Tesis sobre el tema "Patrimoine culturel – Restitution – Afrique"
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Losch, Flora. "Technopolitiques post-coloniales : radiotélévisions, archives audiovisuelles et retour du passé en Afrique (XXe-XXIe siècles)". Electronic Thesis or Diss., Paris, EHESS, 2024. http://www.theses.fr/2024EHES0024.
Texto completoAt a time of debates on digital imperialism, the decolonization of heritage organizations, and the renewal of the relations between European and African states, this thesis seeks to survey a “slow-moving history” with lasting historiographic and cultural impacts: that of media technopolitics and of the accumulation of an audiovisual “documentary mass” by contemporary states.During the first 20th century, audiovisual technologies were introduced to Africa to serve imperial projects. Expanded to television during the decolonization, this techno-imperial investment was redeployed in the post-colonial context through cooperation between European and African states. Over the century, these technologies have generated a mass of analogue audiovisual archives. Produced exclusively by the former, and then by the latter after their independence, these archives are subject to obsolescence and destruction. Since the turn of the 21st century, they have been saved thanks to digital technologies, which radically change the terms and conditions of their preservation. Holding a monopoly on the continent’s audiovisual past, European states have assisted those of Africa, and this assistance, like that provided for their digital migration, forms part of the same post-colonial technopolitics.Lying at the intersection of relational histories, science studies, critical archival studies and critical heritage studies, this thesis reconstructs this puzzle using paper and audiovisual archives, semi-directive interviews and technical audits. It makes these media archives, which have remained outside of the reflection on the colonial archive and the “archive-subject”, an object of research in their own right. Centered on the analysis of the French imperial project and the agency of African actors, particularly in Côte d’Ivoire and Senegal, it consists of two volumes, the first of which, “Rewinding time to understand the collections (20th century)”, situates these archives in a long-term history. This volume studies the structuring of radio networks during the colonial period and their reconfiguration after the introduction of television and the coeval independence, post-1960 (part 1). By following two actors, it shows the intertwining of humans and non-humans in these socio-technical networks while also highlighting the polycentric nature of audiovisual technologies (part 2). By reconstructing the concomitant production of a legal instrument within UNESCO, it analyzes the standardization of audiovisual heritage preservation while retracing the first, now largely forgotten, debates on the restitution of the audiovisual heritage accumulated by the imperial states (part 3).These histories converge in the contemporary period, explored in the second volume “New issues in African audiovisual archives (21st century)”. This volume analyzes the implications of the change in the technical system on the audiovisual archives of the Ivorian and Senegalese public broadcasters and on the international preservation activity (part 4). Part 5 focuses on the reconfiguration of Franco-African cooperation and French investment in the safeguarding of African audiovisual archives. It also studies the African collections held on French territory, especially in the Institut national de l’audiovisuel, one of the main organizations holding African audiovisual past, bringing out the need for their restitution. At the end of these developments, it appears that the preservation activity is historically situated and a space where resources of the past, technologies, states, markets, knowledge and powers intermingle, this question being thus brought back into the field of politics
Kante, Bocar Oumar. "Droit du patrimoine culturel en Afrique". Paris 1, 2010. http://www.theses.fr/2010PA010312.
Texto completoFraoua, Ridha. "Le trafic illicite des biens culturels et leur restitution : analyse des réglementations nationales et internationales, critiques et propositions /". Fribourg : Eds. universitaires de Fribourg, 1985. http://catalogue.bnf.fr/ark:/12148/cb41020795g.
Texto completoTurner, Stefan. "Das Restitutionsrecht des Staates nach illegaler Ausfuhr von Kulturgütern : Eigentumsordnung und völkerrechtliche Zuordnung /". Berlin : De Gruyter, 2002. http://catalogue.bnf.fr/ark:/12148/cb399501203.
Texto completoLambert, Aurélien. "Les objets d'ailleurs, ici et là-bas : perceptions, usages et significations des objets africains". Thesis, Université de Lorraine, 2012. http://www.theses.fr/2012LORR0373.
