexte allemand mais dans celui, européen, du XIXe siècle. Si Friedrich a été longtemps méconnu des historiens d’art, il devint, de par sa culture poméranienne germano-scandinave, une référence aux yeux d’artistes scandinaves, qui entrèrent personnellement en contact avec lui ou par l’intermédiaire de son voisin d’atelier, le peintre norvégien J C. C. Dahl. Sujet d’intenses débats, non exempts de considérations politiques, la peinture de paysage est également devenue un enjeu patriotique en Allemagne et dans les pays scandinaves. L’objectif est de préciser la place de l’esthétique de Friedrich dans l’instauration de traditions picturales nordiques, au-delà des affinités et résonances pouvant unir les œuvres entre elles. Le suivi de cette trajectoire, passant par les pays nordiques et parvenant en France, permet également de relancer la question de la réception de Friedrich dans les milieux artistiques français, où il n’a pas exposé. / According to traditional historiography, Caspar David Friedrich was almost forgotten during several decades following his death in Dresden in 1840. Little known outside his native Germany, it is often said that he was rediscovered through the great retrospective of German nineteenth century art, the Berliner Jahrhundertausstellung, in 1906. The first biography of the artist published in the twentieth century, God, Freedom, Fatherland (Gott, Freiheit, Vaterland, 1915) by the Norwegian art historian, Andreas Aubert, draws attention on the patriotic orientation of some of his paintings. This thesis proposes to discuss different aspects of the reception of his oeuvre, not only in the German, but in the European context of the 19th century. If the painter was not recognized by the historians, he emerged, mainly thanks to his German-scandinavian Pomeranian culture, as a model among Scandinavian artists, who came largely through personal contact with Friedrich himself or via his neighbour and friend, the Norwegian painter J. C. C. Dahl. In the heart of intense debates in Germany and Scandinavia, landscape painting became a subject of political interest. This thesis is pointing the heritage of Friedrich aesthetics in the birth of Nordic painting traditions, beyond resonances and visual affinities between works. Following this itinerary through Nordic countries, reaching France, permits to question again the reception of Friedrich in French artistic milieux, where he never was on public display.

A travers l’exemple de Saint-Mihiel, située dans le département de la Meuse, notre étude a pour objet de montrer comment le fait d’être une ville-frontière a, au XIXème siècle, façonné son évolution politique, économique, religieuse et culturelle. Ancienne capitale du Barrois non mouvant, puis chef-lieu de bailliage du duché de Lorraine, enclavée entre la France et Saint-Empire romain germanique, devenue française en 1766, elle connaît, de par son histoire, l’ouverture et la fragilité de sa situation géographique. Ouverte sur les idées, elle a fait de l’éducation son socle et porte une forte empreinte culturelle et religieuse. Ancienne « ville-couvent » jusqu’en 1790, toujours imprégnée par le catholicisme, elle favorise l’intégration d’une importante communauté juive et porte un intérêt constant à la franc-maçonnerie. Saint-Mihiel est aussi fragilisée par sa situation de « ville-frontière » qui la soumet aux passages de troupes et occupations. Entre 1792 et 1914, elle subit quatre occupations, celle de 1792, celle de 1814, celle de 1815 à 1818 et celle de 1870 à 1873, avant celle de 1914 à 1918. Ouverte et fragile, la société sammielloise est constamment à la recherche d’un équilibre. Favorable aux Révolutions de 1789, 1830 et 1848, républicaine, elle est aussi respectueuse de l’ordre et des lois et reste attachée au modérantisme qui caractérise les notables qui siègent au sein des institutions locales et départementales. Lorraine, devenue française à part entière avec la Révolution de 1789, la société sammielloise est, avant tout, une société patriote marquée par une présence militaire qui fait de Saint-Mihiel une ville de garnison. Son patriotisme et son modérantisme assure sa cohésion. Elle trouve son incarnation, à la fin du XIXème siècle, en Raymond Poincaré, qui a été député de sa circonscription de 1889 à 1903. / Through the example of Saint-Mihiel, located in the Department of Meuse (French administrative division), our study is designed to show how being a border-town in the 19th century has shaped its political, economic, religious and cultural evolution. Saint-Mihiel used to be the capital of “Barrois non-mouvant” (ie against the influence of the French Kingdom), then was a county-town of bailiwick of Lorraine Dukedom, enclosed between France and the Holy Roman Germanic Empire, and finally became French in 1766. Throughout its history, Saint-Mihiel is a witness of the opening and the fragility of its geographical situation. Education is its main concern such as religion and culture. Until 1790, Saint-Mihiel is a “convent-town”, still imbued with Catholicism; it promotes the integration of an important Jewish community and takes a constant interest in Freemasonry. Saint-Mihiel is also weakened by its “border-town” situation which submits it to the passages of troops and occupations. Between 1792 and 1914, it undergoes four occupations, in 1792, in 1814, from 1815 to 1818 and from 1870 to 1873, before the one from 1914 to 1918. Open and fragile, the Saint-Mihiel society is constantly seeking a balance. Favorably disposed towards the 1789, 1830, 1848 Revolutions, and as being republican, it is also respectful of laws and order and remains attached to the moderantism that characterizes the notables who sit on local and departmental institutions. Being a part of Lorraine, and totally French since the 1789 Revolution, the Saint-Mihiel society is, above all, a patriotic society marked by a military presence which turns Saint-Mihiel into a garrison town. Its patriotism and moderantism ensure its cohesion. In the end of the XIXth century, Saint-Mihiel is embodied by Raymond Poincaré who was deputy in his “circonscription” (French district) from 1889 to 1903.

