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This thesis develops a study of two compilation films made in Brazil in the early 1970s: História do Brasil (History of Brazil, Glauber Rocha and Marcos Medeiros, 1974) and Triste Trópico (Sad Tropic, Arthur Omar, 1974). Unique works in the filmography of important filmmakers, these films, made from the appropriation of various materials, share in addition to their atypical method of filmmaking, a central interest for the understanding of the history of Brazil. They radically exploit the power of rewriting what already exists to build a new work of historical content. In their work with pre-existing images História do Brasil and Triste Trópico address issues that concern not only the cinema, but the field of Brazilian cultural creation of the 60s and 70s, period politically marked in Brazil by the military dictatorship (1964-1985). Based mostly on an aesthetic analysis of the film's montages, we question the way in which they "write" history and offer, in their very editing processes, a perspective at Brazilian society. From what materials and discursive strategies do these films develop their historical thoughts? The thesis aims to contribute to the establishment of a range of film recycling practices and theoretical questions about the presence of archival footage in cinema, as well as about the relationship between cinema and historical narrative. ; Dans le but d'évaluer la portée historiographique de ce choix de montage qui consiste à faire œuvre cinématographique à partir d'images déjà existantes, cette thèse développe une étude de deux films de réemploi réalisés au Brésil dans le début des années 1970 : História do Brasil (Histoire du Brésil, Glauber Rocha et Marcos Medeiros, 1974) et Triste Trópico (Triste Tropique, Arthur Omar, 1974). Œuvres uniques dans la filmographie de cinéastes importants, ces films, réalisés uniquement à partir du recyclage de matériaux divers, partagent en plus de leur méthode atypique de réalisation, un intérêt central pour la compréhension de l'histoire du Brésil. Dans leur ...

As a contribution to the history of public life and cultural practice, this article examines the political and social implications of the fondness for French comic opera in Scandinavia between 1760 and 1800. The urban elites' interest in opera-comique is examined as a part of the self-fashioning processes of mimetism and distinction, but also as a way to consolidate the community. Opera-comique was promoted by the literary and diplomatic elites. It became important for the cultural politics of the Scandinavian monarchies as well as for intellectual milieus able to propose alternative models for life in society. The appropriation of opera-comique by an expanding public transformed the nature of the supposedly aristocratic and cosmopolitan genre, which became an element in the defining of new bourgeois and patriotic identities. With a cross-disciplinary and transnational perspective on eighteenth-century Northern Europe, the article underscores the links between politics, patronage and literary sociability, and shows that opera and music, in eighteenth-century Scandinavia, were much more than artistic issues. ; Peer reviewed

The US crack epidemic-hereafter The Crack Wars-marks a nadir in federal efforts to combat illicit drug distribution and consumption that is the War on Drugs. America's ghettoized urban, suburban and even exurban African-American populations suffered disproportionately under the brutalities of an invigorated coke industry and draconian attempts by their government at prohibition. In 1996, Gary Webb's San Jose Mercury News series 'Dark Alliance' captured national attention charging the CIA with some measure of complicity in the wholesale importing of cocaine (as part of its anti-communist interventions in Latin America), expressly for the industrial production and distribution of crack. This multimedia graphic novel will interrogate, in Rashomon-like manner: popular histories, social geographies, material landscapes, Zen dialectics and autobiographical narrative situated in a psychoanalytic framework, in an effort to offer competitive models against prevailing Crack Wars propaganda for understanding this episode of violently erupting American underworld. Acts are interwoven throughout the graphic novel. Storylines are coded by stylistic visual cues, e.g. all geography and landscapes are related silently via Augmented Reality linear narrative and accessed via the LifePrint smartphone application.

The analysis carried out by Benedetto Croce in Storia d'Italia dal 1871 al
1915 and in Storia d'Europa nel secolo decimonono, as observed by the
most perceptive interpreters of the historiographical activity of Croce,
excludes the conflict phases that preceded the historical periods taken
into consideration (The Risorgimento for the History of Italy and the
French Revolution for the History of Europe). This paper shows how the
perplexity of the historiographical setting of Croce is also found in the
book about the Baroque period in Italian history that was published in the
same year of the two most important and well-known historical works by
Benedetto Croce.

