This thesis draws the line of a rise and a fall, an ironic pattern whereby the English stage of the long eighteenth century, in its relation to Shakespeare in particular, first acquired powerful influence, and then, through the very effects of that power, lost it. It also shows what contemporary literary criticism might learn from the activities that constitute this arc of evolution. My first chapter interrogates the relationship between text and performance in vernacular writings about acting and editing from the death of Betterton in 1710 to the rise of Garrick in the middle decades of the century. From the status of a distinct tradition, performance comes to rely on text as a basis for the intimate, personal engagement with Shakespeare believed necessary to the work of the sentimental actor. Such a reliance grants the performer new potential as a literary critic, but also prepares a fall. The performer becomes another kind of reader, and so is open to accusations of reading badly. My second chapter analyses the evolving definition of Shakespeare as a dramatic author from Samuel Johnson onwards. An untheatrical definition of the dramatic (Johnson's) is answered by one which recognises the power and vitality of the stage, especially in its representation of sympathetic character (Montagu and Kenrick). Yet that very recognition leads to a set of altered critical priorities in which the theatre is, once more, relegated (Morgann and Richardson). My third and fourth chapters consider the practices and critical implications of theatrical performance of Shakespeare during Garrick's career. I focus on the acting of emotion, the portrayal of what Aaron Hill called 'the very Instant of the changing Passion', and show that performance of this time, attentive to the striking moment and the transitions that power it, required from the actor both attention to the text and preternatural control over his own emotions. In return, it allowed Garrick and others to claim a special affinity with Shakespeare and to capture the public's attention, both in the theatre and outside it. Yet this situation, that of 'twin stars', does not last. French and German responses to English acting, the concern of my last chapter, show its decline particularly well. They also, however, show the power that existed in such a union between page and stage, and equal weight is given in both my third and my fourth chapter to how the theatrical-literary insights of eighteenth-century critical culture might also illuminate modern approaches.

Si la négativité psychique est commune à chacun, elle peut envahir la dynamique et l’économie psychiques dans des tableaux psychopathologiques eux-mêmes marqués par cet envahissement. Un tel processus psychopathologique viendrait empêcher le rôle « seuil » du corps via la sensorialité, et viendrait grever lourdement les destins pulsionnels ; symbolisations et affects. Selon nos hypothèses, cadre et technique cliniques seraient alors à adapter par une thérapeutique avec et par le corps propre du sujet. Un protocole de 18 sujets cherche à évaluer les efforts de répression, l’alexithymie, la sensorialité aux points d’appui du corps et les représentations corporelles dans des hypothèses qui révèleraient des « abus de négativité psychique ». Quatre études de cas de suivis thérapeutiques permettent une discussion plus en détail en considérant le cas par cas. Nous concluons par des propositions de réaménagements théoriques et cliniques qui permettraient la prise en compte d’un tel abus de négativité dans le cadre de psychothérapies. Pour certains sujets, nous pensons que c’est précisément sur ce seuil qu’un effet thérapeutique est le plus mobilisable. / Psychic negativity exists for everyone, but it can invade both the dynamic and the economic aspects of the psyche, resulting in psychopathologies that are influenced by this invasion. Such a psychopathologic process could hinder the ‘interface’ role of the body through sensibility, and could largely prevent instinctual drives; symbolism and affect. Our hypothesis suggests that the clinical setting and technique should be adapted, with a body-mediated therapy. A study of 18 persons aims at evaluating repression efforts, alexithymia, sensibility at the level of the supporting points of the body and body representations, in supposed cases of ‘excessive psychic negativity. Four case studies focusing on follow-up therapy provide valuable insight on a case-by-case basis. As a conclusion, we make suggestions about theoretical and clinical reorganizations so that ‘excessive psychic negativity’ is taken into account in psychotherapies. For some persons, we think this ‘interface’ role is precisely what could produce a therapeutic effect.

Anxiety involves both bodily reactions and subjective feelings.Research suggests a positive link between heightened interoception -the perception of bodily signals - and experiences of emotions andanxiety. It has also been theorized that believing bodily signals to havenegative implications (interoceptive fear) can increase the awarenessof these signals, in turn increasing levels of anxiety. In this master’sthesis the goal was to assess this proposal. Self-reported fear of bodilysensations (interoceptive fear) and awareness of bodily sensations(interoceptive sensibility) were used to predict levels of anxiety. Theresults showed that all three variables were positively related and thatincluding interoceptive fear as a second predictor of anxiety in amultiple regression model attenuated the unique predictive value ofinteroceptive sensibility. Despite some limitations, such as the factthat some potential confounders could not be controlled for, and thatthe study was cross-sectional, the study highlights the importance ofconsidering fear and awareness of bodily sensations in anxiety.

