During the 1930s, German-born music critic and composer Gualterio Armando (1887-1973), formerly known as Walter Dahms, set to music thirty-four poems by some of the most important Hispano-American poets from the latter part of the nineteenth and first half of the twentieth century. In these songs, Armando tries to capture the spirit and idiosyncrasy of Hispano-American cultures while incorporating his own musical aesthetics. Armando’s 34 Canciones Hispanoamericanas para Canto y Piano (34 Hispano-American songs for voice and piano) display an original sound and style full of rhythms, shapes, colors, and textures found in the music of various Hispanic cultures. Nevertheless, the essence of these songs is deeply rooted in nineteenth-century German musical traditions. This eclecticism results in unique works that developed and evolved as reflections of their creator’s musical psyche. This dissertation presents an analytical study of selected songs from the 34 Canciones. The study focuses on three compositional aspects: unity within song cycles, chromaticism, and the use of pre-existing musical material. Since only one of the 34 Canciones has ever been published, this document also includes a complete edition of the thirty-four songs. Additionally, a significant part of the research incorporates a biographical sketch of the composer.

Inscrit à la liste des « Chefs-d’oeuvre du Patrimoine Oral et Immatériel de l’Humanité » de l’UNESCO en 2001, leCarnaval d’Oruro fait depuis plusieurs décennies l’objet d’une valorisation croissante. L’une des spécificités de la fêteréside dans son surprenant développement au cours du XXe siècle, ainsi que dans la théâtralisation des enjeux etconflits nationaux qu’elle propose. Cette thèse se propose d’appréhender la métamorphose du Carnaval d’Oruro aucours des XXe et XXIe siècles (1920-2015), en prenant pour points de départ l’analyse des différentes interactionsd’ordre économique, politique, social et culturel qu’engendra son évolution historique, ainsi que certains de ses enjeuxet conflits qui en découlèrent. La réflexion s’oriente dans un premier temps sur les modalités temporelles du Carnaval,organisé autour d’un réseau dense et complexe de manifestations qui façonnent son calendrier. Chacun des temps de lalongue période jalonnant la préparation et le déroulement du Carnaval apporte en effet une dimension spécifique à cedernier, permettant la mise en relation de groupes, pratiques ou personnes réunis autour d’une même festivité,polymorphe et parfois déroutante. La seconde partie s’attache à présenter et analyser la multiplication des événementset mesures politiques et économiques qui firent du Carnaval une fête mobilisant un nombre croissant d’acteurs, au fild’un vingtième siècle marqué par d’importants bouleversements historiques nationaux. L’étude de la « constructionphysique » du Carnaval, autour d’un certain nombre de marqueurs spatiaux et matériels, de ses retombéeséconomiques et touristiques, ou de son impact sur les politiques régionales et nationales, façonne cette partie articuléeautour du déroulement « concret » du Carnaval et de ses variations historiques. Enfin, la troisième partie propose uneréflexion sur les modalités de représentation et de mise en scène de la société orureña et/ou bolivienne à travers leCarnaval, reflet ou illustration des nombreuses transformations du pays au cours du XXe siècle. Le Carnaval entraeffectivement dans une nouvelle étape de son histoire à partir des années quatre-vingt, devenant progressivement lethéâtre voire le creuset de processus politiques et de modalités de représentation toujours plus complexes. Cettedernière partie explore également des conflits ou interactions liés aux processus d’affirmation identitaire, culturelle oupolitique que généra et continue de générer le Carnaval, particulièrement depuis sa consécration par l’UNESCO en mai2001. L’ensemble de ce travail repose sur trois types de sources, mises en relation ou en contraste dans chacune desparties présentées. Les observations de terrain (2012, 2014, 2015) sont complétées par un important travail derépertoriage des archives de presse produites par le quotidien orureño La Patria, depuis sa fondation