Tesis sobre el tema "Pratiques de transmission en danse"
Crea una cita precisa en los estilos APA, MLA, Chicago, Harvard y otros
Consulte los 50 mejores tesis para su investigación sobre el tema "Pratiques de transmission en danse".
Junto a cada fuente en la lista de referencias hay un botón "Agregar a la bibliografía". Pulsa este botón, y generaremos automáticamente la referencia bibliográfica para la obra elegida en el estilo de cita que necesites: APA, MLA, Harvard, Vancouver, Chicago, etc.
También puede descargar el texto completo de la publicación académica en formato pdf y leer en línea su resumen siempre que esté disponible en los metadatos.
Explore tesis sobre una amplia variedad de disciplinas y organice su bibliografía correctamente.
Sini, Alessandra. "« Danza di ricerca » : corporéités, espaces et discours en mouvement. : Les pratiques chorégraphiques de Fabrizio Favale, Michele Di Stefano, Alessandra Sini (Italie, 1995-2010)". Electronic Thesis or Diss., Université Côte d'Azur, 2024. http://www.theses.fr/2024COAZ2013.
Texto completoAt the crossroads of dance history and aesthetics, this thesis proposes an analytical and poetic approach to the research processes that Italian choreographers Fabrizio Favale, Michele Di Stefano and Alessandra Sini undertook between 1995 and 2010. Their singularities as well as the choreographic concepts and strategies they share, illustrate the vitality and critical scope of the artistic networks active in a significant period of recent Italian dance history. Among the expressions defining the contemporary dance experiences of the same period, the emic category “Danza di ricerca” is proposed here to identify a constant approach in their experimentations, which have transformed over time, through encounters and in relation to the cultural policies in which they are embedded. The embodied memory of the author of this thesis as a dancer, choreographer, spectator and witness is tested using the tools of choreographic, movement and transmission analysis provided by dance studies. The analysis of the choreographers' personal archives, the study of audiovisual, textual and graphic documents of performance events as well as interviews with the choreographers, some of the dancers from their companies and some personalities who played a significant role in their artistic careers, complete the collective portrait of a generation of choreographic artists who contributed to the development of Italian contemporary dance, in relation and resonance with international experiences
Brun, Jean-Louis. "Efficience narrative et la transmission des formes de vie : une approche anthroposémiotique de l'autopoièse dans les pratiques ritualisées". Thesis, Limoges, 2017. http://www.theses.fr/2017LIMO0039/document.
Texto completoHow does the interpretation of a canonical text by its conversion into a gestural practice allow the diachronic persistence of a community’s pattern of life and the adoption of this pattern of life by the members of this community? This research is grounded in the participant observation of two ritualised practices: Karatedo and Free-masonry, more precisely on their « thick description » according to Clifford Geertz. From the data provided by these descriptions, the construction of a model makes use of the canonical formula of myth by Claude Lévi-Strauss, of the institution of certainty according to Mary Douglas and of the concept of « instauration » by Etienne Souriau. The resulting model describes a process based on the succession of space-times articulating text and practice, a persuasive syntagm of modalities and the instauration of a semiotic world on the basis of a proto-semiotic world provided by the ritualised practice. This process converts the substance of the signifier according to a consistency and that of the signified according to a congruency, thus resulting in the transmission of the pattern of life. This process has the properties of an autopoietic system, according to the theoretical concept named as such by Maturana and Varela
Pesenti, Aurore. "Pratiques langagières familiales, transmission des langues et des parlers : approche sociopragmatique de ce dire dans l'interaction enquêteur-enquêté". Amiens, 2006. http://www.theses.fr/2006AMIE0001.
Texto completoTareau, Karen. "De la transmission des pratiques traditionnelles culturelles à la Martinique : les cas du bèlè et de la yole ronde : analyses anthropologique et linguistique dans une perspective didactique". Thesis, Antilles, 2016. http://www.theses.fr/2016ANTI0144/document.
Texto completoLanguage and culture are inhabited by the concept of intergenerational and transgenerational transmission. Therefore, the cultural and linguistic transmissions are inherent in all people and all societies. However, the terms of these differ according to the generations and territories.Martinique is a French department overseas who would not rid the throes of colonization. A former French colony, its slave past challenges the current education system in Martinique. The abrupt transition from a traditional to a modern society is actually an acculturation Creole language and culture and assimilation to the language and French culture. This has caused a culture of resistance that is similar to the hills in the time of plantation society. Traditional cultural practices reflect certain forms of resistance: the bèlè is both a dance and music dating back to the colonial period; while the round skiff is a practice dating from the post-colonial society. Become iconic in Martinique, these practices were media claims of Martinican culture. They are subject to a reappropriation today; which causes a change in their modes of transmission and officials in charge thereof.Two methods exist to Martinique: an informal transmission that falls within traditional education and formal transmission whose codification is that of modern society. This raises the problem of transmission. Some analytical logic clearly demonstrates that the bèlè and the round yawl is acquired by imitation in rural areas and are learned within the national education and associations. It is the same for the Creole language: it remains a mother tongue for some, by way of acquisition or evolve as a second language for others through learning. Furthermore, transforming a language spoken in a language of writing leads to a loss in the transmission process. It is the same for traditional practices. However, any loss involves appropriation of language and culture. Thus, both in the language of traditional practices, new language and linguistic forms are trying to generalize through the formal evaluation. These new modes of expression seem to modernize not (dance), gestures (technical) and highlight the lexical, syntactic and semantic features to be adapted to the European Framework of Reference for Languages (EFRL). The transmission then becomes a concept traditionality in modern and modernized world. It concerns all agents: they fall within traditional education that modern education
Valentim, Madeira Thaise. "La médiologie des pratiques culturelles : de la transmission à la mise en scène de la culture traditionnelle dans le processus de festivalisation". Thesis, Paris 3, 2014. http://www.theses.fr/2014PA030090.
