Face à la révolution gastronomique en marche et face au regain d’intérêt pour la culture culinaire irlandaise depuis ce début de 21ème siècle, cette thèse de doctorat cherche à mettre en lumière les facteurs historiques, culturels et sociologiques vecteurs de changement, envisagés dans une perspective identitaire. Ce travail de recherche présente tout d’abord l’espace social du mangeur irlandais contemporain sous plusieurs angles d’approche (enquêtes, média, livres de recettes, observations in situ…) et analyse les pratiques alimentaires et culinaires depuis les années 1960-70. Le rôle des institutions du tourisme (Bord Fáilte puis Fáilte Ireland) dans le développement d’une cuisine nationale et dans la revalorisation de la culture alimentaire est apparu moteur et porteur d’un dynamisme économique et artistique sans précédent. Cette forme de nationalisme culturel contribue à la construction d’une légitimation historique, à la patrimonialisation d’une culture culinaire longtemps dénigrée et réprimée. La perspective historique et mythologique que nous offrons en seconde partie permet de mieux appréhender la symbolique des aliments phares de l’irlandicité contemporaine ainsi que l’hospitalité au cœur de la rhétorique touristique et nationaliste. Les relations conflictuelles avec l’occupant anglais au cours des siècles, dans le champ alimentaire, sont également analysées dans le but de mieux saisir le besoin de fierté retrouvée. Cette thèse intègre pour la première fois la dimension religieuse de l’alimentation en Irlande. Caractérisée par une valorisation de l’acte pénitentiel de « non-ingestion », par une répression des appétits alimentaire et charnel et par une culture de l’abnégation jusqu’aux bouleversements sociétaux engendrés par le Concile Vatican II, la société irlandaise, aujourd’hui lancée à corps perdu dans une nouvelle ère de consommation, vit désormais sa relation à l’alimentation de manière anomique et hédoniste. / Affected by globalisation, secularism and multiculturalism, Irish society has undergone many radical changes since the turn of the 21st century, food consumption being one of the most striking. This PhD thesis examines and analyses past and contemporary eating and cooking practices from a sociological and historical perspective. Taking into account the dramatic effects engendered by the English colonisation (acculturation, extensive exploitation of resources, contempt vis-à-vis indigenous customs…), the aim of this research is to stress the importance that religious principles had in shaping the dietary practices until the 1960s and to analyse the consequences on contemporary eating behaviours. Particular emphasis is given to the essential role played by Bord Fáilte and Fáilte Ireland in developing a national cuisine and promoting Ireland’s food culture. The late development of a gastronomy for all (not just for the Protestant elites), is explained by the importance for centuries of the spiritual act of “non-ingestion” over the bodily act of ingestion. Fasting was for so long engrained into everyday life that rejoicing in food consumption was not acceptable until the reforms of penitential laws brought by the Second Council of Vatican in the late 1960s. Contemporary excessive food consumption and growing interest in all things food is also analysed through the concepts of hedonism, hypermodernity and gastro-anomy, aftermath of the collapse of the traditional authoritative institutions.

Thesis (Ph.D.)--Boston University / The problem of this dissertation is psychological and sociological description and analysis of the appeals and activities of the John Birch Society as a movement of social protest of the radical right. The John Birch Society is one of the major organizations described in current journalistic treatments as radical right or as right-wing extremist. The Society came to public prominence in the spring of 1961 as awareness of its fairly widespread organizational accomplishments and of the more extreme opinions of its founder, Robert Welch, were brought to public attention by the press. The method included both library and field research. Library research, both before and after the field research, focused upon the provision of an adequate framework of psychological and sociological theory through which to perceive the setting, the leader, the organization and membership, and the ideology and activity of the John Birch Society. The primary data so perceived were those of many of the Birch Society publications, those provided by observers of local Birch Society conflicts in Gloucester, Little Rook, El Paso, Dallas, Los Angeles, Santa Barbara, San Diego, Phoenix, and Wichita, and those provided by the participants on each side of these conflicts through interviews and, with many, through the administration of a questionnaire. Secondary data were provided by newspaper, newsmagazine, and personal correspondence descriptive of the leader, the organization, the membership, the ideology, and the local and national activities of the Birch Society. The conclusions of this dissertation are as follows: 1. The Birch Society functions as a fundamentalist reaction. 2. The top leadership of the Society is charismatic. 3. The organizational-leadership structure of the Society is an unstable mixture of both charismatic and rational-bureaucratic elements. 4. The stance of the Society as an aggressive sect is inherently unstable. 5. The activity and ideology of social protest represent the major appeal of the Society. 6. The conflict in which the Society engages is characteristically non-communal. 7. The ideology of the Society is substantively and formally logic-tight and, characteristically, those who affirm it are highly closed-minded. 8. Within our troubled setting, the ideology provides the social-psychological appeals of certainty, superiority, and self-righteousness and "justifies" aggression toward otherwise invulnerable objects of frustration. 9. As a fundamentalist reaction, the Society fails to serve its manifest function, none of its latent functions appear to be constructive, and some are latently dysfunctional even for its own existence. 10. The Society is well described as a movement of social protest of the radical right. These conclusions led the author to observe that the non-rational character of the Society tends to dominate and to obscure whatever fundwnental forces and issues may be in conflict. The implications of this observation, for the legitimated processes of the American democratic society, then led the author to the position that the only way to move conflicts with the Society into potentially constructive channels appears to be through insistence upon the norms of rational and communal conflict.