en 1919 jusqu’ànos jours, justifiant les bornes temporelles de l’étude. Près de 3.500 articles de presse ont ainsi été recensés et étudiés,permettant de mieux appréhender l’histoire du Carnaval et ses répercussions sur la société orureña. Les donnéesrésultant de la mise en place de deux questionnaires diffusés sur place et en ligne (2014, 2016) auprès de plusieurscentaines de danseurs et participants du Carnaval viennent enrichir ce corpus journalistique et donner à la réflexion unedimension sociologique. À travers ces différents supports, la présente thèse propose une étude des principaux enjeux,interactions et conflits suscités par le Carnaval sur la période 1920-2015, dans une approche à la fois synchronique etdiachronique, afin de cerner l’ampleur et la complexité d’un Carnaval étudié non seulement dans sa dimension festivepremière, mais aussi depuis ses coulisses ou enjeux souterrains, parfois moins manifestes ou explicites. / From its proclamation as “Masterpiece of the Oral and Intangible Heritage of Humanity” by UNESCO in 2001, theOruro Carnival is being deeply highlighted. One of its specificities consists in its impressive evolution throughout theHistory, and in its dramatization of the Bolivian society conflicts. This work pretends to study the Carnival’stransformation during the 20 and 21st centuries (1920-2015), considering and understanding the metamorphosis of theOruro Carnival by taking initial postulates in the analysis of some of its most significant challenges and conflicts, aswell as the different interactions with economic, political, social or cultural produced by its historical evolution.The reflection focuses initially on temporary terms of Carnival, organized around a complex grid of events that shapeits schedule. Each moment of the period between the Carnival’s preparation and its development brings a specificdimension to it, allowing the development of relationship between groups, practices or people gathered around a samepolymorphic festivity. The second part aims to present and analyze the multiplication of events and political oreconomic measures that made the Carnival celebration mobilizing a growing number of players, over a century markedby major national historical upheavals. The study of the Carnival’s “physical construction”, around a great number ofspatial markers and equipment, its economic and tourism benefits, or its impact on the regional and national policy,shape this second part around the “concrete” course of Carnival and its historical changes. The third part proposes areflection on the modalities of representation and staging of the orureña and / or Bolivian society through a Carnivalthat reflects or illustrates some of the many transformations of the country during the twentieth century. The Carnivalthen entered a new stage in its history, becoming the theater of national political processes, and crystallizing newissues of representation. This last part also examines conflicts or interactions related to identity, cultural or politicalaffirmation processes, generated by the Carnival, especially since its consecration by UNESCO in May 2001. Thiswork is based on three types of sources. Field observations (in 2012, 2014 and 2015) are supplemented by importantwork of indexing newspaper archives produced by the orureño daily “La Patria”, since its foundation in 1919 untilnow, justifying the temporary terms of the study. Nearly 3.500 articles have been identified and studied to get to abetter understanding of the Carnival history and its impact on the orureña society. The data resulting from theimplementation of two questionnaires dissimilated locally and online (2014 and 2016) with hundreds of Carnivaldancers and participants, completes the journalistic corpus and gives an additional sociological dimension to thereflection. Through these media, this thesis proposes a study of the major issues, interactions and conflicts over theCarnival in the period 1920-2015, in both a synchronic and diachronic approach in order to better understand the scopeand complexity of the Carnival, not only in its festive dimension, but also for its underground scenes or issues,sometimes less obvious or explicit.