Texto completoThis research aims to analyze, through ethnographic inquiry, the phenomenon of qualification of the "African objects" as well as the personal and institutional problems that justify their appropriation and appreciation. Based on a field survey conducted in France and Mali, the study seeks to identify the spectrum of individual and collective practices that are organized around and with these productions. Europeans or Africans, amateurs, collectors, carvers, tourists and merchants, a multiplicity of individual actors, sometimes coming from areas totally strangers to each other, revolve around this object class and consider them from various perspectives. Based on a dynamic approach and on a historical viewpoint to draw a symmetrical anthropology of these objects - symmetry Africa/West, objects/people, expert/layperson - the goal is to build an observation framework which allows to respect the diversity of appropriation forms of these material productions. In other words, this work wants to analyze the physical, semantic or conceptual transformations which objects are subject for their circulation and because of their transit between geographical areas, national cultures and different economic worlds. The observation of socio-technical devices on which lean on the tastes, practices and worldviews of these actors allows to identify the stakes that unite them or divide them
Meyer, Elise Grussenmeyer Pierre Perrin Jean-Pierre. "Acquisition 3D, documentation et restitution en archéologie proposition d'un modèle de Système d'Information dédié au patrimoine /". S. l. : S. n, 2007. http://www.scd.uhp-nancy.fr/docnum/SCD_T_2007_0109_MEYER.pdf.
Texto completoBezy, Eva-Mattea. "La restitution des oeuvres d'art. : Influence du droit international en France et en Italie". Electronic Thesis or Diss., Toulon, 2021. http://www.theses.fr/2021TOUL0143.
Texto completoThe restitution of works of art is more relevant than ever. Indeed, although international law seizes on this question after the end of the Second World War in 1954, cultural trafficking in wartime as in peacetime continues and generates several requests for cultural restitutions especially involving France and Italy.In addition to this illegal artistic scattering, since the 2000s there have been ethical claims concerning cultural properties taken before the ban on looting. “Legally” displaced thanks to the custom of war prizes, works of art could then be taken away by the former Western powers to largely enrich their museums. The formerly dominated countries of Africa, Asia and Latin America, which have suffered this “carving up”, now have the will to recover this heritage. The problem of war trophies is challenging and shining a light on identity, moral, political, economic and cultural issues. European states, in particular France, are increasingly questioning these past war practices and they are contributing to the establishment of a new “relational ethic”. This approach results in the acceptance of some cultural returns to their territory of origin. The restitution of works of art is at the heart of conflicting interests. It first of all raises questions about the mechanisms of restitution provided in the event of an illegal situation but also about their limits. Such a reflection then leads to another essential question. Can and should all of these limits be overcome in order to achieve a generalization of restitutions? This proposal would then require a systematization of cultural restitution, even ethical ones. Hardly conceivable, this thesis therefore proposes the innovative concept of “legitimate” restitutions which would be a compromise on which States could agree
Varano, Sandro. "Proposition d'un espace de navigation hypermédia fondé sur des parcours heuristiques comme aide à la compréhension du patrimoine culturel bâti. SPASM : Système de Parcours d'Apprentissage, de Scénarisation et de Mémorisation". Phd thesis, Institut National Polytechnique de Lorraine - INPL, 2010. http://tel.archives-ouvertes.fr/tel-00547475.
Texto completoMeyer, Elise. "Acquisition 3D, documentation et restitution en archéologie : proposition d'un modèle de Système d'Information dédié au patrimoine". Thesis, Nancy 1, 2007. http://www.theses.fr/2007NAN10109/document.