Durant cette thèse, une méthode d'analyse statistique sur la gerbe d'éclats d’une bombe, en particulier sur leurs masses, a été mise au point. Nous avions à disposition trois échantillons partiels de données expérimentales et un modèle mécanique simulant l'explosion d'un anneau. Dans un premier temps, un modèle statistique a été créé à partir du modèle mécanique fourni, pour générer des données pouvant être similaires à celles d'une expérience. Après cela, la distribution des masses a pu être étudiée. Les méthodes d'analyse classiques ne donnant pas de résultats suffisamment précis, une nouvelle méthode a été mise au point. Elle consiste à représenter la masse par une variable aléatoire construite à partir d'une base de polynômes chaos. Cette méthode donne de bons résultats mais ne permet pas de prendre en compte le lien entre les éclats d'une même charge. Il a donc été décidé ensuite de modéliser la masse par un processus stochastique, et non par une variable aléatoire. La portée des éclats, qui dépend en partie de la masse, a elle aussi été modélisée par un processus. Pour finir, une analyse de sensibilité a été effectuée sur cette portée avec les indices de Sobol. Ces derniers s'appliquant aux variables aléatoires, nous les avons adaptés aux processus stochastiques de manière à prendre en compte les liens entre les éclats. Dans la suite, les résultats de cette dernière analyse pourront être améliorés. Notamment, grâce à des indices présentés en dernière partie qui seraient adaptés aux variables dépendantes, et permettraient l'utilisation de processus stochastiques à accroissements non indépendants. / During this thesis, a method of statistical analysis on sheaf of bomb fragments, in particular on their masses, has been developed. Three samples of incomplete experimental data and a mechanical model which simulate the explosion of a ring were availables. First, a statistical model based on the mechanical model has been designed, to generate data similar to those of an experience. Then, the distribution of the masses has been studied. The classical methods of analysis being not accurate enough, a new method has been developed. It consists in representing the mass by a random variable built from a basis of chaos polynomials. This method gives good results however it doesn't allow to take into account the link between slivers. Therefore, we decided to model the masses by a stochastic process, and not a random variable. The range of fragments, which depends of the masses, has also been modeled by a process. Last, a sensibility analysis has been carried out on this range with Sobol indices. Since these indices are applied to random variables, it was necessary to adapt them to stochastic process in a way that take into account the links between the fragments. In the last part, it is shown how the results of this analysis could be improved. Specifically, the indices presented in the last part are adapted to dependent variables and therefore, they could be suitable to processes with non independent increases.

No description available.

Jane Austen, seen by some as the mother of all chick-lit, is synonymous with tales of love and marriage. Generally, scholars have classified the types of marriages Austen writes about as either companionate (a marriage based on love) or pedagogic (a marriage based on an older man training a younger woman to be his ideal wife). In comparing the companionate and pedagogic marriage models in Austen's Sense and Sensibility and Emma, however, one finds that these traditional definitions and classifications of the companionate and pedagogic marriages prove to be complicated. The companionate marriage is not only a marriage based on love, but also takes into account rank, wealth, social status, religious values, and moral character. The pedagogic marriage, on the other hand, includes not only a marriage where an older man takes a younger woman and “trains” her to be the perfect wife for him, but also when a woman admires a man's values and approach to the social world and changes her behavior to reflect those attitudes. Elinor Dashwood and Edward Ferrars from Sense and Sensibility and Frank Churchill and Jane Fairfax from Emma are classified by scholars under the companionate marriage model. However, neither of these couples fits into the companionate model due to Elinor and Jane's lack of fortunes and Edward and Frank's lack of good character. Marianne Dashwood and Colonel Brandon from Sense and Sensibility and Emma Woodhouse and Mr. Knightley from Emma are classified by scholars under the pedagogic marriage model. Marianne and Brandon would fall under the category of the woman changing her behavior to reflect the behaviors of a superior man, while Emma and Knightley would fall under the category of an older man training the younger woman to be his wife. Marianne does undergo a transformation, but it is not a result of Brandon's values or influence. She changes based on self-reflection and then turns to Brandon and falls in love with him. Emma and Knightley, on the other hand, do start out with a mentor-pupil relationship. However, as the novel progresses, so does their relationship. By the end of the novel, Emma and Knightley equally teach each other and discover a relationship based on mutual respect and love. Therefore, none of the relationships fall neatly into their assigned categories; each relationship is more nuanced and full of complexities that can't easily be classified. By more clearly understanding the complexities involved in each relationship, readers can gain an even greater appreciation for Austen, thus helping them to value Austen as more than an author of chick lit.