After the 2nd world war, the french society has to deal with new demographic and economic datas. It has to be taken into account by the french education system which should adapt, break down barriers between disciplines and promote intedisciplinary because just school can overcoming social determinism linked at birth. The Amiens' symposium (1968) lays the foundation for reflection which fed all the thoughts about artistic education. The seventies see the amendment for School and first thinking and experimentations for Culture. Eighties tag an actual opening of school for cultural institutions, the mediation of external partners and new topics. Opening, but also agreement between all the characters. The protocole d'accord signed in April 1983 between ministry of culture and ministry of education and the law about arts education (1988) are the results of an agreement. In the nineties, thinking globally about arts education and on a territory scale seem to be the best way to make work together schools, cultural facilities and to ensure a perfect network coverage, and so to reach cultural democratisation. But actually, we observe a stack of messy contracts. The plan Lang/Tasca which should come true till december 14, 2000, opens a new chapter. But the achievement of that brand new plan is not insured by its decision. ; Dans les années d'après-guerre entrent en ligne de compte des données démographiques et économiques nouvelles qui font évoluer la société française et lui imposent d'adapter son système éducatif, de décloisonner les disciplines et de favoriser l'interdisciplinarité. Seule l'école peut vaincre le déterminisme social lié à la naissance. C'est le colloque d'Amiens (1968) qui pose les bases d'une réflexion qui a nourri toutes les avancées sur l'éducation artistique depuis. Les années 70 sont celles de la réforme pour l'Education nationale et celles de la réflexion et des premières expérimentations pour la Culture. Les années 80 marquent une réelle ouverture de l'école, que ce soit vers les établissements ...

The theater played an essential role in the making of the Soviet system. Its sociological interest not only lies in how it reflected contemporary society and politics: the theater was an integral part of society and politics. As a preeminent institution in the social and cultural life of Moscow, the theater was central to transforming public consciousness from the time of 1905 Revolution. The analysis of a selected set of theatrical premieres from the Bolshevik Revolution in 1917 to the end of Cultural Revolution in 1932 examines the values, beliefs, and attitudes that defined Soviet culture and the revolutionary ethos. The stage contributed to creating, reproducing, and transforming the institutions of Soviet power by bearing on contemporary experience.The power of the dramatic theater issued from artistic conventions, the emotional impact of theatrical productions, and the extensive intertextuality between theatrical performances, the press, propaganda, politics, and social life. Reception studies of the theatrical premieres address the complex issue of the spectator's experience of meaning--and his role in the construction of meaning. The evolving historical context and the changing institutional foundations of theater altered the interpretive contexts of performance. The discussion of interpretive communities and audience tastes draws on reviews in the contemporary press and the data from theater surveys conducted during the 1920s.The theaters continually sought to align their aesthetics with the demands of the regime and the preferences of theatergoing publics. In addition, ideology served as a form of currency in the polemics among theater directors and theater critics who were engaged in the contest for dominance in the theater world. The theater spectator became a central ideological figure invoked by warring interpretive communities in these ongoing dialogues of power. The theater became politicized under Soviet rule; under Stalin it became a deformed expression of mass politics.

