Le XIXe siècle est, en général, qualifié comme le siècle des revues pour l’Europe et pour la Grèce en particulier, où on assiste à la naissance d’un bon nombre de revues, réalisées, pour la plupart à l’image des revues étrangères. A l’origine de la presse périodique, on employa le terme journal pour désigner un écrit qui s’imprimait tous les mois et contenait le compte rendu des nouveaux livres et de ce qui se passait de plus mémorable dans le milieu des lettres. Par la suite, le terme journal fut étendu à des publications périodiques qui étaient en même temps politiques et littéraires et qui s’imprimaient une fois par mois: c’étaient les Mercures. Les revues actuelles furent les descendantes des Mercures et leur nombre se multiplia fortement tout au long du XIXe siècle. C’est par la littérature et non pas par la politique que grandit la presse et, avant d’être une puissance politique, elle fut une puissance littéraire. [etc.] / Non communiqué

Friedrich Hollaender (1896-1976) was one of the most prolific composers of cabaret song literature in Berlin between 1918 and 1933. Beginning with his work at the literary-political cabarets of the early 1920s, including Max Reinhardt’s Schall und Rauch, Trude Hesterburg’s Wilde Bühne, and Rosa Valetti’s Café Größenwahn and continuing through the cabaret revues presented at Hollaender’s own Tingel-Tangel-Theater in the early 1930s, Hollaender wrote over 200 cabaret songs. A classically trained composer who studied with Engelbert Humperdinck, Hollaender ultimately found his niche in creating cabaret songs that clearly evoked the mood and environment expressed in the texts he set. In this way, Hollaender elevated and expanded the expressive power of music in the cabaret. At the same time, Hollaender did not revolutionize the cabaret song. Instead, he worked within the traditional framework of the cabaret song, adapting his compositional style to fit the expectations of the genre. Cabaret songs privilege the clear expression and declamation of the text. Thus, most cabaret songs exhibit a simple musical framework. Performers often spoke or intoned the text rather than singing the melody, and as a result, cabaret songs often double the melodic line in the accompaniment so that it can be heard and recognized during the performance. This practice differs markedly from art song, in which the melody and accompaniment serve as equal partners in expressing the text as a unified musical work and the singer is expected to sing the melody provided by the composer. Much of Hollaender’s work in the cabaret involved an effort to infuse the cabaret song with the expressive musical force of the art song without altering the traditional performance practice, the freedom to intone the text typical of the cabaret, and the simplified harmony and formal structure of cabaret songs. Hollaender’s ability to immediately capture the essence of the song texts in music is what ultimately made him successful. He also demonstrated an ability to adapt to the swiftly evolving tastes and expectations of cabaret audiences during the tumultuous Weimar Era. His adherence to a philosophy of music for the cabaret that would “explode in a lightning flash” and create a mood that would be “present in the first beats,“ along with his flexibility in responding to the evolving taste of the public allowed Hollaender to enjoy a sustained, successful career in the cabaret. His enormous output of cabaret songs is a testament to his effectiveness and success as a composer, writer, and producer in Berlin cabaret theatres. The purpose of the study is to understand how Hollaender’s work elevated the expressive force of the musical settings for cabaret songs through the analysis of the text and the music of his cabaret songs. This study explores representative examples of Hollaender’s cabaret songs composed for Berlin theaters between 1919-1933. The songs were primarily selected to demonstrate the wide variety of musical expression Hollaender was able to achieve in his song settings within the confines of traditional cabaret song forms, particularly the couplet and the role chanson. A wide variety of subject matter is covered in these cabaret song settings, from political and social satire to adapted folktales, and from playful character pieces to defiant antimilitarist statements and poignant illustrations of poverty and hardship. In addition, the cabaret songs included in the study emerge from significant collaborative relationships the composer developed, most notably his early collaborations in literary-political cabaret theaters with satirist and poet Kurt Tucholsky, Dada author Walter Mehring, and performer and first wife Blandine Ebinger. Finally, songs were chosen from throughout the time Hollaender composed music for the cabaret in order to demonstrate the changing landscape of the cabaret as time progressed. As a result, a significant number of songs in the study emerge from Hollaender’s late cabaret revues, programs of songs, skits and other acts loosely organized around a theme or idea, for which the composer wrote both the text and the music. Because the cabaret by its nature offered commentary on contemporary society, the study includes examples that demonstrate the evolving political and social climate in Germany as expressed in the cabaret song texts. For instance, Hollaender’s cabaret songs written in collaboration with Kurt Tucholsky in 1919-1920 frequently criticize Gustav Noske and the use of paramilitary Freikorps to quell dissent in the fledgling Weimar Republic. By the time of Hollaender’s 1931 cabaret revue Spuk in der Villa Stern, however, Hollaender’s political satire criticizes and lampoons National Socialist rhetoric and caricatures Adolf Hitler. Finally, the songs included in the discussion were also chosen in part due to the availability of musical scores, texts, and recordings. Whenever possible, recordings of the original performers, including Blandine Ebinger, Paul Graetz, and Claire Waldoff were consulted in order to understand performance practices used in Berlin cabarets during the Weimar era. Recordings of modern performers, chiefly Ute Lemper, Tim Fischer, and Jody Karen Applebaum were also explored. Many of the original performers were actors rather than singers, and their style of interpreting their songs with a mixture of spoken declamation and singing demonstrates the importance of clearly expressing the text and its emotional content and creating a complete characterization in the presentation of the song. This style of performing did not diminish Hollaender’s contribution as a composer, but rather created a multilayered hybrid of speech, melody, harmony and rhythm that set for many the standard for excellence in the Weimar era cabaret song. Literal English translations of the songs presented for the study were developed in order to facilitate the discussion of how Hollaender’s music specifically evokes the mood and expression of the text. In addition, the study includes explanations and annotations of the events, historical figures, and cultural icons that are peppered throughout these texts. Because cabaret songs are by their nature a product of the contemporary society out of which they emerge, a basic understanding of the time period is essential to fully comprehend these works. Hollaender’s cabaret songs often employ a Berlin dialect, use colloquial expressions, and assume an understanding of contemporary society in the 1920s that is no longer common knowledge nearly a century later. As a result, the detailed study and translation of the texts were essential to understanding Hollaender’s cabaret song settings. This investigation demonstrates how Hollaender evoked a variety of specific moods and ideas in his cabaret song settings through an economy of musical means. Although his music adhered to the conventions and traditions of the cabaret song by employing simple harmonic structures and an almost exclusive use of verse-refrain song form, the composer effectively used dissonance, rhythmic motives, chromaticism, mode-mixture, melodic shape, and other compositional techniques to great expressive effect that clearly reflected the wide variety of environments and moods described in his texts. The result is that the text and music are wedded in Hollaender’s cabaret song settings in such a way that they become a unified expressive art form.

