<p>Player Piano, published in 1952, primarily deals with the theme of men, or masculinities, made redundant by technological advance. This theme has in more recent years been highlighted by, for instance, Men's Liberation groups. The machinery introduced in the Industrial Revolution has, in Vonnegut's future, been refined to the point that manpower has been replaced with mechpower, where those deemed unfit for “academic” studies either must serve twenty-five years in the military or working with the "Reeks and Wrecks", the Reconstruction and Reclamation Corps. This structure is enforced and maintained by a totalitarian state. However, Vonnegut’s state is slightly different from the popular image of ‘Big Brother’, i.e. an impersonal, near-omniscient and inhuman government. It is highly human, meaning that Vonnegut examines the men behind the machinery on a more personal level, thus making possible an examination of their motives and ideas.</p><p>I argue that the hegemonic masculinity, or the masculinity of the patriarchy, provides both motivation and justification for the men who are constructing the totalitarian state of Player Piano. I will furthermore look at the effects, on both society and the individual, of a hegemonic masculinity.</p>

Player Piano, published in 1952, primarily deals with the theme of men, or masculinities, made redundant by technological advance. This theme has in more recent years been highlighted by, for instance, Men's Liberation groups. The machinery introduced in the Industrial Revolution has, in Vonnegut's future, been refined to the point that manpower has been replaced with mechpower, where those deemed unfit for “academic” studies either must serve twenty-five years in the military or working with the "Reeks and Wrecks", the Reconstruction and Reclamation Corps. This structure is enforced and maintained by a totalitarian state. However, Vonnegut’s state is slightly different from the popular image of ‘Big Brother’, i.e. an impersonal, near-omniscient and inhuman government. It is highly human, meaning that Vonnegut examines the men behind the machinery on a more personal level, thus making possible an examination of their motives and ideas. I argue that the hegemonic masculinity, or the masculinity of the patriarchy, provides both motivation and justification for the men who are constructing the totalitarian state of Player Piano. I will furthermore look at the effects, on both society and the individual, of a hegemonic masculinity.

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Le centre civique de Bucarest est le projet étudié d'une façon approfondie et il devient progressivement, avec l'avancement de cette thèse, l'élément de référence qui nous permet de faire des parallèles et des comparaisons avec d'autres projets construits sous un régime totalitaire. La confrontation directe entre des réponses architecturales différentes a le mérite de mettre en exergue des traits communs de l'acte d'édifier et ses conséquences dans l'atmosphère urbaine, en un mot, d'identifier la production architecturale totalitaire. Elle permet aussi de souligner le parcours intellectuel que les dictateurs empruntent pour arriver à imaginer et matérialiser le monde qui est le leur. L'architecture est une expression incontournable, une dimension inéluctable pour la compréhension de l'esprit totalitaire. / Bucharest's civic center is the main subjetc studied in detail in this thesis. It becomes gradually the base point which allows us to draw parallels and comparisons with other projects built up under the totalitarian regime. The direct comparisons of various architectural answers enabled us to highlight common points between the fact of building and it's consequences to urban atmosphere. Beyond, more than helping to identify the totalitarian architecture, these comparisons lead up to understand the intellectual exercise done by dictators. Indeed, it brings us to understand their way of imagining and materializing their vision of the world. Architecture is the key dimension of understanding totalitarianism.

This project explores strategies to effectively address the challenges surrounding the ‘dissonant’ heritage of totalitarian regimes. The difficulties associated with this heritage rises from multiple factors, such as the characteristics of materials and objects involved, historical and cultural contexts, political influences, ethical considerations, religious aspects, and personal beliefs of individuals involved. These differences give rise to conflicts and obstacles in preserving and managing such heritage. The main point of disagreement is whether undesired and painful objects and sites should be demolished or if they are to be preserved, how they should be appropriately presented. Therefore, it is essential to adopt a balanced approach that respects diverse perspectives, fosters dialogue, and embraces adaptive strategies. This approach is crucial for ensuring the long-term viability and meaningful interpretation of our shared collective heritage. The case study chosen is Lithuania, a former part of the Soviet Union. Most built heritage from the Soviet era may not be traditionally seen as culturally significant, but it does bear witness to collective memory. The goal is to analyze and propose an adaptive reuse project for a partially abandoned building, the former Taxi Park in Vilnius. To address historical memory, the proposal suggests a programic shift from a Taxi Park to a Film Park. This approach showcases artifacts from the Lithuanian film industry and transforms the space into an archival institution that engages with history. The building is organized in a chronological framework, with different floors that create a cohesive narrative that honors the past, preserves the present, and allows for future engagement. By incorporating these elements, the space serves educational, cultural, and future-oriented purposes.