This dissertation traces the emergence of a State-sponsored revolutionary culture in Mexico during the late 1920s and early 1930s through an eminently literary corpus of works. The analysis opens by highlighting the role played by literature in the formation of a politically and culturally homogeneous national identity in the years that followed the Revolution. An identity that was politically construed by the nationalist discourse of the Revolution, socially imagined as rural and peasant, and culturally characterized by machismo, secularism, and political unawareness. In this way, the dissertation argues that the consolidation of a national identity and political hegemony in those terms entailed the removal of marginal subjectivities and spaces: like the urban space of Mexico City and its inhabitants, the villista revolutionaries, the Cristero rebels and communist militants from the body politic because those subjectivities problematized the horizontality of Mexican identity, a process I call the Excisions from the National. In order to problematize these Excisions, I examine the representation of some of those marginal subjectivities and antagonistic identitary positions namely those found in key works of urban revolutionary, Villista, Cristero, and communist literatures. The dissertation traces how these subjectivities challenged revolutionary culture’s narrative of identity and of the nation itself and them moves on to construe what I call the Sutures of the National, a term I have coined to designate the manner in which these marginal subjectivities were later reincorporated to the body politic of the nation in a neutralized way once the revolutionary regime had stabilized during the 1940s and 50s. My analysis concludes by examining how the process of re-incorporating these subjectivities into the symbolic order of national identity led to certain unintended paradoxical binarisms of Mexican culture.

Background Knee pain and related disability are important public health problems worldwide. In a systematic review, the prevalence of knee pain varied between 2.4% to 49.2% worldwide and disabilities were greater in those with knee pain compared to those without. The prevalence of knee pain may be higher in mountainous regions. The research student is from Nepal. He has a clinical interest in musculoskeletal disorders and had found at the time of the thesis that there had been no study undertaken across Nepal. Such a study would inform Nepalese health policy. Objectives To estimate the prevalence of knee pain and knee related disability, overall and in different ecological zones, of one region of Nepal. Methods A cross-sectional multistage cluster survey was undertaken using a questionnaire in Nepali delivered face to face to adults aged over 18 years in seven sites across the three ecological zones (plain, hilly and mountainous) of the Western Development Region of Nepal. Crude weighted and age standardised period and point prevalence rates of knee pain were estimated. The prevalence of disability was compared between those who had knee pain and those who did not have knee pain. Binary logistic regression was used to investigate potential independent risk factors for the prevalence of knee pain and knee pain related disability. Results In total 694 participants were recruited; 52.6% were women, the mean age was 41 years and 14.1% lived in the mountainous zone. The period prevalence of knee pain was 22.3% (95% CI 19.2% - 25.5%) and of chronic knee pain was 12.1% (95% CI 9.5 – 14.7%). The point prevalence was 7.6% (95% CI 5.7%-9.6%). Knee pain was higher in the mountainous zone compared to the plain zone. Overall 25.6% of the 694 participants had disability, as measured by the WHO DAS 2.0, and this was significantly higher in those with knee pain compared to those without (81.2% vs. 9.5%). Disability was highest among those with knee pain in the mountainous zone, with all having disability. Despite this only 54.8% of those with knee pain sought advice for their condition, those in the mountainous zone were less likely to seek advice, access hospital treatment or take oral medications. Conclusion Knee pain is highly prevalent in Nepal. Just under half who suffer do not access services for pain management, even though knee pain is associated with high levels of disability. Rates of knee pain are highest in the mountainous areas where access to services is lowest. This demonstration of unmet need, particularly in the poorest and most remote areas of the country, is of importance to policymakers who should focus on raising awareness and improving access to services.