Texto completoThis thesis is an analysis about the process of transformation of the festive quotidian practices, considered as traditional, in spectacular manifestations, in the present context of globalization. This evolutionary way between the feast and the festival is what we call the festivalization process.To make this analysis, we have studied two objects: the Festival Interceltique de Lorient, one of the biggest festivals in Europe, and the feasts of Congado Mineiro, a religious celebration that happens in the state of Minas Gerais, Brazil.The Festival Interceltique de Lorient, the “professional business of folklore” in Brittany, produces a music 'model', exportable, adapted to modern society, and at the same time connected with the “tradition”. In parallel, the feasts of Congado Mineiro expose a process already settled by the Festival Interceltique de Lorient: How a daily, family, religious and civil party is reworked gradually to become a spectacle, where authenticity and visibility become a conditional criterion for the existence of the feast and festival. With the Treze de Maio group, one of the representatives of Congado Mineiro, we realise how the processes of transmission of the musical heritage are transmitted, and how the mise en scène of tradition takes shape.As a method of analysis, we look to the “mediology” of Regis Debray, which offers us ways to look and reflect about the symbolic elements that determine the dynamics of the feast and festivals, and the relations of these elements with the technical transmission of ideas, values and beliefs
Esta tese de doutorado é uma análise do processo de transformação das práticas festivas cotidianas, tidas como tradicionais, em manifestações espetaculares, no atual contexto da globalização. Este trajeto evolutivo da festa e o festival, é o que chamamos de processo de festivalização.Para esta análise temos dois objetos de estudo: o Festival Interceltique de Lorient, na Bretanha, que é um dos maiores festivais das Europa, e as festas do Congado Mineiro, um celebração religiosa que acontece no Estado de Minas Gerais, Brasil.O Festival Interceltique de Lorient , uma "empresa do folclore" da à Bretanha uma música « modelo », exportável, adaptada à sociedade moderna, e vinculada ao mesmo tempo à tradição. Paralelamente, as festas do Congado Mineiro nos revelam um trajeto já percorrido pelo Festival Interceltique de Lorient: como uma festa cotidiana, familiar, religiosa e cível se reelabora pouco a pouco, tornando-se em espetáculo, onde a autenticidade e a visibilidade tormam-se critérios condicionais para a existência da festa. Através do grupo Treze de Maio, um dos representante do Congado Mineiro, percebemos como os processos de transmissão da herança musical e performática são repassados, e como a mise en scène da tradição ganha forma. Como método de análise, nos inspiramos na mediologia de Regis Debray, que nos fornece caminhos para olhar e refletir sobre os elementos simbólicos que determinam a dinâmica das festas, e a relação entre esses elementos e as técnicas de transmissão de ideias, valores e crenças
Philippe-Shillington, Julie. "Les valeurs traditionnelles canadiennes-françaises dans les pratiques familiales des franco-ontariens". Thesis, Université Laval, 2013. http://www.theses.ulaval.ca/2013/29926/29926.pdf.
Texto completoGargasson, Ingrid le. "La fabrique des maîtres : anthropologie des pratiques de transmission de la musique hindoustanie ou les enjeux de l’institutionnalisation d’un savoir dans l’Inde contemporaine". Paris, EHESS, 2015. http://www.theses.fr/2015EHES0678.
Texto completoThis socio-anthropological study focuses on the transmission of Hindustani music, starting at the end of the 19th century and continuing up until today. Its main purpose consists in analyzing the different contexts in which this concert music, often referred to as North Indian “classical music,” is produced. Either considered as a hereditary occupation for specialized low castes (mostly Muslims), or a leisure activity for an urban Hindu elite—quick to present it as the heir of a traditional Brahmanic science—Hindustani music, which is also an academic subject, has been transformed by its environment and adapted by the men producing it. Each “location of knowledge” is linked to its own source of legitimacy and responds to a system of values which embodies distinctive ways of experiencing the music and reveals a contrasting approach to history. This dissertation aims to understand the discursive, social and technical practices at work in the transmission of Hindustani music. These characteristics are at the heart of socio-political and artistic issues which make the micro-sociological level (the act of transmission) mirror the macro level (the patronage system and its ideology). Ultimately, the definition of this musical tradition illustrates the circulation and re-appropriation of knowledge in contemporary India. My research relies on ethnographic fieldwork conducted primarily in Delhi over a nine-year period, and is complemented by a historical study of the institutionalization process of musical knowledge since 1870. Through a social and aesthetic evaluation of this evolution, the thesis intends to contribute to current research in the field of performing arts in South Asia, and to take part in the ongoing discussions on the history and anthropology of knowledge
Temperville, Véronique. "Le rôle des inscriptions documentaires dans la transmission des savoirs. Le cas de la psychologie comme discipline". Thesis, Lille 3, 2014. http://www.theses.fr/2014LIL30005.
Texto completoThis study is about the evolution of third-year undergraduate psychology students' information practices. We look at the changes the digital world has brought about in students' information culture. We defend the idea that the web transforms values, representations, and practices within academic culture. We discuss this hypothesis through consideration of the document as a material form and through analysis of the editorial dimension of the document. This work confronts data obtained from interviews, with students and university professors as well as contributions to the Moodle learning Platform, and semiotic analyses of documents and websites. This research explores the notions of circulation and hybridation as applied to information practice
Rougeon, Marina. "Relations de proximité, pratiques de bénédiction et religiosités caseiras. Une approche sensible dans la ville de Goiás, Brésil". Thesis, Lyon 2, 2012. http://www.theses.fr/2012LYO20112.