Les périodiques tels que Liaison, L’Étoile de l’A.E.F. ou La Semaine de l’A.E.F. ont joué un rôle primordial dans ce que H.J. Lüsebrink appelle « la conquête de l’espace public » par les élites colonisées, en l’occurrence celles de l’Afrique équatoriale française (Gabon, Moyen-Congo, Oubangui-Chari et Tchad), et notamment dans la constitution d’un champ littéraire local. À partir de 1950, on assiste à un foisonnement des revues grâce à la presse coloniale qui gérait les rares imprimeries et maisons d’édition du continent. La présente étude concerne l’impact de la presse coloniale dans la naissance des premières œuvres africaines, et spécialement aéfiennes. Elle concerne une époque pionnière de l’histoire littéraire africaine, encore trop peu étudiée en détail aujourd’hui. Elle n’est pas cependant centrée sur les livres, mais bien sur les revues, documents irremplaçables pour toute approche historique de la vie littéraire / Periodicals such as Liaison, L’Etoile de l’AEF or La Semaine de l’A.E.F. played a fundamental role in what H.J. Lüsebrink called “the conquest of the public space” by the colonised elites, in this case those of French Equatorial Africa (Gabon, Middle Congo, Ubangui Shari and Chad), and in particular, in the constitution of a local literary field. Since 1950, there was a profusion of journals, thanks to the colonial press which managed the rare printing presses and publishing houses of the continent. This study examines the influence of the press on the birth of the first African works, especially for the Frech Equatorial Africa of this time. It refers to a founding era of the African literary history, still too little really studied to day. Although, it is not centered as often on books, but on periodicals which are essential keys for any historical approach of literary life