The liberal peace approach guided the Disarmament Demobilisation and Reintegration (DDR) programmes under the auspices of the United Nations. While both practitioners and policymakers recognised that context fitted approaches are required, which resulted in the revision of DDR policy and practice, the driving principle approach remained the liberal peace theory, which creates a hierarchical relationship between the intervener and the intervened. I argue that applying the relational sensibility concept that places relations, dialogue, and hybridity in its focus can (potentially) contribute to a more effective locally designed, led, and implemented reintegration programme that is owned by the different stakeholders instead of imposed. Most reintegration programmes focused on the economic reintegration of ex combatants yielding limited results. I argue that social development for not only former combatants but also for youth at-risk of criminalisation is an essential element of reintegration. I probe the applicability of an alternative peace-building approach to the liberal peace that prioritises actions over relations by reviewing past DDR programmes and a specific case study in Somalia. I establish that an inclusive, community-based reintegration programme that focuses on the social rehabilitation and integration of vulnerable and at-risk youth by strengthening their social and spiritual capitals, as well as promotes restorative justice, can contribute to the decreased level of aggression at the individual level and the perceptions of the increased level of community security in Somalia. I conclude that DDR programmes both policy and practice, should look into more community-based approaches, inclusivity, and balancing between social and economic development opportunities.

<p>While eighteenth-century Gothic fiction typically constructs masculinity as tyrannical in a rigid patriarchal structure, Gothic writers such as Horace Walpole were challenging this structure as they were instituting it. Walpole uses Gothic conventions to establish and criticize the cruel, oppressive patriarchal structure in <em>The Castle of Otranto</em>. However, he offers no alternative structure, since even the male characters are powerless to act outside of it. Charlotte Smith introduces Gothic conventions into her sentimental novels in order to undermine patriarchy and to offer an alternative structure of power in which she creates a new social order, challenges gender roles, and demands a more refined masculinity. In <em>Emmeline: The Orphan of the Castle</em>, Smith challenges traditional understandings of masculinity. By incorporating sensibility, she redefines masculinity by affirming its dependence on social status. Thus, Smith effectively establishes social authority as a more powerful force than patriarchy. In <em>Ethelinde or the Recluse of the Lake</em>, Smith further refines masculinity as she uses the power of society to advocate for an equalization of genders, not to degrade masculinity, but to indicate that both men and women are subject to social expectation, and thus to each other. Through her incorporation of sensibility and Gothic elements, Smith promotes a purified masculinity as her male characters must, under the more authoritative force of society, act with selflessness and charity. Smith’s new social structure constructs society as a disciplinary force to which men and women are equally subjected, and which replaces the tyrannical authority and gendered hierarchy evident in the traditional patriarchal structure. Ultimately, Smith promotes a new understanding of society as a gender-neutral space, which demands respectability determined not by wealth or status, but by morality and compassion for others.</p> / Master of Arts (MA)

Sense and Sensibility (1811), o primeiro romance publicado de Jane Austen, foi transposto para o cinema em 1995, conferindo seis prêmios de melhor diretor a Ang Lee e dezenove a Emma Thompson, oito como melhor atriz e onze pelo melhor roteiro adaptado. Nesta dissertação eu apresento minha leitura da transposição feita por Emma Thompson do romance de Jane Austen, focando especialmente na maneira em que os personagens principais são transpostos para a tela. Para isso, utilizo três apoios, o texto do roteiro, os diários de Thompson e as performances dos atores. Em cada um desses eixos foram feitas escolhas que merecem ser investigadas, revelando o processo pelo qual o trabalho original se molda às regras da nova mídia e ao público pretendido. Atenção especial é dada aos recursos usados na transposição dos personagens do romance para o filme. O lastro teórico-crítico da pesquisa se apoia nos estudos de Linda Hutcheon sobre adaptação e nos textos de Gerald Mast e Christian Metz sobre a linguagem cinematográfica. A dissertação vem estruturada em duas partes. A primeira, dividida em três seções, apresenta os elementos de contextualização necessários para a discussão empreendida no trabalho. A primeira seção trata sobre o filme produzido em 1995 e sobre Ang Lee, responsável pela direção do mesmo. A segunda seção retraça alguns referentes do romance Sense and Sensibility e sua autora, Jane Austen. A terceira seção considera o processo de criação e adaptação do roteiro de Emma Thompson. A segunda parte do trabalho enfoca as escolhas de transposição, em especial no que diz respeito ao tratamento dos personagens. Ao término da pesquisa, espero identificar os traços que caracterizam Thompson como leitora diferenciada de Austen, e explicitar fatores que motivam as escolhas favorecidas no processo de transposição analisado. / Sense and Sensibility (1811), the first novel published by Jane Austen, was transposed to the movies in 1995, granting six awards to Ang Lee as best director and nineteen to Emma Thompson, eight as best actress and eleven for best adapted screenplay. In this thesis, I present my reading of Emma Thompson´s reading of Jane Austen´s novel, focusing mainly on the way the major characters are transposed into the screen. In order to do that, I direct the analysis from three cornerstones, the text of the screenplay, Thompson’s diaries, and the actors’ performances. In each of these instances choices that deserve to be investigated have been made, which reveal the process through which the original work molds itself to the rules of the new media and to the audience it is intended. Special attention is given to the resources used in the transposition of the characters from the novel into the film. The theoretical support of the research is based on Linda Hutcheon’s studies on adaptation, and on Gerald Mast’s and Christian Metz’s texts about filmic language. This thesis is composed in two parts. Part one comes divided into three sections, and presents the contextualization necessary for the discussion held in the work. The first section introduces the film produced in 1995, and Ang Lee, responsible for its direction. The second retraces some referents from the novel Sense and Sensibility and its author, Jane Austen. The third considers Emma Thompson´s process of creation and adaptation of the screenplay. Part two focuses on the choices made in the transposition, especially the ones regarding the treatment of the characters. At the end of this research, I hope to identify the traces that characterize Thompson as a differentiated reader of Austen, and show the factors that motivate the favored choices in the analyzed transposition process.