Texto completoThis work presents an analysis of blessing practices and “close” relationships in a city of central-western Brazil. Ethnography in the neighbourhoods of Goiás allows to question forms of religiosity designated by the term caseiras and the notion of closeness in the everyday life of Goiás inhabitants. Promoting a sensible approach of blessing practices and of “close” relationships, photography is mobilized as a tool for fieldwork, but also an analytical device and as a form of knowledge, to emphasize the particularity of ethnographic experiences of the sight and images. It also allows to develop an ethnographic narrative articulating text and images. Anthropological content as well as aesthetic and emotional aspects of blessing practices are privileged in this research. To focus on the blessing practices allows to grasp relations of solidarity, of conflict and intergenerational relations, which participate in the development of social ties between “close” people. As they also involve transmission between women, “close” relationships are driven by emotional ambiguities based on both complicity and rivalry. The disorders such relationships can cause find forms of expression and resolution into caseiras religiosities, as blessing practices are a way to regulate conflicts of everyday life by working on body and mind illnesses resulting from such conflicts. This work demonstrates how “close” relationship is not always harmonious. It also intends to show how unofficial forms of knowledge and therapeutic-religious practices, although central for entire social groups, can give a fresher look of the goiana society and of the brazilian society from the angle of the margins of institutional knowledge
Melle, Astrid Van. "Connaissances, attitudes et pratiques vis-à-vis du VIH et des IST : étude auprès de la population résidant dans les communes isolées du fleuve Maroni, Guyane Française". Antilles-Guyane, 2015. http://www.theses.fr/2014AGUY0821.
Texto completoThe remote villages on the Maroni river have been affected by HIV epidemic 10 years after coastal area. But the spread was rapid, the prevalence in pregnant women increasing from 0 to more than 1 % between 1993 and 2003. Despite this sudden change, actors involved in the fight against HIV in the area, had only little data on knowledge, attitudes, and practices in the general population and among groups most at risk for HIV. However, these data are essential to adapt and evaluate prevention interventions. The aim of this study was to address this lack, and to provide some understanding of the dynamics of the epidemic on the Maroni river, to optimize prevention and HIV testing in this area. This work is based on an observational and cross-sectional quantitative study on knowledge, attitudes and practices toward HIV and STIS, conducted in 2012 among a random sample of the general population residing in remote villages on the Maroni river. The results highlight the importance of stigmatizing attitudes towards people living with HIV. In addition, high-risk behaviors were identified : sexual initiation is early; multiple sexual partnerships are important and more often concurrent, and reporting paid sex is also frequent. The practice of Vaginal astringents baths, and penile implants may also be cofactors increasing the risk of transmission by sexual intercourse. Other more encouraging findings seemed to emerge, such as a massive support to the idea of doing a rapid HIV test. The fight against stigma towards people living with HIV should be strengthened, as these negative attitudes are barriers to access to HIV testing and care, and affecting the quality of life of HIV-positive people. Conducting adapted preventive interventions in this area requires the integration of the study results by stakeholders, cooperation with Suriname, who has already identified populations from interior as one of the priority populations in the response to the spread of HIV epidemic, and the integration of populations particularly exposed to HIV infection in interventions (mobile populations, sex workers, isolated populations. . . )
Latuner-El, Mouhibb Marie-Thérèse. "Dessin - Pratiques rituelles - Danse : porosités et transports". Thesis, Aix-Marseille, 2013. http://www.theses.fr/2013AIXM3093.
Texto completoThis research explores a practice which mingles drawing with practices of contemporary dance, engaging a relationship of dynamic tension to the ground, to gravitational space. These practices are reinvested by the experience and apprenticeship, undergone in Southern India, of rituals drawings traced with powder on the ground: the kolam, which appear on the doorstep of Tamil houses at dawn, and the kalam, carried out during Kerala ritual ceremonies. They are ephemeral drawings, in which tracings and erasings alternate within a sacred movement which makes and unmakes. The dialogue between ritual and artistic practices is envisaged on the basis of this experience, opening up to a proximity with the anthropological approach. Above and beyond the religious, what parallels can be drawn between artistic practices and rituals, Indian rituals in particular? In this interval the practice reveals itself and engages the fertile collaboration with different dancers, who become mediums in the open space of the performance, which renders visible the drawing’s process of mutation. The drawing is analysed in its successive transpositions from the ground to the dancers’ bodies, to the space of the installation, playing instantaneously on the threshold of the visible, disappearing in the gesture of effacement which becomes the essential gesture in this access to the ritual. The drawing propulses the bodies’ actions. In these ritual practices, what can – or cannot – be conveyed, and thus destabilize the practice of drawing which, by this means, becomes both trajectory and process? Finally what do these rituals have to do with us, visual artists, despite their profound opaqueness?
Lavergne, Grégoire. "« Toucher les sons » : la manipulation expérimentale des sons électroniques, de l'apprentissage à la transmission dans les pratiques improvisées contemporaines - enquête de terrain à montréal auprès de musiciens improvisateurs (2013-2016)". Thesis, Paris, EHESS, 2017. http://www.theses.fr/2017EHES0080.
Texto completoIn the field of music, our contemporary age is characterised by a scattered scene, an increasing number of musical genres and ubiquitous audio-digital techniques used in the process of production as well as in the broadcasting of recordings, themselves infinitely reproducible by an ever-growing number of computer-users. In the midst of this constellation we have chosen to highlight the art of free improvisation using electronic stringed-instruments. How do artists manage to find their way in such a fluctuating and problematical environment, and then convey their musical know-how? Rather than compiling data limited in time, we will attempt to understand what is being happening among contemporary improvisation in a specific context.The theoretical framework, inherited from jazz, points to a connection in the 20th century between recording and improvisation and operates on three levels: mechanical, analogue and digital. With the aid of two historical examples we try to understand how an improviser learns to play the keyboard while being at the same time confronted with a technical device of sound production and reproduction. The methodology / approach then presents a field investigation carried out in Montreal in 2013-2014 during a workshop involving six musicians. The monographs highlight the origins and sound memory of each artist which make up his musical individuality and allow him to perform when required. The improvised sessions under investigation do not represent a genre or identifiable musical tradition, as they derive indiscriminately from experimental music, electro-acoustics, free improvisation, free jazz and rock. However they cannot be dissociated from the context in which they emerged, i.e. the modern music scene in Quebec and the wider Montreal environment.Thanks to the concept of "audio-tactility", these practices are analysed focussing on how the artists use electronic circuits, i.e. what is the connexion between the material aspect of the devices and the sounds produced by listening and haptics. Does the improvisation stem from a mental construct, a building plan or engineered map and do the electronics have a bearing on the elaboration of the improvised discourse? Is there an underlying structure in the elaboration of an improvised discourse using electronic devices in combination with a live musical process? By feeding preexisting pieces through a sampler, improvisation can be thought of as a hypertext process. In this way we can observe whether digital techniques are an extension of mechanical and analogue recording techniques or whether indeed they break with them
Montagne, Karen. "L'alimentation au fil des générations : l'analyse de parcours de vie alimentaire, en France, au travers des procès de transmissions, innovations et intégration des pratiques, comportements et savoir-faire de mangeurs dans des espaces en mutation". Thesis, Tours, 2016. http://www.theses.fr/2016TOUR2007.