After the 2nd world war, the french society has to deal with new demographic and economic datas. It has to be taken into account by the french education system which should adapt, break down barriers between disciplines and promote intedisciplinary because just school can overcoming social determinism linked at birth. The Amiens' symposium (1968) lays the foundation for reflection which fed all the thoughts about artistic education. The seventies see the amendment for School and first thinking and experimentations for Culture. Eighties tag an actual opening of school for cultural institutions, the mediation of external partners and new topics. Opening, but also agreement between all the characters. The protocole d'accord signed in April 1983 between ministry of culture and ministry of education and the law about arts education (1988) are the results of an agreement. In the nineties, thinking globally about arts education and on a territory scale seem to be the best way to make work together schools, cultural facilities and to ensure a perfect network coverage, and so to reach cultural democratisation. But actually, we observe a stack of messy contracts. The plan Lang/Tasca which should come true till december 14, 2000, opens a new chapter. But the achievement of that brand new plan is not insured by its decision. ; Dans les années d'après-guerre entrent en ligne de compte des données démographiques et économiques nouvelles qui font évoluer la société française et lui imposent d'adapter son système éducatif, de décloisonner les disciplines et de favoriser l'interdisciplinarité. Seule l'école peut vaincre le déterminisme social lié à la naissance. C'est le colloque d'Amiens (1968) qui pose les bases d'une réflexion qui a nourri toutes les avancées sur l'éducation artistique depuis. Les années 70 sont celles de la réforme pour l'Education nationale et celles de la réflexion et des premières expérimentations pour la Culture. Les années 80 marquent une réelle ouverture de l'école, que ce soit vers les établissements culturels, à l'intervention de partenaires extérieurs au milieu scolaire ou à de nouvelles matières. Ouverture, mais aussi compromis entre les acteurs. Le protocole d'accord d'avril 1983 signé entre le ministère de la Culture et celui de l'Education nationale et la loi sur les enseignements artistiques de 1988 ont cédé aux compromis. Dans les années 90, penser l'éducation artistique de manière globale et à l'échelle d'un territoire apparaît comme le meilleur moyen de faire travailler ensemble les écoles et les équipements culturels à l'échelle d'une ville, d'un département ou d'une région, de garantir un maillage parfait du territoire et donc d'atteindre à la démocratisation culturelle. Mais finalement s'impose surtout le constat d'un empilement quelque peu désordonné des dispositifs. Le plan Lang/Tasca qui doit se réaliser sur cinq ans à partir du 14 décembre 2000 ouvre un nouveau chapitre. Mais l'exécution de ce nouveau plan n'est pas garantie par sa décision.

A critique is presented of the play "Othello" by William Shakespeare, focusing on a reference from Othello's final speech to an incident in Aleppo, Syria that the author attributes to the manuscript essay "A True Discourse" by George Manwaring, a companion of English adventurer Sir Anthony Sherley. Early 17th century British history, Robert Devereux, Earl of Essex, and Queen Elizabeth I are mentioned, as well as references in the works to Turks and the censorship of English literature.

19 p. ; International audience ; According to the french government, the video game industry has now reached a turnover of 3 billion euros (or 10% of the turnover of the french cultural industry), making it the second European country. This market could reach 3.8 billion by 2014, that is a 27% increase in 3 years. Video game was since always an entertaining technology, not requiring the player a significant interaction or intellectual investment result. Today, video games require more and more players to interact with it in various forms of intellectual or physical (tactil mysteries games, motion capture via the game console). Moreover, virtual communities gather every day on discussions forums, or inside the video game to share and to maintain the product via any suggestions, problems and ideas, like Open Source solutions available on the Internet. Changes in the field of videogame creation that we track in communicating a historical perspective in us focusing in particular to changing uses, leading to changes in corporate behavior and the general public. Therefore, considering video games as a tool, we will show what changes of mentalities and uses throughout history of the video game. ; D'après le gouvernement français, le secteur du jeu vidéo atteint aujourd'hui un chiffre d'affaire de 3 milliards d'euros (soit 10% du chiffre d'affaire de l'industrie culturelle française), ce qui en fait le 2ème pays européen. Ce marché pourrait atteindre 3,8 milliards à l'horizon 2014, soit une hausse d'environ 27% en 3 ans. Le jeu vidéo était depuis toujours une technologie divertissante, ne demandant pas au joueur une interaction importante ou un investissement intellectuel conséquent. Aujourd'hui, les jeux vidéo demandent de plus en plus au joueur d'interagir avec celui-ci sous diverses formes intellectuelles ou physiques (jeux d'énigmes tactiles, capture de mouvement via la console de jeu). D'autre part, des communautés virtuelles se rassemblent tous les jours sur des forums de discussions ou à l'intérieur même du jeu ...