Sense and Sensibility (1811), o primeiro romance publicado de Jane Austen, foi transposto para o cinema em 1995, conferindo seis prêmios de melhor diretor a Ang Lee e dezenove a Emma Thompson, oito como melhor atriz e onze pelo melhor roteiro adaptado. Nesta dissertação eu apresento minha leitura da transposição feita por Emma Thompson do romance de Jane Austen, focando especialmente na maneira em que os personagens principais são transpostos para a tela. Para isso, utilizo três apoios, o texto do roteiro, os diários de Thompson e as performances dos atores. Em cada um desses eixos foram feitas escolhas que merecem ser investigadas, revelando o processo pelo qual o trabalho original se molda às regras da nova mídia e ao público pretendido. Atenção especial é dada aos recursos usados na transposição dos personagens do romance para o filme. O lastro teórico-crítico da pesquisa se apoia nos estudos de Linda Hutcheon sobre adaptação e nos textos de Gerald Mast e Christian Metz sobre a linguagem cinematográfica. A dissertação vem estruturada em duas partes. A primeira, dividida em três seções, apresenta os elementos de contextualização necessários para a discussão empreendida no trabalho. A primeira seção trata sobre o filme produzido em 1995 e sobre Ang Lee, responsável pela direção do mesmo. A segunda seção retraça alguns referentes do romance Sense and Sensibility e sua autora, Jane Austen. A terceira seção considera o processo de criação e adaptação do roteiro de Emma Thompson. A segunda parte do trabalho enfoca as escolhas de transposição, em especial no que diz respeito ao tratamento dos personagens. Ao término da pesquisa, espero identificar os traços que caracterizam Thompson como leitora diferenciada de Austen, e explicitar fatores que motivam as escolhas favorecidas no processo de transposição analisado. / Sense and Sensibility (1811), the first novel published by Jane Austen, was transposed to the movies in 1995, granting six awards to Ang Lee as best director and nineteen to Emma Thompson, eight as best actress and eleven for best adapted screenplay. In this thesis, I present my reading of Emma Thompson´s reading of Jane Austen´s novel, focusing mainly on the way the major characters are transposed into the screen. In order to do that, I direct the analysis from three cornerstones, the text of the screenplay, Thompson’s diaries, and the actors’ performances. In each of these instances choices that deserve to be investigated have been made, which reveal the process through which the original work molds itself to the rules of the new media and to the audience it is intended. Special attention is given to the resources used in the transposition of the characters from the novel into the film. The theoretical support of the research is based on Linda Hutcheon’s studies on adaptation, and on Gerald Mast’s and Christian Metz’s texts about filmic language. This thesis is composed in two parts. Part one comes divided into three sections, and presents the contextualization necessary for the discussion held in the work. The first section introduces the film produced in 1995, and Ang Lee, responsible for its direction. The second retraces some referents from the novel Sense and Sensibility and its author, Jane Austen. The third considers Emma Thompson´s process of creation and adaptation of the screenplay. Part two focuses on the choices made in the transposition, especially the ones regarding the treatment of the characters. At the end of this research, I hope to identify the traces that characterize Thompson as a differentiated reader of Austen, and show the factors that motivate the favored choices in the analyzed transposition process.