Texto completoThe documentation of archaeological heritage is an activity that evolves with the development of the New Information and Communication Technologies (NICT). Traditionally associated with recording, the documentation of an archeological site is also today synonym of publication, because it can be disseminated on-line both to other professionals and to the general public. This PhD thesis proposes a model of Information System dedicated to the documentation on Internet of patrimonial sites. It allows to record, to manage and to represent traditional documents, data coming from bi-and three-dimensional surveys, but also results of restitution and imagery works. At first, the study establishes a state of the art that allows knowing the current means and the needs of the heritage professionals in terms of conservation, visualization and publication of their data. Then, our approach considers these preoccupations to define the features of the Information System that we propose. On the basis of examples stemming from the Luxemburg heritage (the Castle of Vianden and the Villa of Echternach), we describe the way we keep the data and the associated metadata, as well as the tools developed for the representation of this information. We also present our principles of data management, based on the spatiotemporal connections that may exist between the various documents. These connections allow us to propose the use of bi-dimensional graphics or three-dimensional models as privileged supports of navigation and interaction with all other preserved documents. A global modeling of the Information System, being able to serve as a metamodel of system of on-line documentation, allows us finally to open our scope to other domains like architecture or civil engineering
Vaillant, Clémence. "La réparation des dommages causés au patrimoine artistique et culturel français au cours de la Première Guerre mondiale : restitution et compensation". Thesis, Université de Lorraine, 2021. http://www.theses.fr/2021LORR0107.
Texto completoCultural heritage suffered from many ravages during conflicts that have shaped History (destructions, transfers, wartime plunders). Despite punctuated attempts to protect it and restitutions of goods of which it was composed, it was not until the beginning of the 20th century that a global and restorative mechanism in international law was enacted.Thus, at the end of World War I came a time for assessment, involving the necessity for Allied et Associated Powers to settle a peace agreement. Once the principle of integral repair was agreed on by consensus, its implementation had to be defined. This study considers the extent of the German reparation obligation and its allies in its cultural aspect according to the treaty of Versailles. This text highlights the presence of favorable provisions towards the heritage ruined by confrontations and the passage of troops, thereby underlining the transition from a compensatory system to a restorative one, based on the combination of financial compensation, the systematic obligation of restitution and especially the recourse to artistic compensations, which represents, at the time, an innovation.These reports lead us to wonder about the reasons and the perspectives caused by this change. It is then essential to figure out the legal nature of the processes used, and the justification of infringements of the property right, aiming at the reconstruction of artistic sets. Furthermore, ought we to deduce that, at that moment, the protection of the cultural heritage - or simply the related duty of penalty - switched from the action field of a national legal system to an international one? We will focus on the roles of the administrations setting up and on the concepts which may have inspired the settlement of later conflicts (calculation of art damages, seizures of artistic guarantees)
Reverdy-Médélice, Isabelle. "La valorisation du patrimoine : problèmes méthodologiques, limites et enjeux de la restitution archéologique et historique". Thesis, Grenoble, 2012. http://www.theses.fr/2012GRENH024/document.
Texto completoThe aim of my thesis was to offer a detailed study of an area which, if regularly used for the extension of Archaeology and History, has never been so far the subject of a specific study, according to our knowledge. Archaeological and historical reconstruction is nevertheless a phenomenon, especially in the Anglo-Saxon and Scandinavian countries, that plays a key role in both scientific research and release of heritage to the general public. Articles and books that are interested in this or that method of reconstruction are frequently published in France.This research work is divided in three parts: the first one is devoted to a historic of reconstruction and representations of the past, through space and time. From antiquity to today, we will study the evolution of staging and set images on events, buildings and figures in history, as well as values and taboos associated to these representations of the past. Give a picture, realistic or symbolic of the past and not only allude to it by spoken or written