19 p. ; International audience ; According to the french government, the video game industry has now reached a turnover of 3 billion euros (or 10% of the turnover of the french cultural industry), making it the second European country. This market could reach 3.8 billion by 2014, that is a 27% increase in 3 years. Video game was since always an entertaining technology, not requiring the player a significant interaction or intellectual investment result. Today, video games require more and more players to interact with it in various forms of intellectual or physical (tactil mysteries games, motion capture via the game console). Moreover, virtual communities gather every day on discussions forums, or inside the video game to share and to maintain the product via any suggestions, problems and ideas, like Open Source solutions available on the Internet. Changes in the field of videogame creation that we track in communicating a historical perspective in us focusing in particular to changing uses, leading to changes in corporate behavior and the general public. Therefore, considering video games as a tool, we will show what changes of mentalities and uses throughout history of the video game. ; D'après le gouvernement français, le secteur du jeu vidéo atteint aujourd'hui un chiffre d'affaire de 3 milliards d'euros (soit 10% du chiffre d'affaire de l'industrie culturelle française), ce qui en fait le 2ème pays européen. Ce marché pourrait atteindre 3,8 milliards à l'horizon 2014, soit une hausse d'environ 27% en 3 ans. Le jeu vidéo était depuis toujours une technologie divertissante, ne demandant pas au joueur une interaction importante ou un investissement intellectuel conséquent. Aujourd'hui, les jeux vidéo demandent de plus en plus au joueur d'interagir avec celui-ci sous diverses formes intellectuelles ou physiques (jeux d'énigmes tactiles, capture de mouvement via la console de jeu). D'autre part, des communautés virtuelles se rassemblent tous les jours sur des forums de discussions ou à l'intérieur même du jeu ...

19 p. ; International audience ; According to the french government, the video game industry has now reached a turnover of 3 billion euros (or 10% of the turnover of the french cultural industry), making it the second European country. This market could reach 3.8 billion by 2014, that is a 27% increase in 3 years. Video game was since always an entertaining technology, not requiring the player a significant interaction or intellectual investment result. Today, video games require more and more players to interact with it in various forms of intellectual or physical (tactil mysteries games, motion capture via the game console). Moreover, virtual communities gather every day on discussions forums, or inside the video game to share and to maintain the product via any suggestions, problems and ideas, like Open Source solutions available on the Internet. Changes in the field of videogame creation that we track in communicating a historical perspective in us focusing in particular to changing uses, leading to changes in corporate behavior and the general public. Therefore, considering video games as a tool, we will show what changes of mentalities and uses throughout history of the video game. ; D'après le gouvernement français, le secteur du jeu vidéo atteint aujourd'hui un chiffre d'affaire de 3 milliards d'euros (soit 10% du chiffre d'affaire de l'industrie culturelle française), ce qui en fait le 2ème pays européen. Ce marché pourrait atteindre 3,8 milliards à l'horizon 2014, soit une hausse d'environ 27% en 3 ans. Le jeu vidéo était depuis toujours une technologie divertissante, ne demandant pas au joueur une interaction importante ou un investissement intellectuel conséquent. Aujourd'hui, les jeux vidéo demandent de plus en plus au joueur d'interagir avec celui-ci sous diverses formes intellectuelles ou physiques (jeux d'énigmes tactiles, capture de mouvement via la console de jeu). D'autre part, des communautés virtuelles se rassemblent tous les jours sur des forums de discussions ou à l'intérieur même du jeu ...