Texto completoThis study offers an analysis of past and present food modes among a kinship group comprising four generations. Through first hand recording of life trajectories and direct observations collected in immersion over an extended period of time (ten years), this work is an attempt to highlight the sociocultural factors and mechanisms that affect food procurements practices, culinary skills, food representations and behaviors at different stage of life. This in-depth observation of a group of relatives serves the examination of cultural, social, economic and historical factors that are at play during the primary and secondary socialisation phases and impact the construction and evolution of individual as well as family food repertories. This is amonography about a French middle class extented family which provides access to the evolutions of relations to cooking and feeding from women's point a view
Abdou, El Aniou Naïsiwon-Patricia. "La conceptualisation de l'art chorégraphique : concepts et pratiques de la danse /". Villeneuve d'Ascq : Presses universitaires du Septentrion, 2000. http://catalogue.bnf.fr/ark:/12148/cb37204962p.
Texto completoRougeon, Marina. "Relations de proximité, pratiques de bénédiction et religiosités caseiras. Une approche sensible dans la ville de Goiás, Brésil". Electronic Thesis or Diss., Lyon 2, 2012. http://www.theses.fr/2012LYO20112.
Texto completoThis work presents an analysis of blessing practices and “close” relationships in a city of central-western Brazil. Ethnography in the neighbourhoods of Goiás allows to question forms of religiosity designated by the term caseiras and the notion of closeness in the everyday life of Goiás inhabitants. Promoting a sensible approach of blessing practices and of “close” relationships, photography is mobilized as a tool for fieldwork, but also an analytical device and as a form of knowledge, to emphasize the particularity of ethnographic experiences of the sight and images. It also allows to develop an ethnographic narrative articulating text and images. Anthropological content as well as aesthetic and emotional aspects of blessing practices are privileged in this research. To focus on the blessing practices allows to grasp relations of solidarity, of conflict and intergenerational relations, which participate in the development of social ties between “close” people. As they also involve transmission between women, “close” relationships are driven by emotional ambiguities based on both complicity and rivalry. The disorders such relationships can cause find forms of expression and resolution into caseiras religiosities, as blessing practices are a way to regulate conflicts of everyday life by working on body and mind illnesses resulting from such conflicts. This work demonstrates how “close” relationship is not always harmonious. It also intends to show how unofficial forms of knowledge and therapeutic-religious practices, although central for entire social groups, can give a fresher look of the goiana society and of the brazilian society from the angle of the margins of institutional knowledge
Delorme, Vera. "Construction et utilisation des contextes dans les interactions en classe de langue". Thesis, Paris 3, 2010. http://www.theses.fr/2010PA030168.
Texto completoThis research looks at the contexts that are produced in language classroom interactions. These contexts are here considered as verbalized representations of the situation. Typology of such contexts is proposed and founded on the notion of "discourse world." The analysis of transcripts of lesson recordings distinguishes a set of verbal means that speakers use while producing a particular type of context. In addition, the analysis of verbal interactions shows the dynamic nature of these constructions. The uses of contexts in the classroom practice are explored from an educational point of view. In this perspective, this study focuses on how the contexts produced by participants are included in the transmission of knowledge, in teacher solicitations and learners answers, or in the teacher’s feedback. Moreover, the analysis of teacher comments on teaching practices allows a reflection on the role of contexts as teaching tools in the "teacher cognition". The main purpose of the research is to outline different features of this object from interactional and educational perspectives. The study also includes theoretical considerations developed with reference to pragmatics, interactional linguistics, microsociology and discourse analysis
Sourdril, Anne. "Territoire et hiérarchie dans une société à maison bas-commingeoise : permanence et changement. Des bois, des champs, des prés (Haute-Garonne)". Thesis, Paris 10, 2008. http://www.theses.fr/2008PA100042.
Texto completoFacing the contemporary changes of the rural worlds, the comprehension of the ability of the rural societies to reproduce and organize their territories is a crucial stake. This PhD in Ethnology is integrated into the pluri-disciplinary researches of a landscape ecology laboratory. The aims of the study are to understand the dynamics between societies and territories in rural societies of the Bas-Comminges, in Haute-Garonne (France). Those societies have the capacities to assimilate changes and are marked by the presence of a specific social system, known as “the house-centered system”, which characteristic is to involve the stability of the real estate. The ethnographic study of the inheritance, the limits and the composition of the real estate since the beginning of the 19th century and the integration of the data collected in a Geographical Information System will reveal the bond between a social organization and its territory. The results are articulated in three points. (1) The real estates are stable during the last 2 centuries. The studied society presents a strong social hierarchy. The social status is based on the land richness and its maintenance from generation to generation. (2) It is noted that it is necessary for the Bas-Commingeois to hold but also to cultivate the land to remain its statute. The objective of the owners is to respect a principle of autonomy of the properties and a diversity of the practices and cover of the land. (3) The maintenance of the status within the hierarchy also passes by an involvement of the Bas-Commingeois within the village’s institutions. The respect of these principles induces the permanence of the territory and an adaptation of the system to the changes of the rural world. This study answers questions about the dynamics of agricultural and forest spaces and contributes to a better understanding of the capacities of the rural worlds to survive
Abdou, El Aniou Naïsiwon-Patricia. "La conceptualisation de l'art chorégraphique : concepts et pratiques de la danse". Paris 8, 1997. http://www.theses.fr/1997PA081388.