This thesis provides one component of a greater defense of Christian ethical relativism, or the notion that what is a morally allowable action for one Christian may be wrong for another and both could be correct in their assertions. This essay does not develop such a Christian relativism, but merely defends the idea that a relativistic view could be developed in an academically rigorous manner and may be able to explain the diversity of Christian ethical traditions in a simpler manner than that offered by the ethical absolutist. As such, the thesis argues that a relativistic view ought to be developed.

No description available.

Deux écrivains : Gide et Mahfouz, deux visages, l’un occidental, français, l’autre oriental, égyptien d’origine, deux univers de littérature de réputation mondiale reliés dans notre étude par un seul thème : le silence. Diverses sont les similitudes qui se présentent à travers ce thème chez les deux écrivains et dans leurs œuvres. Mais nombreuses sont aussi les divergences. Quel que soit le cas, le thème du silence gidien et mahfouzien peut refléter l’autre visage de la parole, l’art qui consiste à faire taire la parole pour laisser parler le silence.Si le silence est semblable, en apparence, chez Gide et Mahfouz, il est différent quand il s’agit de descendre en détails dans le for intérieur de l’être humain aux prises avec ses évolutions dans des environnements socio-familiaux. La divergence, bien que liée à la situation familiale et sociale, provient aussi de l’éducation des romanciers qui expriment des attitudes personnelles à l’égard d’une incompréhension ou d’une injustice qu’ils ressentent, fruits de leurs propres conditions.Dans le cours de la vie, il y a des plaisirs et des tendres engagements. Certains personnages gidiens utilisent le silence comme un jeu pour marquer leur intelligence et leur pondération face à la course vers les désirs sensuels. Le silence auquel ils ont recours n’est pas l’aveu de leur erreur, mais il reflète une protestation intérieure capable de conduire à une situation de révolte à l’encontre de diverses situations familiales ou sociales.Quant à Mahfouz, qui est avant tout un écrivain réaliste, le silence se présente comme une réalité qui s’impose à la plupart de ses personnages, surtout féminins, une réalité volontairement acceptée et amèrement admise. Dans La Trilogie, les personnages obéissent non seulement par connivence aux règles imposées, mais ils s’arrangent aussi entre eux, dans la plupart des cas, pour que le silence réponde aux conditions familiales et sociales afin de régner obligatoirement. / Two writers: Gide and Mahfouz, two faces, one western and French, the other Eastern and Egyptian of origin, two universes of literature of world reputation connected in our study by a single theme: silence. There are various similarities in the two writers and in their works. But there are also many divergences. Whatever the case, the theme of Gidian silence and Mahfouzain can reflect the other face of speech, the art of silencing speech to make the silence speak.If the silence is similar, in appearance, with Gide and Mahfouz, is different when it is a question to going down into details in the inner-self of the human being struggling with his evolutions in socio-familial environments. The divergence, although related to the family and social situation, also comes from the education of novelists, who express personal attitudes towards a misunderstanding or an injustice they feel, fruits of their own conditions.In the course of life, there are pleasures and tender engagements. Some Gidean’s characters use silence as a game to mark their intelligence and their weight in face of the race towards sensual desires. The silence they use is not the admission of their error, but it reflects an inner protest capable of leading to a situation of revolt against various family or social situations.As for Mahfouz, who is above all a realistic writer of Eastern tradition, silence presents itself as a reality which imposes itself on most of his characters, especially feminine, a reality that is deliberately accepted and bitterly admitted. In the Trilogy, the characters not only obey the imposed rules, but they also arrange themselves, in most cases, so that silence responds to family and social conditions in order to rule.

En traitant de l’histoire coloniale des Hawai‘i et de la Californie à partir de 1778, cette thèse étudie de la transformation de la coutume hawaïenne he‘e nalu en un système surf mondial. L’analyse se demande s’il y a eu rupture ou continuité du surf hawaïen au XIXe siècle, et quelles ont été les modalités de sa diffusion en tant que système mondial surf au XXIe siècle. Pour répondre à ce problème, ce travail a retenu trois méthodes d’investigations : une analyse comparative des journaux de bords des voyageurs vers l’archipel des Hawai‘i avec la presse hawaïenne au XIXe siècle ; la conduite de cinquante entretiens semi-directifs, pour saisir les enjeux de l’appropriation californienne du surf après 1945 ; et une observation participante multi-site de trente mois aux Hawai‘i et en Californie, entre 2009 et 2016, afin de dégager les modalités contemporaines de l’historicisation du surf. Au final, trois conclusions principales ont été dégagées à partir de ces données. D’abord, l’introduction des Hawai‘i dans le système monde au XIXe siècle a dynamisé la naissance d’une identité nationale autochtone, qui a réaffirmé les coutumes traditionnelles, comme le surf. Ensuite, avec l’avènement du tourisme balnéaire au XXe siècle, les Hawai‘i se sont imposés comme un modèle touristique, reposant sur la mise en scène et l’appropriation occidentale du surf. À cet égard, Waikīkī est un cas d’école, et son schéma de développement s’est reproduit en Californie, comme à Huntington Beach. Enfin, à partir des années 1950, le surf s’est exporté dans le monde grâce à l’émergence de sa subculture et de son sport professionnel, aux médias de masse, et à la démocratisation du tourisme balnéaire. / Dealing with the colonial history of Hawai‘i and California from 1778, this dissertation focus on the transformation of the Hawaiian custom he‘e nalu into a global surf system. This analysis asks if there a break or a continuity of Hawaiian surfing in the 19th century, and what are the terms and conditions of its diffusion as a global surf system in the 21st century. Three investigating methods have been applied: an analysis of traveling literature in Hawai‘i, compared with a study of Hawaiian newspapers in the 19th century ; a recording of fifty semi-directed interviews to grasp issues related to appropriating surfing in California after 1945 ; and a multi-sited participant observation for thirty months in Hawai‘i and California, between 2009 and 2016, to found out about the contemporary historicization of surfing. Three main conclusions emerged from this data analysis. First, the introduction of Hawai‘i in the world system in the 19th century fostered the birth of a Hawaiian national identity, that reaffirmed traditional customs, such as surfing. Then, with the advent of seaside tourism in the 20th century, Hawai‘i became a touristic model, based on staging surfing and its appropriation by the West. To this regard, Waikīkī is a popular case study, and its development pattern has been reproduced in Californian cities, such as Huntington Beach. Eventually, from the 1950s, surfing has been exported to the world, thanks to the growth of its subculture and professional sport, mass media, and the democratization of seaside tourism.