means, is a desire that seems to have been present among men in all ages and in all civilizations. Mirrors of the eras that created them and perceptions of the men of their own society and those who preceded them, ancient historical and archaeological reconstructions are important testimony. The second part is based on the analysis of three examples of archaeological and historical representation made in France and on European sites. They were chosen for their paradigm and their respective places in the advanced techniques and expectations of scientists as well as the public supposed to watch them. The third and last part goes to the heart of the subject and, in particular, from the examples discussed above, offers an interrogation upon the limits and the challenges of archaeological and historical reconstructions. This issue is particularly topical in the late twentieth and early twenty-First century. For three reasons: the development of cultural tourism and the development of interactive archaeological parks, the amplification of heritage policies, the increase in the public educated in image reading which is waiting not only for the researcher’s result of a hypothesis but also its justification. So the reconstruction issues are crucial. A sign of it is that more and more doctoral thesis of archeological sites offers reconstructions. The archaeological authorities of many countries now stipulate that a significant proportion of the budget of the search must be devoted to subsequent promotion, of which the center is reconstruction. The latter therefore falls outside the strict framework of museums and now requires a variety of actors who were only superficially interested in these issues. The explosion in use of reconstructions appears as an ambiguous triumph. Indeed, the various actors who use the reconstruction are not aiming the same goals: between those who experience a working hypothesis and those who are expecting pedagogical resource as teaching tools, or those looking for an image to generate a sentimental investment of a place, the common denominator is very difficult, if not impossible, to find. In addition, a major limitation of archaeological and historical reconstructions lies mainly in the ephemeral nature of their scientific validity, even if their life is sometimes very long. An historiography of these achievements is necessary, because they reflect the context of their building as much as the era they are supposed to bring back to life
Varano, Sandro. "Proposition d'un espace de navigation hypermédia fondé sur des parcours heuristiques comme aide à la compréhension du patrimoine culturel bâti. SPASM : système de parcours d'apprentissage, de scénarisation et de mémorisation". Electronic Thesis or Diss., Vandoeuvre-les-Nancy, INPL, 2010. http://www.theses.fr/2010INPL038N.
Texto completoRestitution of built cultural heritage presented on Internet, interactive CD-ROMs, museum terminals, … is a constant preoccupation of cultural mediation. Thanks to the attractions of hypermedia, namely hypertext and multimedia, it seems that existing products have capacities to transmit heritage information to the public, but ultimately they miss real cognitive or educational purposes. Through the use of existing numerical tools, the objective consists in proposing to non-expert learners, a hypermedia navigation space based on systemic, practical and graphic assumptions, in order to conceive a complete visualization and immersion tool as an aid to understand archaeological and architectural knowledge.From an experimental point of view, we identify among the characteristics of video games and cartography, those which may report that these semiological and cognitive environments can constitute systems of re-presentation and effective learning.The navigation space proposed, correlates activities of exploration and creation. During his real time movement, the learner is guided and motivated following topographical, cognitive and scripted paths. At the same time, he/she creates his/her own « memory map » that will help to move, build knowledge and memorize.The work leads to a conceptual model applicable to all types of buildings. It results in a prototype using the Cheops Pyramid as support of experimentation
Patin, Christelle. "Les restes humains dans les musées : anthropologie et histoire des collections françaises (XIXe-XXIe siècle)". Paris, EHESS, 2014. http://www.theses.fr/2014EHES0608.
Texto completoSince 1990, human remains of anthropological collections in museums give rise to arguments. That thesis compare current historiographic interpretations to a precise reconstitution of the scientific and social life of French collections, till gathering of corpse, transportation, transformation, public display to current return. Anatomic body of Saartjie Baartman, the "Hottentot Venus", and the skull of the kanak leader Ataï, constitute both biographies of that research
Provost, Monique. "Les usages sociaux du djembé au Québec : construction locale d'un patrimoine culturel immatériel mondial". Doctoral thesis, Université Laval, 2016. http://hdl.handle.net/20.500.11794/26663.