Texto completoThis thesis is about the "choreographic thought" and the specific knowledge which are shaped and passed to eachother by dancers through their practice. Choreographic practice is regarded as involving cognitive tools and cognitive functions, at different levels. These tools are stemming from the process of conceptualization, inherent in practicing. They are showing how choreographic experience is understood, represented and acted. "choreographic thought" is described as a "practical thought" shaping "artistic concepts". The study of these concepts is based on examples, which are extracted from situations of dancing or theories of dancers. Their are especially observed on their functional side, according to their practical finality. So, a single portrait of "choreographic concept" is drawn, it is a "fuzzy", "moving", "pragmatic" and "incorporated" concept. The cognitivist theories of knowledge and mind are abble to clarify this conceptual specificity as occuring on the basis of an experiencial continuum. Perceptive, motor and cognitive dimensions of choreographic experience are together involved through basic networks of categorization. That is why, it is necessary to envisage this experiencial continuum in order to understand, or to study the conceptualization of dancing by
Fernandes, Viana Anamaria. "Dança e autismo : espaços de encontro". Thesis, Rennes 2, 2015. http://www.theses.fr/2015REN20054/document.
Texto completoThis thesis has as a background a long experience with improvisation in dancing for children and young people considered autist in the Brittany region. From this practice, it was starting a vast theoretical research in this field. When these two aspects were considered, the thesis confronts the doctrine with the reports about the people who live with autists, their family members, professional dancers, educators and people from the mental health area. This is not a therapeutic project. We can clear understand the autist not only has the real possibility and the right of doing an artistic practice but also they can teach us a lot. The purpose of this work is not to create a type of hornbook. It aims to offer basic elements for the professional of this area in a way he/she can create his/her own methodology. In this way, this professional will conduct the process day by day. He will make up a step and a new step. That’s why it was not only needed to have a deep look at the autist, but also promote an appropriate environment for him/her. The founding elements of this dance we can point out the assumption of a certain attitude that is ethical and aesthetic. So even that, it is an attitude that represents the abandon to assume that you have to guide the other in one way, for example, in precast projects. The thesis raises some questions that have not been investigated yet, for instance, in the dance universe and the new purpose of dealing with the autist. In fact, if we consider that the contemporary dance is described as a democratic philosophy and equalitarian; the project thisthesis approaches not only follows this idea but also study deeply these ideals
Essa tese tem como pano de fundo uma longa experiência de dança improvisação com crianças e jovens ditos autistas na região da Bretanha francesa. A partir dessa prática, foi-se abrindo um vasto campo de pesquisa teórica. Relacionando essas duas dimensões, a tese confronta a doutrina com relatos de vivências com pessoas ditas autistas, seus familiares e profissionais da dança, da educação e da saúde mental. Não se trata, no entanto, de um projeto terapêutico. Entende-se que a pessoa autista não apenas tem a possibilidade concreta e o direito de realizar uma prática artística, como tem muito a nos ensinar. E não se trata, igualmente, de construir uma espécie de cartilha. Pretende-se propiciar ao profissional da área elementos básicos para criar sua própria metodologia. Desse modo, será ele quem irá – em seu dia a dia com o outro – inventar, a cada passo, um novo passo. E para isso, naturalmente, fazse necessário não só um olhar diferenciado para a singularidade daquela pessoa, como a criação de um ambiente propício. Dentre os elementos fundantes dessa dança destaca-se a assunção de uma certa postura, que é ética sem deixar de ser estética. Por isso mesmo, é umapostura que envolve abandonos – seja da pretensão de guiar o outro num certo sentido, seja da elaboração de projetos premoldados. A tese procura levantar questões ainda pouco exploradas no universo da dança e propor novas formas de se relacionar com a pessoa dita autista. Na verdade, se considerarmos que a dança contemporânea se caracteriza – dentre outros aspectos – por uma filosofia democrática e igualitária, o projeto que esta tese aborda não apenas transita por esses caminhos, como aprofunda aqueles ideais
Graezer, Bideau Florence. "La danse du yangge en Chine contemporaine : enjeux politiques et pratiques sociales". Paris, EHESS, 2005. http://www.theses.fr/2005EHES0075.
Texto completoThis dissertation studies the role of cultural policy as a tool of power in 20th century China. By focusing on different categories of popular culture in their historical, political, intellectual and social context, this research shows how the notion of culture is, and has always been an important stake of the struggles taking place in the ruling elite. Through anthropological, historical and comparative analysis of several social and cultural activities -yangge dance, qigong exercises, festivities linked with some pilgrimages or traditional celebrations - this dissertation highlights the will of the chinese communist party to build a policy governing national cultural practices. Illustrations taken from fieldwork in Beijing and Shaanxi clarify not only the process of the making of cultural traditions and the issues it entails bu also the place these activities occupy in the emergence of a civil society and their role in the project of building a "spiritual civilization"
Pellus, Anne. "Politique(s) de l'hybride dans la danse contemporaine française : formes, discours, pratiques". Thesis, Toulouse 2, 2016. http://www.theses.fr/2016TOU20089.
Texto completoWhat are the conditions of a politicization of dance in this contemporary context of mistrust regarding politics ? To what extent can dance contribute today to enrich political thinking, or even help transform the conditions of collective experience ? We'll try to answer these questions through researches on French contemporary dance giving greater importance to a political esthetics approach based on the analysis of performances. After having analysed two important experiments of politicization in dance which had a great impact on the XXth century – radical dance and post-modern American dance –, we'll come back to the history of French contemporary dance, as it has been written since the beginning of the 70's. Although it was inspired by values of emancipation, contemporary dance faced the effects of its institutionalization during the 80's. During the 90's, this normalization gave birth to an “avant-garde” of protesting choreographers who denounced a “standardization” of forms and decided to turn to the model of performance art, known as being political. Thus, they imposed an anti-fiction doxa and a de-compartmentalization between arts and practices – two trends which are today imposing themselves as new norms on the contemporary stages. In the lights of these recent evolutions, I make the hypothesis that, to politicize itself, contemporary dance rather gains in taking its distance with performance art to experiment new forms of hybridizations (with theater, cinema and plastic arts); that it gains in particular in “theatralisizing itself”. I will confront this hypothesis to ten recent works from choreographers Alain Buffard, Héla Fattoumi, Éric Lamoureux and Maguy Marin, created between 2004 and 2013. After having studied the artists' intentions through their speeches and practices, I will analyse their works and try to show in what terms their original form constitutes the setting and production of a politics of esthetics, which is the reason why their constitutive, experimental and critical hybridization stands out from the formalist mixis which is so successful on contemporary stages
Silva, Suzane Weber da. "Les pratiques du danseur-créateur vis-à-vis des pratiques dominantes en danse contemporaine : trois études de cas". reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2010. http://hdl.handle.net/10183/61250.