In recent decades, historical concert programmes have emerged as a fascinating resource for cultural study. As yet, however, little detailed work has been done on the programme notes that these booklets contained. This thesis concentrates on the notes written for the Crystal Palace Saturday Concerts between 1865 and 1879. The series held an important place in London concert life during this period, and featured a number of influential authors in the programmes, such as George Grove, August Manns, James William Davison, Edward Dannreuther, and Ebenezer Prout. Grove in particular made use of his notes as part of entries in the first edition of the Dictionary of Music and Musicians. Close critical readings of the Saturday Concert booklets illustrate the complex combination of context, content, and function that the programme notes represented. These readings are supported by short histories of the series, the programme note, and the various authors, along with a study of the audience through booklet construction and advertising. A database covering the repertoire performed and programme note provision during the case-study period is included on the attached CD. Programme notes that outlined pre-existing or newly-invented plots make it clear that one of their functions was to give music a narrative. Even notes that did not contain stories per se were filled with material that served a very similar purpose. The most obvious examples were explanations of how the work was created, and it's place in history. However, all of the language used to describe a piece could signal wider meanings, which then became part of the story being told. References to gender, families, education, morality, religion, politics, or race imbued the works with a wide variety of pre-existing 'texts' (in the broadest sense of the word), and formed social and cultural narratives for music.

Throughout the eighteenth century Italian violinists were praised and admired by London audiences. Though never as feted as the Italian castrati and sopranos, the Italian violinists in eighteenth-century London played a prominent role, featuring as leaders and soloists in every context where music was required. This dissertation focuses on the role the 'Solo' played in the careers of these Italian violinists, and how these artists and this genre fitted in socially, culturally and aesthetically. The 'Solo' was an important tool for them in promoting their careers: it was the repertoire they performed and subsequently published in order to enhance their fame. As a genre, the 'Solo' was uniquely suited to exploring a violinist's artistic invention. Exploring the repertoire provides a new understanding of these artists and the important role they played in eighteenth-century London. First, the Italian violinist is considered through a discussion of the historical and cultural context of eighteenth-century London into which these artists arrived. The cultural scene (including the Italian Opera, the theatres and the emerging public concert scene) is studied, as are various forms of patronage and the tradition of private pupils. The prominence and longevity of the 'Solo' is examined through a consideration of surviving catalogues from the publishers active in London during the century. Concert and publication advertisements support the argument. To understand further why the 'Solo' and the Italian violinist were appreciated, eighteenth-century treatises on aesthetics and musical performance are discussed, exploring the concept of 'Good Taste' and in the process revealing the 'aesthetic of moderation'. Finally, the Solo repertoire itself will be explored, focusing both on contemporary aesthetics and performance practice issues. This will be done both through a general survey of the Solo genre as well as a couple of case studies.

This thesis explores how voice, the body, and gender interact to characterise the eponymous leading roles in Richard Strauss's Salome (1905) and Elektra (1909). Approaching the vocality of the two title characters from the perspective of a performer, I use vocal line as notated in the score as a basis for exploring constructions of women at the time these two operas were composed. Because these operas were created during the fin-de-siècle, they occupy a crucial transitional point between Romantic and Modern vocal writing, when, in contrast to the practices of the bel canto era, the singer was expected to demonstrate ever-greater fidelity to the notated score. Therefore, the voice is largely manipulated by another (the composer) to perform sounds that construct her identity, and hence, her gender. I expand upon this absolute to show how in these operas, gender performativity is manifested in the musical notation. The operatic soprano voice, when manipulated for certain effects, performs 'conventional' aspects of a female character's gender (for example, its pitch range), but I argue it also has the ability to communicate something more visceral, something that transcends gender norms, and also language itself. Building on a wide range of analytical and critical discourses ranging from gender theory to vocal technique, my thesis explores how a soprano singer navigates the extreme vocality present in these two operas, and in the process articulates a range of constructions of identity of women in the fin-de-siècle. In analysing the vocal writing of these two works, it becomes apparent that gender dichotomies are effectively voided in passages within these seminal operas, which nevertheless comment directly on fin-de-siècle 'femininity' or 'masculinity'. My research analyses vocal gestures from a technical standpoint and, in so doing, suggests that gender norms become obsolete at those crucial moments in which voice and body are pushed to physical and expressive limits.