Texto completoThis thesis is part of that field of ethnological studies which concerns the transnational movements of the intangible cultural heritage. It deals with the appropriation of the djembé, a West African drum, by Quebec society. Beginning with a multidisciplinary approach which draws on ethnology, history and ethnomusicology, this thesis adds to our knowledge regarding music making in Quebec and to the research which seeks to understand how new forms of intangible cultural heritage are created at the local level within a global context. The study of the transnational migration of the drum tells the story its evolution, along with the recontextualization and the adaptation of playing styles and the transformations of its Mandinka repertoire in Quebec. Following is a Quebec genealogy relating to the manner in which the drum, beaten by hand, illustrates the global nature of traditions linked by percussive rhythms. Lastly, the ethnography of these practices and the oral research carried out in conjunction with recreational djembé players demonstrate that this cultural activity is, first and foremost, the expression of a form of “social corporeality, ” that is, the construction of, new, albeit transitory, socio-musical entities. Synchronizing the bodies engaged in producing the beat and the rhythm requires as well developing a mind set so as to build a heightened presence of belonging to the group. Furthermore, this drumming activity appears at various social events in addition to those focusing on music. The potential, found in djembé playing, to create a collective experience through the synchronizing of bodies is used for relieving stress in recreational contexts, for teambuilding in the workplace, for motivating youth to persevere in their studies at both primary and secondary levels and, last but not least, in opening new channels for communication with autistic children or those showing behavioural problems at school.
Boullier, Claire. "Recherches méthodologiques sur la sculpture en terre cuite africaine : application à un corpus de sculptures archéologiques - en contexte et hors contexte - de la culture Nok (Nigéria)". Paris 1, 2001. http://www.theses.fr/2001PA010591.
Texto completoHerpin, Eve. "L' itinéraire juridique de l'objet africain : Ambivalence et inadéquation des dispositifs législatifs et conventionnels". Paris 1, 2008. http://www.theses.fr/2008PA010329.
Texto completoDiserens, Corinne. "Quand fondra la neige où ira le blanc : expériences curatoriales et muséales". Electronic Thesis or Diss., Paris 8, 2018. http://www.theses.fr/2018PA080130.
Texto completoHow to propose a hospital space to what has not yet been thought or experienced, how to institute the necessary conditions for the non-organizable and non-reducible elaboration of research and experimentation in art and finally how to mediate this elaboration in the public institution, considering that artistic time, bureaucratic time and political time are antinomic, such was and remains today one of the structural issues of my experience. In doing so, it is thus necessary to verify that if art questions and gives to think, it is always from a present that it does so. In other words, since this heterochrony, this conflict of times in which all present consists and which it is up to the artists, among others, to put to work so as to address it in a shared way.The question of the museum's public function must be taken up again as a place that encourages the sedimentation and transmission of ideas and experiences where modes of thinking and acting are deployed that artistic practices bring into play through gestures, forms and narratives that seek emancipation. It is still necessary to defend the museum as an operator of common memory, capable of contributing to the emergence of spaces of intelligibility and collective decision-making.If the term art is to be understood as an epistemological and historical device that links artworks to diverse contexts, as they operate in relation to materials (sensations, affects, ideas or materials) and reconfiguring the logics of common forces, it is also necessary to contribute to the activation and interpretation of archives as a promise for the future and by taking an interest through the study of sources and documents in the genealogies of artworks in relation to transformations that societies are experiencing and their historical complexity to better understand their stakes and their effects. The practice of materials specific to an artistic process, the analysis of the operations to which the artist gives rise and the study of his or her inscription context make it possible to set up a work of appropriation, discussion, translation, alteration
Nékoulnang, Djétounako Clarisse. "Les collections scientifiques et leur valorisation : une politique de recherche et un enjeu socio-culturel. L'exemple du patrimoine tchadien et d'autres collections paléontologiques africaines". Thesis, Poitiers, 2015. http://www.theses.fr/2015POIT2288/document.