Texto completoPontal-Sanchez, Marion. "La danse salsa en France : Transmission de techniques et genèse de corporéités interculturelles". Electronic Thesis or Diss., Université Côte d'Azur, 2022. http://www.theses.fr/2022COAZ2041.
Texto completoSalsa dancing is a hybrid multi-choroegraphical exercise which mixes technical and aesthetical properties from a dance, a cultural universe, a performing art but also a musical genre. The new concept of performing on stage in which this popular dance is evolving was crucial for the recognition and the development of the choreographic creation. The specialized salsa festivals have multiplied in the 2000s, inviting french dancers to appropriate a dance coming from a distant culture. Influenced by historical, commercial and political factors, salsa dancing has seen its practice and choreography change along the time. The basic fundamental elements of the choreographic generation like the body, the space, the time, the energy have been infringed by a diversity of contrasted styles and forms coming from imaginations, sounds or gestures. How stage performances engage into the evolution and the redesign of this practice ? What is left then from the "traditional salsa" ? From the field work in France and in the Alpes-Maritimes, this thesis will have as an objective to show that this international activity is marked by a myriad of discussions and questions between traditions and modernity because of the diversity of dance styles, cultures, transmission and broadcasting mediums and because of its practitioners and performers. The body engagement of the dancer depends on multiple factors : motivation linked to the context in which it evolves, its sensibility with respect to its musical choice, its capacity to execute body moves and, at last, its social and cultural identification
Lhortolat, Elisa. "Les représentations de genre dans la danse orientale et la danse American Tribal : regards croisés sur des pratiques et des discours". Thesis, Université Côte d'Azur, 2020. http://www.theses.fr/2020COAZ2019.
Texto completoThis inquiry starts with the practice of bellydance in France, marked today by numerous debates around tradition and modernity. Two practices will thus be compared. On the one hand, bellydance known as Sharki, which is considered as the most “authentic” practice and the closest to the Egyptian tradition. On the other hand, the American Tribal dance, which emerged in the United States in the specific context of counter-culture.Based on fieldwork, some cross-questions common to these two practices are arising. Those are mostly about the vision of the body and the gender issues, in these almost exclusively female practices. Through the analysis of the practices and the discourses, two archetypes of femininity appear implicitly, raising the question of the construction and the representation of the feminine, but also, paradoxically, of the masculine in these two different forms of dance, yet so close one to the other. This research puts into question the construction of these stereotypical visions of the feminine, through the history of these dance forms but also in terms of movement. What are these images and imaginary representations of the feminine, and consequently, of the masculine, how are they brought into play ? How are they embodied in dance movement ?
Brenel, Eve. "Le monde du flamenco : entre pratiques amateurs et professionnelles, socio-anthropologie d'une culture artistique". Besançon, 2004. http://www.theses.fr/2004BESA1030.
Texto completoThis thesis analyses flamenco as a structuring practice of an artistic "world" ( in Becker's meaning). A first part allows- from a critical analysis of the debates surrounding the history of this cultural practice- to show the stakes of controversies around the question of Andalusian or gipsy origin of the flamenco. Mythes surrounding practitioners ( singers, guitarists, dancers) are confronted to a statistic study; the aficionados population, which role is in this case essential, is also submitted : their social characteristics, their use of erudition and their place in this cultural "world". A second part builts a definition of what the " flamenco's human being " is ; a definition that goes through the taking into consideration of the dialectical's relationships instituted between "yourselves" in private meetings and the production of an artistic legitimacy through the public practice of shows. The "flamencos" collective identity is based on the sharing of some reference's worlds : a common language, a collective memory and the fact of being initiated to this art and its reception. Besides, actors lay down collectively qualification criteria, in terms of esthetic but also ethic. A third part analyses successively the required courses for the singers, dancers and guitarists socialization (between tradition and modernity), after having first set up the question of the inheritance's place in this process. The thesis shows how the different actors , professionals and aficionados, gypsies and payos, participate collectively to the flamenco's production, through their interactions, between cooperation and conflict. In this "world", aficionados play a decisive role in establishing criteria, in training artists and in producing flamenco's artistic legitimacy
Quiblier, Marie. "La reprise, un espace de problématisation des pratiques dans le champ chorégraphique français : 1990-2010". Rennes 2, 2011. http://www.theses.fr/2011REN20058.
Texto completoIf the year 1993 is related to a decisive moment when the creation of the Quatuor Knust and the Carnets Bagouet highlight the re-enactment issue in the french choreographic field, the 2000s are marked by the renewed outbreak and polymorphism of quotational practices. From quotation, to reconstruction, turning to variation, re-stating and tribute, re-enactment is recurrent, prolific and composite. Neither a type, a style, nor an attitude, re-enactment is a gesture that offers multiple resolutions. On the other hand, beyond its disparity, it updates a substantial change of the practises in the choreographic field of the 2000s, in terms of transmission, creation, statement and historicisation of the choreographic work. To study the phenomenon, this work is based on examples which sharpen the critical and subversive significance of the re-enactment. Rather than trying to minimize the disruptions it produces, the mentioned artists turn towards re-enactment as to a space of problematization of choreographic practises
Acogny-de, Souza Patrick. "Les techniques des danses africaines et leur expansion en France : transmission et genèse de corporéités interculturelles". Paris 8, 2010. http://www.theses.fr/2010PA083419.