19 p. ; International audience ; According to the french government, the video game industry has now reached a turnover of 3 billion euros (or 10% of the turnover of the french cultural industry), making it the second European country. This market could reach 3.8 billion by 2014, that is a 27% increase in 3 years. Video game was since always an entertaining technology, not requiring the player a significant interaction or intellectual investment result. Today, video games require more and more players to interact with it in various forms of intellectual or physical (tactil mysteries games, motion capture via the game console). Moreover, virtual communities gather every day on discussions forums, or inside the video game to share and to maintain the product via any suggestions, problems and ideas, like Open Source solutions available on the Internet. Changes in the field of videogame creation that we track in communicating a historical perspective in us focusing in particular to changing uses, leading to changes in corporate behavior and the general public. Therefore, considering video games as a tool, we will show what changes of mentalities and uses throughout history of the video game. ; D'après le gouvernement français, le secteur du jeu vidéo atteint aujourd'hui un chiffre d'affaire de 3 milliards d'euros (soit 10% du chiffre d'affaire de l'industrie culturelle française), ce qui en fait le 2ème pays européen. Ce marché pourrait atteindre 3,8 milliards à l'horizon 2014, soit une hausse d'environ 27% en 3 ans. Le jeu vidéo était depuis toujours une technologie divertissante, ne demandant pas au joueur une interaction importante ou un investissement intellectuel conséquent. Aujourd'hui, les jeux vidéo demandent de plus en plus au joueur d'interagir avec celui-ci sous diverses formes intellectuelles ou physiques (jeux d'énigmes tactiles, capture de mouvement via la console de jeu). D'autre part, des communautés virtuelles se rassemblent tous les jours sur des forums de discussions ou à l'intérieur même du jeu ...

From the 16th to the 18th century, a deeply rooted tradition of open and celebrative inebriation existed in the kingdom of France. Society permitted collective, festive and social drinking. But many opposed drunkenness. In France at that time, absolute monarchy from divine right was developing, and the fundamental opposition came from religious and civic powers. Drunkenness was seen either as a sin or as a vice of variable severity that drove others to commit it as well. From 1536, a connection was made between sin and crime: inebriation became an auxiliary crime. However, in face of the culture of inebriation, religious and political authorities acted pragmatically and did not really attempt to eradicate drunkenness from the kingdom. Even with the parallel development of moral, economic and medical arguments that painted drunkenness as a vice that led to bankruptcy and illness, sobriety did not triumph during this epoch. On the contrary, from the 16th to the 18th century, it became more and more common to become inebriated. Drinking in the Ancien Régime took place usually on Sunday, from the afternoon through the night, in the cabarets. The participants were mostly men from twenty to thirty-four years of age, peasants and artisans. But all social classes were involved. The number and the overlap of norms, religious, legal, moral, economic, medical and social, which were sometimes contradictory and often changing, complicated opposition and favored compromise. ; Du XVIe au XVIIIe siècle, une culture de l'enivrement héritée, mémorielle et complaisante est fortement enracinée dans le royaume. La société considère que l'enivrement collectif, festif et sociabilisant est permis. Mais de nombreux opposants réprouvent l'ivresse et l'ivrognerie. Dans la France moderne, monarchie absolue de droit divin en construction, l'opposition fondamentale provient des pouvoirs religieux et civils. L'enivrement apparaît, selon les cas, comme un péché ou comme une faute plus ou moins grave qui pousse à en commettre d'autres. À partir de 1536, la correspondance est faite entre le péché et le crime : s'enivrer devient un crime secondaire et intermédiaire. Mais, face à la force de la culture de l'enivrement, les autorités religieuses et politiques agissent avec pragmatisme et n'essayent pas d'éradiquer réellement l'ivresse et l'ivrognerie du royaume. Malgré le développement parallèle de discours moraux, économiques et médicaux qui font de l'ivresse et de l'ivrognerie des vices, des dépenses ruineuses et des maladies, la sobriété ne triomphe pas à l'époque moderne. Au contraire, du XVIe au XVIIIe siècle, s'enivrer est de plus en plus fréquent. L'enivrement d'Ancien Régime se déroule essentiellement le dimanche, de l'après-midi au cœur de la nuit, et dans les cabarets. Il touche surtout des hommes de vingt à trente-quatre ans, paysans ou artisans. Mais toutes les catégories sociales sont concernées. La pluralité et la concomitance des normes religieuses, juridiques, morales, économiques, médicales et sociales, parfois contradictoires et souvent évolutives, compliquent l'opposition et favorisent le compromis.