Texto completoFor the XVth century Italy was a playground of favourite of collectors, private individuals among whom some very early placed their collections at the disposal of the public. The curious collect objects for the most part of the cases for reasons for being able to, of politics or still religious option, but not with the aim of preserving them. However the development of networks of sociability and business in the XVIth century made cabinets of curiosity an European reality. When the collectors die, certain collections are sold and of other one transformed into museum from the XVIIth century, others are also, in the XVIIIth and in the XIXth century, at the origin of collections kept at present in high schools and universities. The history of the European collections, including with regard to the most recent evolution of museums, allows to think about what can and have to be collections today, and as regards their preservation and the conditions of their study, and as for their opening to the public. Yet further to major discoveries in paleontology in Africa, and with the aim of managing and valuing these collections, numerou national museums settle in capitals and museum representation change to become real museums oriented developments of scientific research. It is also through the paleontological discoveries in Africa that the whole world and the Africans became aware themselves of the diversity and the immense natural and patrimonial wealth of this continent. The paleontological collections of the Chad present a very important scientific interest, which results from their impact on the knowledge of the " Origin and the History of the Human Family ". On more than 20 000 fossil specimens brought to light by the MPFT, 18343 are inventoried and digitized, including 316 types and figured, a database was built with these guys and figured in Access is posted on the CNAR Site and catalogs on these type specimens were also developed and printed in this work. These collections constitute one of the richest paleontological collections of Central Africa today, in particular for the period of Mio-Pliocène (from 7,3 to 3 My). Also generates an undeniable socio- cultural issue. A study is conducted and trails are proposed to ensure not only a true conservation policy but also of valuation, including the general public. Our thesis intends to contribute on second thought on the future of the African, in particular Chadian collections
Restrepo-Navarro, Paulina. "Le droit du patrimoine culturel colombien à l´épreuve de la restitution internationale des biens archéologiques : Quelle approche vis-à-vis des vestiges qui se trouvent à l´étranger ?" Thesis, Paris 11, 2013. http://www.theses.fr/2013PA111007.
Texto completoIt has been more than twenty-five years since Colombia State ratified the 1970 Unesco Convention and one year later it ratified the 1995 Unidroit Convention. It is now relevant to evaluate Colombia’s cultural heritage law and its perception of the issues surrounding the international trade of archaeological objects and ownership transfer. If archaeological antiquities belong unmistakably to the Nation since 1991, their constitutional protection does not satisfy the nationalistic policy this source country would like to lead.The evaluation of cultural heritage law is a double issue. On the one hand, there is the problem of how the domestic laws are applied to archaeological objects within the national territory. On the other hand, there is the difficulty of implementing domestic legislation when the antiquities are abroad. It is therefore a question of assessing if Colombia’s cultural heritage legislation has a framework that is clear and precise enough to allow the State to succeed in its claims and of defining to what extent it can be reinforced by foreign authorities and courts.Furthermore, international treaties adopted in this field since the second half of the twentieth century seem insufficient to meet Colombia´s concerns. Practice has shown that the international fight against illicit trade is closely bound to domestic laws, either that of the requesting State or of the requested State. The litigation strategies that can be brought before French authorities and courts have been studied as an example.These conflicts concern several actors: States, indigenous people, art dealers and museums. Their different level of interests reveal the complexity of the relationships that can be built among these antiquities considered, according to the stakeholders’ point of view, as identity, sacred, artistic or scientific objects.Finally, the recent development of Colombia’s cultural heritage legislation seems to challenge the country’s relation with its archaeological objects abroad
Perrot, Xavier. "De la restitution internationale des biens culturels aux XIXe et XXe siècles : vers une autonomie juridique". Limoges, 2005. https://hal.archives-ouvertes.fr/tel-01536066.
Texto completoThe cultural objects (monuments, arts works, scientific, religious or ethnologic objects) are regularly menaced by economics or politics stakes. Even, some of them could be separated from their context of origin. The question of the context of origin, and the problems of the return, invite to create a special legal status to some of these objects enough important to derogate to the statute law. Indeed, the property or the prescriptions, often prohibit cultural returns. The statute law can't integrate the symbolic contents of the cultural objects. By analogy, the ancient's legal concepts, as the natural classical law or the Roman law, could improve the modern law. By the way, the cultural objects which are separated and isolated could return to their context of origin
Mballo, Tahirou. "Gestion des aires protégées en Afrique : étude de cas : protection de la nature dans le parc national du Niokolo Koba, Sénegal". Paris 1, 2009. http://www.theses.fr/2009PA010630.