Texto completoWe know very little about the history of African dances on the continent and their arrival in France. However, there is a history of practices, with several discontinuities in the traditional dances practices that will come from Africa in a new era of dance concert. By producing new forms, the latest of contemporary African dance, African dances necessarily attract attention. The history of dance in Africa, because of his recent choreographic culture, gathers little research and knowledge on present practices. What are these practices? What are the thoughts behind them? Focusing on issues of transmission and teaching, our thesis has a dual perspective of the analysis of dancing gestures, observed in both the systemic and social anthropological aspects. Our review is based on the assumption of a mutation of the meaning and methods of transmission of African dances and, therefore, a transformation of their practices. It questioned these changes, and questions the poetic gesture in dance aesthetics and symbolism. From the emergence of the first courses in African dance highlighting the methods of diffusion or education, to aesthetic and kinesthetic of these dances, the investigation attempts to show how those modes of transmission and education, while having evolved and changed direction, keep the basic principles of African dance, while significantly altering the symbolic significance of the body, and kinesthetic dance. We are witnessing the emergence of original dancing body types, body types of cross-cultural shaping of African dance forms and unusual hybrids
Curda, Barbara. "Enjeux identitaires, relationnels et esthétiques de la transmission de la danse Odissi en Inde. Le cas d'une école émergente à Bhubaneswar". Thesis, Clermont-Ferrand 2, 2013. http://www.theses.fr/2013CLF20063.
Texto completoThis thesis addresses the relation between social norms, pedagogical practices and aesthetics in Odissi dance in India. Despite the heterogeneous and even multicultural nature of its practitioners, Odissi, which appeared as a “classical dance” on the post-colonial stage during the country’s post-Independence era, is a vehicle for identity claims relative to the Indian State Orissa, renamed Odisha in 2011. The research was undertaken during successive fieldwork periods mainly in the state capital of Bhubaneswar, and more specifically in an emerging dance school.The social organisation of the community of practitioners, which manifests itself in the official genealogy of Odissi, is identified through an examination of historical narratives on the foundation years of the dance, and of mythical elements on which protagonists base their representations. From observation of dance practices in the school, it becomes clear that this social order is reactivated discursively by the master during daily training sessions. He literally uses identity ascriptions in his pedagogical activity, creating links between certain moral values, a relational ethics between practitioners, and dance practice. This mode of action certainly reinforces the hierarchical structure of the school. However, from the point of view of the practitioners, the institution of a moral sense of the situation is related to certain aesthetic qualities of the dance, which then appears as a mode of being rather than a mode of doing
Brignone, Patricia. "Les nouvelles pratiques du corps scénique : pour une approche élargie des rapports danse, arts plastiques, performance". Thesis, Rennes 2, 2018. http://www.theses.fr/2018REN20008/document.
Texto completoSince the last few decades, we are witnessing the emergence of artistic practices that lead us to rethink more than ever the cloistered categories we’re used to fit them into: visual arts, dance, performance. These practices testify the override of the idea of multidisciplinarity (which has been a long-term focus) to invest new physical and mental modalities and spaces.The artistic genre porousness often attests common issues like the question of the « I », the representation and the staging of the self ; a specific code investigation ; the exploration of a gestural corpus.Stating a kind of deterritorialization of practices cannot however prevent from an historical enlightening, mainly to be found in the Judson Dance Theater and its broader context, the New-York avant-garde scene of the sixties. This unprecedented field of experimentation shaped new strategies for the body in motion whose reach is still seminal today.Though relationships to ordinary gestures are no more what artists are striving for, some experimental processes are still operating, regarding either the interactions of the body to objects or to particular devices. This open realm of relationships, crossing the work of artists like Jerôme Bel, Alain Buffard, Ulla von Brandenburg, Boris Charmatz, Helène Delprat, Esther Ferrer, Nicolas Floc’h and so many others, is what we sought to map under the term of “the new practices of the scenic body”
Maxwell, Adeline. "Danse indépendante au Chili : Nouvelles pratiques de résistance vingt ans après la fin de la dictature". Thesis, Nice, 2014. http://www.theses.fr/2014NICE2022.
Texto completoSeptember 11, 1973 in Santiago, Chile, General Augusto Pinochet took power in this country,bringing a bloody dictatorship that lasted 17 years. After the military coup artistic activities hurriedlydisappeared under the policy of the "cultural apagón-Blackout-." It is in these circumstances that aform of independent dance- both economically and ideologically- and resistant eraised, practiceddiscreetly passing a protest message and strengthening a rebel community. This dance drew its rootsof what remained of the Chilean "modern" dance, the dance techniques brought from Europe andthe artistic explorations of his choreographers. Near twenty years later, the Chilean independentdance followed its path, it crossed the periods of transition and post-Dictatorship and escorted thesocial and cultural changes. The context for creating dance changed and it developed following thehistorical, political and economic context of the country. However, since approximately three or fouryears, a new wave of independent dance begins to sprout in Chile. It is a movement that radicallycalls into question the forms, messages and ways to make the scenic dance made so far in Chile,focusing on the experimentation, the breaking of codes and the removal of disciplinary boundaries: anew resistance dance is born in Chile. The aim of this thesis is, after a field work of three years inChile, to decipher the resistant nature, through a comparative analysis, and the mutations in thecurrent independent dance in Chile
Cazemajou, Anne. "Le travail de yoga en cours de danse contemporaine. Analyse anthropologique de l'expérience corporelle". Phd thesis, Université Blaise Pascal - Clermont-Ferrand II, 2010. http://tel.archives-ouvertes.fr/tel-00632348.
Texto completoDubs, Sandra. "Danses, langues et transmission culturelle chez les Amérindiens contemporains". Paris, EHESS, 2014. http://www.theses.fr/2014EHES0594.