Le globe atteste une abondance de mouvements sociaux au tournant du XXIe siècle : les quatre coins du monde bruissent de revendications politiques, de mobilisations citoyennes, de marches collectives et d’occupations. Les sociologues se précipitent sur le terrain pour documenter ces nouvelles modalités du mouvement social. S’ensuit donc une pléthore de recherches, d’enquêtes et de publications académiques. Le processus de recherche implique une production de connaissances sociologiques, spécifique au contexte du XXIe siècle. L’objectif de cette thèse est d’explorer la production des connaissances sur les mouvements sociaux du XXIe siècle, dans la discipline sociologique. J’utilise la revue systématique de la littérature comme démarche méthodologique. Un total de 21 articles empiriques est sélectionné et analysé à l’aide de la matrice d’analyse des mouvements sociaux de Michel Wieviorka (2005). L’analyse permet de soulever les connaissances empiriques, théoriques, conceptuelles, méthodologiques et analytiques produites par la sociologie concernant les mouvements sociaux. Elle permet également de réfléchir sur les lieux, les sujets et les conditions de la production des connaissances sociologiques dans le contexte du XXIe siècle. Cette thèse exploratoire, en ayant recours à l’exemple des mouvements sociaux, agit comme une réflexion sur la production du savoir sociologique au XXIe siècle.

Résumé non transmis / Summary not transmitted

Le romancier et journaliste Marie Aycard (Marseille, 1794-1859) n'a pas été retenu par l'histoire littéraire, comme beaucoup d'autres auteurs considérés comme "secondaires" ou "mineurs". Contemporain des grands changements qui s'opèrent dans les entreprises de presse sous Louis-Philippe (1830-1848), il participe activement à une reconfiguration de la presse politique qui s'ouvre de plus en plus à d'autres types de lectures, à finalité divertissante, en composant, à partir de 1837, des feuilletons hebdomadaires dont le succès se mesure par le grand nombre de reproductions qu'ils connaissent dans les journaux de Paris et de toutes les régions de France, dans la francophonie limitrophe ou lointaine, mais aussi en traduction dans toutes les langues européennes et sur plusieurs continents. Cette diffusion nationale et internationale, favorisée par l'absence de droit d'auteur, fait de Marie Aycard et de ses productions un ambassadeur de la culture parisienne et française dans la sphère médiatique de son temps, souvent de façon anonyme. La numérisation récente et massive de journaux du monde entier met ce phénomène en évidence de manière particulièrement saisissante et permet de reconsidérer notre approche de la "popularité" d'un contenu circulant à grande échelle, et notre compréhension du réseau médiatique, opérationnel et structuré internationalement, entré dans une dynamique d'expansion continue, dès les années 1840. / As a novelist and newspaperman, Marie Aycard (1794-1859) has been considered as a minor and obscure writer, but he undoubtedly belongs to the literary history. A witness of the great changes in the press world of his time (1830-1848), he is actively involved in the development of a new kind of contents, more devoted to entertainment, in publishing weekly chronicles and short stories, from 1837-1842 and after, which gain a large audience in being widely reproduced in Paris newspapers and magazines, in provincial papers, or foreign ones, in French but also in translation, which found their way in all the major European languages, on all the continents. This massive international circulation makes their author a kind of unofficial ambassador (and often anonymous) of the French and Parisian culture all over the world and in many periodicals and media of his time. The recent digitization of these periodicals and newspapers offers a unique way to clearly measure this phenomenon, and an opportunity to take in consideration a new tool to gauge the "popularity" of such contents. It also offers new approaches and insights in the newspaper network, organized and world-connected, ready for its continuous expansion, as early as the 1840s.