Texto completoKott, Christina. "Protéger, confisquer, déplacer : le service allemand de préservation des oeuvres d'art (Kunstschutz) en Belgique et en France occupées pendant la Première Guerre mondiale, 1914-1924". Paris, EHESS, 2002. http://www.theses.fr/2002EHES0112.
Texto completoWhat was the attitude of German authorities and art historians to movable works of art during the occupation of Belgium and Northern France in 1914-18 ? Did Kunstschutz “protect” works of art, as Germans have always claimed, or was it an instrument of despoliation as the French and Belgians have maintained? What were its post-war repercussions? In its attempt to answer these questions, this chronologically and thematically structured study draws on mainly unpublished material and adopts a comparative perspective to deconstruct national memory. In response to international protest at “cultural atrocities”, the German authorities established Kunstschutz. In Belgium, the service played an integral part in cultural policy and was instrumental within the framework of the Flamenpolitik. Considering Belgium to be a future vassal country, art historians created an inventory of its works of art. In France, however, Kunstschutz was linked to a project of strategic confiscation prompted by impending peace negotiations. When the Germans retreated to the Hindenburg line, many collections were moved away from the front. Two exhibitions, with highly original museography, claimed to show the benevolence of the occupying power. The post-war period was marked by the restitution of displaced works of art and demands that artistic losses be redressed by the confiscation of works from German collections. Whereas French aspirations were disappointed, Belgium obtained the return of panels from the Adoration of the lamb altarpiece. Nonetheless, troubled relations between Germany and its two neighbours continued to affect the field of art: directly contributing to increased awareness of national cultural heritage, “nationalisation” of artistic heritage, loss of prestige for German history of art, and museographic readjustments
Girard, Muriel. "Recompositions du monde artisanal et mutations urbaines au regard des mises en patrimoine et en tourisme au Maghreb et au Moyen-Orient (Fès, Istanbul, Alep)". Thesis, Tours, 2010. http://www.theses.fr/2010TOUR2001.
Texto completoThis thesis examines the heritage question, and seeks to understand social dynamics in progress within the cities of the Maghreb and the Middle East. Thus are analyzed the relations between heritagization and touristification, as well as the artisanal practices and their evolution within the ancient urban centres of Fez, Istanbul and Aleppo. The comparative study aims at showing how multiple social, spatial, and identity reorganisation processes are resulting from it. Areas of craft world, visited by the tourists, the ancient urban centres are thought like a resource, which needs to be valorised by local and international actors. In this way, heritage and touristic imaginations are contributing to the craft industry’s categorization, which is established as a heritage figure, judged illicit, and sometime is reinvented. This setting participates to an aesthetic process, in which the craftsmen are ousted or staged as part of the scenery. The craftsmen social position can therefore be changing whereas they are developing their own actions, compromising with the public heritage action and tourism
Bouchoux, Corinne. "" Si les tableaux pouvaient parler "... Le traitement politique et médiatique des retours d'oeuvres d'art pillées et spoliées par les nazis (France 1945-2008)". Phd thesis, Université d'Angers, 2011. http://tel.archives-ouvertes.fr/tel-00951875.
Texto completoSi, Amer Aziza Nesrine. "Architecture des ksour de la Vallée de Mzab : Essai d'histoire, de sémiotique et de médiation". Thesis, Tours, 2017. http://www.theses.fr/2017TOUR2006.
Texto completoThis work focuses on medieval history, architecture and heritage of the Mzab Valley, its semiotics and its cultural mediations. It is an attempt to analyze, understand and interpret the Mzab valley, aiming at its restitution and its cultural valorization. Considering, this through, the movement of religious and social reforms experienced by this Algerian minority. The purpose of this work is to understand how, through this historiographic reform, the Mozabite Berber-speaking and denominational minority found the answers to the changes triggered by its progressive integration with the Algerian nation, society and space