The thesis examines whether Czech and Slovak printed national daily newspapers reveal expressions of patriotism and fanfare in ice-hockey news reports. Sports matches between two nations, which once formed one state, have all the requisites for being more special and prestigious than regular matchups. For this reason, these two events have been selected as suitable for analysis: the final match in the 2000 World Championship between the Czech Republic and Slovakia (5:3) and the 2012 semifinal between the same opponents (1:3). The theoretical part introduces concepts of nation, nationalism, national identity, national symbols, myths, stereotypisation and fanfare. In the empirical part, a discourse analysis is performed for their examination and application on a research sample, which consists of texts from the time of the given matches between the Czech and Slovak national teams. As an assistant method, a quantitative content analysis has been chosen to provide answers to questions concerning the number and location of articles in each country's newspapers. The results of the analysis proved that Czech and Slovak printed daily newspapers frequently reveal expressions of patriotism and fanfare in the period under review, distinctively using the first person of the plural "we" or a tendency...

Le photographe français Fernand Braun (1852-1948) quitte les ateliers alsaciens de son oncle Adolphe Braun (1812-1877) en 1878 pour s’’installer à Angoulême, en Charente. Profitant du marché porteur du portrait, le jeune entrepreneur prend une part active aux recherches sur le gélatino-bromure d’’argent, une technique qui ouvre l’ère de l’instantané en photographie. Rejoignant les élites républicaines au sein de la société de gymnastique de la ville, le jeune homme exprime son sentiment de revanche face à la Prusse victorieuse de 1870. Gymnaste accompli et influent, les sentiments patriotiques du personnage le conduisent alors à rejoindre la Ligue des patriotes en 1884. Fréquentant Royan dès 1893, Fernand Braun s’installe en Charente-Inférieure en 1895 pour relancer ses activités. Inséré au réseau des élites conduisant le projet balnéaire de la cité et l’œuvre républicaine d’’instruction de la jeunesse, il entame une carrière d’éditeur de cartes postales. Le photographe crée à partir de 1900, un catalogue de milliers de clichés baptisé la Grande Série et valorisant les paysages et la vie des Charentais. Connaissant un succès phénoménal, la carte postale s’impose comme le medium de prédilection du début du XXe siècle. Les publications de l’éditeur témoignent alors des mutations des paysages régionaux ainsi que des évolutions sociales sur lesquelles le photographe porte un regard d’homme concerné et engagé. Cependant, le dynamisme de la Grande Série ralentit au début des années 1910 et l’auteur cherche de nouveaux débouchés pour son imagerie de cartes postales.L’année 1913 marque une rupture dans sa politique éditoriale et davantage influencé par l’industrie touristique, le personnage renouvelle sa manière de mettre en image les territoires. La Grande Guerre remobilise l’éditeur dès 1914 et ce dernier s’attache alors à exposer les conséquences du conflit à ses contemporains. Néanmoins, ne produisant guère plus que des vues touristiques après 1918, la Grande Série s’arrête en 1920. / The French photographer Fernand Braun (1852-1948) leaves his uncle’s factories, Adolphe Braun’s, in Alsace, for Angouleme in Charente where he settles in 1878. Taking advantage of the successful vogue for portraits, the young business man takes an active part in the researches into gelatine silver process, a revolutionary technique witch was to open a new era for modern photography : the snapshot. When he joined the gymnastic circle, and with it,the republican elite of the place, it was highly significant of his desire for revenge on the victorious Prussia of 1870.He’s not only a brilliant and influent gymnast but also a passionate patriot, when in 1884, he joins the Patriot’s league. From 1893 he often stays in Royan, and in 1895 he definitively settles there, in Inferior-Charente, to give a new start to his activities. Closely connected to the network of the local elite interested in the two main projects for the town : the development of Royan into a great seaside resort and the republican achievement of education of the youth, he starts, then, a career as a postcard publisher. From the year 1900, Fernand Braun produces his Great Collection, a catalogue containing thousands of pictures that shows the landscapes of the Charentes and the dailylife of its inhabitants. Being a prodigious success, the postcard reveals to be the first rank medium at the beginning of 20th century. The publisher’s productions bear witness of the environmental and social changes of the region on which Fernand Braun has a very attentive look. However, in the early 1910’s, the dynamism of the Great Collection slows down and its author looks for new openings in the issue of his pictures. By the year 1913, there is a break in his editorial policy and being more influenced by the tourism industry, the man imagines a new way of picturing the surrounding territories. As soon as the Great War breaks out, in 1914, the publisher finds a new motivation,eager to show his contemporaries its consequences. Nevertheless, by 1918, scarcely producing anything else but touristic views, the Great Collection comes to an end in 1920.