This diploma thesis describes instruments of totalitarian language, it summarizes existing research about language during the protectorate of the official journals. Inforamtion was processed on the created corpus. This corpus war created on base two ofiicial journals Arijský boj and Národní politika. Information was acquired by some available instruments of Openoffice.org 3.3 and software K-words, which one is available online from <www.korpus.cz>. This diploma thesis includes ortography, word- forming sphere, lexical-semantic sphere and morfological sphere. Ortography includes capital letter and puncutation, word-forming sphere includes abbreviations. Lexical- semantic sphere includes representation of Jews, Keywords and Germanism in czech texts. Morfological sphere includes inflection of Germanism, specifically of toponyms. We discovered inconsistency of treatment with capital letter of some words, any words had been evolved during protecorate and any words was written with capital letter from the beginning of the protectorate. We noted to frequent appearance of ironic quotes. We discovered increased frequency of abbrevation in created corpus. Further we discovered rettence Národní politika as to representation of Jews in contrast with Arijský boj, but in both of them was anti-Semitic rhetoric...

Cette étude analyse le discours totalitaire à travers le prisme du personnage du Grand Inquisiteur dans quatre romans dystopiques : "Le Zéro et l’infini" d’Arthur Koestler, "1984" de George Orwell, "La Zone du Dehors" d’Alain Damasio et "2084" de Boualem Sansal. Il s’agira non seulement de comprendre la structure du discours totalitaire mais également la façon dont il interagit dans l’univers dystopique et avec les autres personnages. La méthode de recherche aborde ces questions de façon pluridisciplinaire afin de mieux analyser les aspects linguistiques, historiques et philosophiques au sein de la littérature dystopique. La thèse se découpe en trois grandes parties, elles-mêmes divisées en trois chapitres. Il s’agit d’étudier en premier lieu la parole hérétique qui s’oppose au dogme totalitaire, pour ensuite comprendre la manière dont le discours du Grand Inquisiteur impose son joug sur chaque individu. Enfin, la recherche aborde la dimension salvatrice de chacune des œuvres du corpus. A travers elles, les auteurs ne souhaitent pas uniquement tendre un miroir désespérant du monde mais aussi ouvrir des possibilités pour faire face aux dérives totalitaires qui peuvent être engendrée / This research analyses totalitarian’s speech from the Grand Inquisitor in four dystopia’s books: "Darkness at Noon" from Arthur Koestler, "1984" from George Orwell, "La Zone du Dehors" from Alain Damasio and "2084" from Boualem Sansal. This work studies the structure of the totalitarian’s speech and how he interacts with dystopia’s universe and their characters. Questioning will be treated through dystopia’s literature and from linguistical, historical and philosophical viewpoints. Thesis is divided in three parts, each one divided in three chapters. First part analyses heretic’s speech in opposition to totalitarian’s dogma. Second part studies how the Grand Inquisitor dominates everyone in the dystopia’s society. In fine, third part tries to find the saving dimension in corpus. In fact, writers don’t want to show only a dark future. Their books are maybe a message to fight against totalitarian’s excesses.

The purpose of this thesis is to investigate the democratization process in Kurdistan on the basis of consolidation democracy with focus on arenas defined by Linz and Stepan (1997), namely economic, political, legal, civil society and arenas of state bureaucracy. Furthermore, I intend to explain Kurdistan’s road toward democratization in Kurdistan from 1991 until today, with a focus on the years 2003-2012. The main results are that Kurdistan has developed conditions that support a future consolidation of democracy. However, there are weaknesses in the economic situation, rule of law and the arena of bureaucracy. The arena of the political and civil society grew stronger after the US war on Iraq in 2003 and as effect new institutions such as political parties, opposition, election, political governance and alliances arose.

On the eve of the twentieth century, the dismembering of old empires brought the formation of many new nation states, therefore of emerging new capitals. Becoming independent in 1912, Albania chose its definitive capital, Tirana, in 1920. Since then, the city has been a showcase of planning and architectural interventions for various regimes that have come in power, and its centre was and still is seen as a possibility to show the political ideals of each. The aim of this study is to examine how this important part of the city was produced, used and transformed in a timespan starting from 1920 until the fall of the People&#039 / s Socialist Republic in 1991. The spatial analysis of the city&#039 / s centre and the description of the relations between the main actors of these processes will help us understand the underlying goals for which these representative spaces were designed. On the other hand, comparing its urban elements with those of several coetaneous capitals will locate Tirana among the important planning examples of the time.

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