This project will be using an Action Research methodology to reflect on my own practice as a dundun practitioner. It examines the roots of my practice in the traditions of the dundun in the Yoruba tradition in Nigeria - both from oral and literary sources - and in my experiences in Hungary. It concentrates on my work in Hampshire where I worked in a number of different contexts. It examines in detail two case studies in which I attempted to recontextualise the dundun in two separate institutions - church and prison. These will be examined and analysed using the frames of post-colonial theory and Foucauldian social constructionism. Five concepts arise from these analyses which permeate the thesis: 'cultural dialogue, understanding and integration'; 'representation and presentation of culture and notions of identity'; 'tradition, authenticity and originality'; 'construction of meanings' and 'empowerment' . An important thread in this thesis on reflexive practice in the area of recontextualisation is the part the dundun plays in identity construction, contrasting Yoruba with European practice. The conclusions reflect the complexity of the processes involved in recontextualisation, especially the role of gatekeepers, the place of plurality in value systems in openness to change, the role experience plays in approaching new contexts, the complexity of the issues involved in cultural dialogue, the different types of power found in the various contexts and the relationship between tradition, authenticity and originality in various cultures. It analyses how my own practice has been influenced by these case studies.

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

Magister Artium - MA / This thesis traces the immigration of Madeirans to Cape Town and their settlement from the 1900s to the 1970s. It focuses on how exclusionary legislation from 1902 affected Madeiran entry, how they managed to circumvent it and the documents required for immigration over this long period. Particular attention is drawn to the role of women in the migration process, the nature of the households and the impact of women in shaping a settled Madeiran population. The thesis examines the role Portuguese organisations played and continue to play in maintaining cultural and religious values and the extent to which these values have been retained in the second and later generations. This thesis seeks to ask to what extent the Madeiran migration experience bears commonalities with other groups, particularly Indians, or whether unique features are discernible. Indians and Madeirans were both regarded as ‘undesirable’ and subject to literacy tests, domicile certificates, permits and certificates of identity. Illegal entry was common to both groups. Chain migration featured in their decision to leave the poverty of their homeland. The split-household was the dominant household form. Once settled, Indian and Madeiran wives played a key role in the business and in passing on their cultural and religious values. Both groups established cultural organisations. Despite these commonalities, Madeiran migration displayed certain unique features compared to Indians.

Scotland’s oral traditions have received scholarly attention since the 18th Century; however, collection and analysis has exclusively focused on those passed on ‘by word of mouth,’ and the traditional arts of Scotland’s deaf communities have been overlooked. This thesis begins to address this oversight by examining storytelling practices passed on ‘by sign of hand’ in British Sign Language (BSL). Neither fully acculturated to majority society nor ‘foreigners in their own country’ (Murray 2008:102), signing-deaf people have distinct ways of ‘doing’ culture which involve negotiating a bilingual-bicultural continuum between the hearing and deaf worlds. The historical exclusion of signing-deaf culture from conceptualisations of Scotland’s cultural heritage is increasingly being challenged, both overtly and tacitly, through an emergent ‘deaf public voice’ (Bechter 2008:72); in light of this, I consider three case-studies in which BSL storytelling practices have been placed in the public domain. Drawing on fieldwork, interviews and the in-depth analysis of BSL performance-texts, I examine the ways in which signing-deaf biculturality is expressed and performed, and consider the artistry involved in storytelling in a visual-spatial-kinetic language. In so doing, a working methodology is proposed for presenting signed material to non-signers, laying the groundwork for further collection and analysis. Applying Bauman and Murray’s concept of ‘Deaf Gain’ (2009), I argue that the study of this new corpus of oral material has a radical contribution to make to the field of ethnology and folklore, not least in highlighting phonocentric assumptions embedded in the study of oral traditions. I emphasise the extent to which the transmission of culture is predicated on particular ‘techniques of the body’ (Mauss 1973), and argue that, in drawing on different modality-specific affordances, both spoken and signed storytelling should be understood as part of the totality of Scotland’s ‘corp-oral’ traditions through which culture is transmitted ‘by performance of body.’