This thesis concentrates on the capturing of the portrayal of the Czech prehistory in the German literature, by the German-speaking authors originating from the Czech countries as well as in the Czech literature. The term 'Czech prehistory' is approached in terms of the Czech tales, with emphasis laid on the character of Princess Libussa (Libuše). The span of the thesis reaches from the Englightenment to the argument about the authenticity of the Rukopis královédvorský (Manuscript from Dvůr Králové) and the Rukopis zelenohorský (Manuscript from Zelená hora) in the 1880s. The thesis is divided into two parts. First, the development trends of the representation of the Czech prehistory are chronologically presented. The literary-historical development is discussed in relation to the changes in the concepts of German and Czech patriotism and nationalism. There is also a focus on the development of poetics and the shifts in the reception of prehistory during the periods of Enlightenment, Romanticism and Biedermeier. The changes in the character of Princess Libussa are compared of the possibilities of literary portrayal of Rübezahl (Krakonoš), the mythical ruler of the Giant Mountains, in literary works claiming allegiance to German or Czech patriotism and nationalism. In the second part, the portrayal...

The subject of this thesis is a diversified conception of Czechishness. The main proposition is a comparison of types and aspects of relation to the country in the case of (political) emigrants after 1948 in contrast with the "home-based" non-emigrant Czech population. The thesis will briefly mention also the preceding periods of Czech emigration, the socio-economic situation at the turn of the 19th and the 20th centuries, the 1950s etc. All this will be put into the context of the historical turning of the Czech lands away from the West, despite the latter being the destination of the post-February emigrants. In this respect the description of social-political events as perceived by the citizens at the time, by the official propaganda and by emigrants is crucial. The image of the West or emigrants as perceived then together with other conclusions will be compared with the basic theories of migration and migration policy. In the section on political emigration legislation of the period incl. its wording will be quoted. The thesis focuses exclusively on emigrants to the West, especially to Western Europe, the USA and Canada, but also to Australia and Israel. It reflects the direction and the main centres of emigration, checks the relevance of information on the numbers of exiled Czechs, their...

Le second dix-huitième siècle est marqué par une profonde reconfiguration du cadre politique qui se traduit par un essor concomitant de la critique publique et du patriotisme. Le théâtre participe au mouvement. Dans le sillage de Voltaire, des auteurs très divers s’emparent de l’Histoire de France, renouvelant les genres théâtraux et le rapport au spectacle. Aux pièces épiques ou sentimentales du « genre troubadour » s’ajoutent bientôt les anecdotes biographiques consacrées aux Grands Hommes, puis les « apothéoses dramatiques » et les « faits historiques » contemporains de la Révolution. Cet ensemble hétéroclite de pièces jouées sur des théâtres officiels, en société ou seulement diffusées par écrit, constitue ce que nous appelons le théâtre national des Lumières et de la Révolution. À travers l’étude des textes et de leur réception, nous analysons comment la représentation de l’Histoire de France participe aux transformations des mentalités, selon un effet de miroir passé-présent plus ou moins explicite. Aux enjeux esthétiques et dramaturgiques emblématiques de cette période charnière entre classicisme et romantisme, le théâtre national mêle des enjeux politiques et mémoriels : plus qu’un divertissement moral, il est conçu comme un dispositif civique. Il construit un patrimoine historique collectif avec des mythes et des légendes, mais les intentions idéologiques divergentes des auteurs et la participation active des publics en font un lieu de dissensus. Le théâtre national médiatise également les tensions de la société et recherche des émotions qui oscillent entre l’admiration, l’attendrissement, la déploration indignée et l’horreur face aux blessures du passé. / The second half of the eighteenth-century is characterized by a thorough transformation of the political world, a change which reflected the simultaneous development of public criticism and patriotism. Theatre plays a key role in this process. Following Voltaire, a variety of playwrights use French history for their plots, and in so doing they update genres and audience expectations. Alongside epic or sentimental plays of the troubadour genre, bio-dramas of “Great Men” soon appeared, followed by dramatic apotheoses and the Revolution’s “faits historiques”. This varied corpus of plays – performed ¬ or not, on official or private stages – constitutes what we may call the national drama of the Enlightenment and the French Revolution.By studying these texts and their reception, I analyse how the theatrical representation of French history and its ability to act as a mirror between the past and the present contribute to the contemporary changes in thought. National drama not only showcases the esthetical and dramaturgic debates of this turning point between classicism and romanticism, but it additionally implicates issues of politics and memory: it is more than simple moral entertainment, it has civic value. These productions create a collective historical heritage with its own myths and legends, but the playwrights’ contradictory ideological intentions and the audiences’ active participation also make this theatre a site of dissent. National drama also expresses contemporary social strains and seeks to evoke specific emotions such as admiration, empathy, outrage and horror in the face of the past’s wounds.