Submitted by Cássia Santos (cassia.bcufg@gmail.com) on 2014-09-15T13:05:52Z No. of bitstreams: 2 Dissertacao Clayton F e F Borges.pdf: 1748368 bytes, checksum: 175edac6aefdade0cf746073f43ce233 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2014-09-15T14:08:17Z (GMT) No. of bitstreams: 2 Dissertacao Clayton F e F Borges.pdf: 1748368 bytes, checksum: 175edac6aefdade0cf746073f43ce233 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Made available in DSpace on 2014-09-15T14:08:17Z (GMT). No. of bitstreams: 2 Dissertacao Clayton F e F Borges.pdf: 1748368 bytes, checksum: 175edac6aefdade0cf746073f43ce233 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Previous issue date: 2013-08-26 / Conselho Nacional de Pesquisa e Desenvolvimento Científico e Tecnológico - CNPq / ´This study aims to investigate the theory of the history of Romanian philosopher and historian Alexandru Dimitrie Xénopol from their articles published in the Revue Historique Synthèse between the years 1900 and 1914. Xénopol developed a theory of history based on its own classification of the sciences, where the characterization of facts formed the basis for a definition of the scientific character of the story, as a particular science where the notion of time owned a primary importance. Your requirement historicization of historical facts at a given time and place has consequently a greater emphasis on categories of change, evolution, development and transformation, these categories constitute a crucial dimension, the one that would interest will analyze the historical facts by history science. / O presente trabalho tem por objetivo investigar a teoria da história do filósofo e historiador romeno Alexandru Dimitrie Xénopol, a partir de seus artigos publicados na Revue de Synthèse Historique entre os anos de 1900 e 1914. Xénopol desenvolveu uma teoria da história baseada em uma classificação própria das ciências, onde a caracterização dos fatos serviu de base para uma definição do caráter científico da história, como uma ciência particular onde a noção de tempo possuiu uma importância primordial. A sua exigência de historicização dos fatos históricos a uma determinada época e lugar tem por consequência uma maior ênfase nas categorias de mudança, evolução, desenvolvimento e de transformação, tais categorias constituindo a dimensão primordial, a única que interessaria á analise dos fatos históricos pela história ciência.

No description available.

L'objectif général de cette thèse était d'étudier la faisabilité de la mise en place d'une nouvelle intervention destinée à la prise en soin psychoaffective et cognitive de personnes atteintes de Maladie d'Azheimer (MA) à un stade débutant à modéré. Cette praxis novatrice appelée Environnement Virtuel Évocateur (EVÉ) se basait sur l'actualisation de la thérapie de revue de vie par le recours aux techniques informatiques de réalité virtuelle. Afin d'en évaluer les effets thérapeutiques potentiels, 3 variables principales étaient à l'étude, soit la mémoire autobiographique, l'humeur et le concept de soi. D'autres variables comme la cognition globale, la dépression et l'intensité des troubles psychocomportementaux ont aussi été prises en compte. Les résultats des 5 participants sélectionnés concernant les variables principales sont que l'administration régulière de l'EVÉ entraîne une amélioration sensible de la récupération des informations autobiographiques (pour 3 participants seulement), de l'humeur et des remaniements spécifiques dans la façon de se percevoir en tant que personne. Toutefois, du fait de problèmes méthodologiques et de variations interindividuelles, il n'a pas toujours été possible, d'établir des différences statistiquement significatives pour ces 3 variables. L'EVÉ démontre une influence positive sur les variables secondaires, notamment sur la cognition globale. En résumé, il fut possible de mettre en place et d'administrer une intervention utilisant les nouvelles technologies auprès de la population atteinte de MA. Malgré la démonstration de l'efficacité clinique de l'EVÉ, de futures études prenant en compte l'hétérogénéité des troubles cognitifs et affectifs ainsi que l'anosognosie devront être menées afin de raffiner les modalités d'intervention.

Mémoire numérisé par la Direction des bibliothèques de l'Université de Montréal.