This thesis details the previously under-acknowledged work of British Quakers with refugees from fascism in the period leading up to the Second World War. This work can be characterised as distinctly Quaker in origin, complex in organisation and grassroots in implementation. The first chapter establishes how interwar British Quakers were able to mobilise existing networks and values of humanitarian intervention to respond rapidly to the European humanitarian crisis presented by fascism. The Spanish Civil War saw the lines between legal social work and illegal resistance become blurred, forcing British Quaker workers to question their own and their country's official neutrality in the face of fascism. The second chapter draws attention to both the official structures and the unofficial responses of humanitarian workers. Female domestic servants were the largest professional category of refugees from fascism to enter Britain. Their refuge was largely negotiated by other women, which has not been acknowledged. In the third chapter, I focus on intimate histories to approach a gendered analysis of humanitarian intervention. Finally, I argue that the Kindertransport, in which Quaker leadership was essential, represents the culmination of the interwar voluntary tradition and should be seen as the product of a complex, inter-agency effort. I argue that the Quaker work was hugely significant as a humanitarian endeavour in its own right. Beyond this evident and momentous impact, the Quaker work should be seen as a case study for the changing role of both voluntarism and humanitarianism between the wars. This dissertation illustrates the ways in which the interwar period saw both the professionalization of the humanitarian sector, and an increasing recognition that governments had to support private charities in their humanitarian responses to international crises.

O conto Yad Vashem, do escritor israelense Aharon Megued, publicado em 1955, narra a história do avô Ziskind, originário da Ucrânia, que residia em Israel. Quando Ziskind soube que sua neta Raia estava grávida, pediu que ela desse para o filho que ia nascer o nome de Mêndele, caso fosse homem. A partir daí começa a discussão sobre a escolha de um nome típico da tradição europeia, defendido pelo avô, que se apresenta como um estranho para a família, ou um nome israelense, próprio de uma ideologia sionista, exigido pela neta. Esse conflito geracional revela uma crise de identidade profunda entre o imigrante e seus descendentes que se resume no choque entre o antigo e o novo, retratando as diferentes ideologias de um povo. / The tale Yad Vashem, of the Israeli writer Aharon Megued, published in 1955, tells the story of the grandfather Ziskind, from Ukraine, who resided in Israel. When Ziskind knew that his granddaughter Raia was pregnant, asked that she gave the name for her son who would be born Mendele, if he were a boy. From this, starts a discussion about the choice of a typical name of the European tradition, defended by the grandfather, who presents himself as a strange to the family, or an Israeli name, pertaining to a Zionist ideology, demanded by the granddaughter. This conflict reveals a deep identity crisis between the immigrant and his descendants which is summed up in the shock between the old and the new, showing the different ideologies of a people.

麥金華. / "2007年9月". / 論文(哲學碩士)--香港中文大學, 2007. / 參考文獻(leaves 128-139). / "2007 nian 9 yue". / Abstract also in English. / Mai Jinhua. / Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2007. / Can kao wen xian (leaves 128-139). / 緒論 --- p.1 / Chapter 第一章 --- 大英聖書公會 --- p.8 / Chapter 1. --- 成立宗旨、組織及工作簡介 --- p.8 / Chapter 2. --- 大英聖書公會在十九世紀的中國 --- p.12 / Chapter 第二章 --- ー八九〇年上海在華傳教士大會、《和合本》與大英聖書公會 --- p.18 / Chapter 1. --- 十九世紀基督教中文聖經翻譯槪況 --- p.18 / Chapter 2. --- 一八九〇年上海在華傳教士大會與《和合本》 --- p.26 / Chapter 3. --- 聖經公會與《和合本》 --- p.29 / Chapter 4. --- 大英聖書公會與《和合本》 --- p.31 / Chapter 第三章 --- 贊助者的支持 --- p.41 / Chapter 1. --- 贊助經費 --- p.41 / Chapter 2. --- 提高譯者教內地位 --- p.45 / Chapter 第四章 --- 贊助者的制約一大英聖書公會與《和合本》新約希臘文基礎文本問題 --- p.50 / Chapter 1. --- 新約聖經的「原文」 --- p.52 / Chapter 2. --- 一八九〇年上海在華傳教士大會 有關《和合本》原文基礎文本之決議 --- p.62 / Chapter 3. --- 贊助者的立場 --- p.64 / Chapter 4. --- 贊助者願意讓步的原因 --- p.69 / Chapter 5. --- 《和合本》新約希臘文基礎文本爭論 --- p.71 / Chapter 第五章 --- 官話《和合本》譯文文本分析´ؤ〈約翰福音〉 --- p.83 / Chapter 1. --- 文本分析的方法 --- p.84 / Chapter 2. --- 文本分析的結果 --- p.90 / Chapter 3. --- 證據並非一切一 《公認經文》與《英國修訂譯本》希臘文基礎文本並用的原因 --- p.95 / 結論 --- p.120 / 參考書目 --- p.128