Texto completoMainly considered as an entertainment recalling the history of the first inhabitants of the American continent, Native Amùerican dance proves here its high semantic potential evoking the main mythic lines sutaining a characteristic Native American way of seeing the world. The Eagle and the Snake, as principal roles in myths and dances, will testify of the semantic elements they implicate and carry with them while performing, their representational plasticity allowing them to be evoked as soon as they are seen or only suggested in gesture, or in words pronounced on stage. We demonstrate that dance, together with vernacular language still spoken on stage during creremonies and Pow Wow, reveals a deep structure of Native american culture, which happens to be fractal. This structure showing a dynamic fractal aspect allows people who are brought up in native culture, as well as the ones who only perform once a year in pow wow, to access by dance and language in motion to enough components of their culture for its continuation. The way of learning the dances by copying an elder plays also a part in the cultural transmission, while respecting individualities, because it is a pattern to accomplish which is given to acquire and not a body shaping. This fractal pattern featuring on stage in dance and vernacular laguage practices, and also in Native American artifacts and narrations, constitute the latent prospective of cultural perpetuation fo Native american People today
Chernetich, Gaia Clotilde. "Danse, mémoire, transmission : Le cas de la Pina Bausch Foundation et du Tanztheater Wuppertal Pina Bausch". Thesis, Université Côte d'Azur (ComUE), 2017. http://www.theses.fr/2017AZUR2006.
Texto completoMy doctoral thesis deals with memory and the transmission of knowledge in contemporary dance. To prepare my study, I concentrated on the case of the dance company Tanztheater Wuppertal Pina Bausch and on the German choreographer Pina Bausch’s the artistic legacy (1940-2009). Since 2009, a foundation named after the choreographer was created alongside the historic dance company which continues to represent the Bausch repertory worldwide. The foundation’s goal - which was founded by Pina Bausch’s son, Salomon Bausch - is to preserve and spread the knowledge of his mother’s artworks which were created all her life long: it owns the Bausch archives, the dance works rights and the scenography and the costumes created by Rolf Borzik.The methodological reflection which support my thesis is fully embodied. For the interviews, I adopted the methodology of oral history. My research is based on four principal domains which correspond to four different articulations of memory: the archives, the repertory, the creation and the exhibition. The perspective I chose to access my object of study and to observe how the choreographies and the history of the Tanztheater Wuppertal Pina Bausch are transmitted to new generations at the post-Bausch era is that of the Italian dancers who integrated the company between 1973 and 2009. For this purpose, I’ve realized a series of interviews with: Beatrice Libonati, Antonio Carallo, Aida Vainieri, Cristiana Morganti, Damiano Ottavio Bigi et Marigia Maggipinto. The witnessing of each one of the dancers allows to question Tanztheater Wuppertal’s history from an internal point of view and it gives information concerning the functioning of memory and transmission
Brandt-Pomares, Pascale. "LES NOUVELLES TECHNOLOGIES DE L'INFORMATION ET DE LA COMMUNICATION DANS LES ENSEIGNEMENTS TECHNOLOGIQUES De l'organisation des savoirs aux conditions d'étude : didactique de la consultation d'information". Phd thesis, Université de Provence - Aix-Marseille I, 2003. http://tel.archives-ouvertes.fr/tel-00983535.
Texto completoBloch, Daphné. "Langues, pratiques de transmission et dynamiques d'apprentissage au collège à Madagascar". Rouen, 2015. http://www.theses.fr/2015ROUEL002.
Texto completoIn Madagascar, the social representations of language skills and academic achievement commonly assume a direct causal link between the language skills of students and his academic results. Understanding the factors affecting academic trajectories of Malagasy high school students requires considering the complex existing relationships between language, knowledge and teaching practices. On top of language issues, transmission and appropriation of knowledge methods, and access to knowledge are key factors to understand and analyze learning dynamics. The present work investigates these "teaching strategies" in relation with school characteristics, students and teacher’s background and origin, language role, oral and written cultures. Comparing linguistic representations, language practices and knowledge transmission procedures in Antananarivo and Mahajanga highlights how strong regional education inequalities are maintained
Blanchier, Raphaël. "Les danses mongoles en héritage : performance et transmission du bii biêlgee et de la danse mongole scénique en Mongolie contemporaine". Thesis, Paris Sciences et Lettres (ComUE), 2018. http://www.theses.fr/2018PSLEP027/document.
Texto completoDrawing on both social anthropology and performing arts, this thesis deals with the transmission of Mongolian dances in contemporary Mongolia. By studying danced performance from the perspective of transmission, the main purpose of this work is to understand the role dance plays in building up feelings of national belonging. In this regard, Mongolia provides a particularly fruitful field of study. On the one hand, biy biyelgee, the traditional dance of the Oirats (Western Mongols), included on the UNESCO List of Intangible Cultural Heritage, is closely linked to the nomadic pastoral lifestyle by virtue of the mimed gestures it incorporates. On the other hand, what may be called ‘scenic Mongolian dance’, the professionalized version of biy biyelgee, confers national and international legitimacy on these stereotyped representations. My fieldwork study of the institutions, networks and practices underlying the transmission and performance of Mongolian dances shows that their efficacy stems less from the representations they convey than from the relational conditions of their performance. The formal and informal dance training I was able to observe, and sometimes take part in, is oriented less towards the instilling techniques than towards the selection and gradual legitimization of those who exhibit an outstanding ‘talent’ (av’yaas) for performing in public. Indeed, the distinction between dancers and non-dancers lies at the heart of the process of transmission. The dancer, on the strength of his performative abilities, is able to elicit specific modes of participation from the audience, making him/her into a quasi-ritual specialist. As the legitimate emanation of the group which he/she publicly represents, the dancer, in the same performative act, both embodies Mongolian culture through dance and establishes it as a constitutive element of “mongolness”
De, Luca Valeria. "Les univers sémiotiques de la danse : Formes et parcours du sens dans le tango argentin". Thesis, Limoges, 2016. http://www.theses.fr/2016LIMO0063/document.
Texto completoTo what extent does dancing gesture make sense ? If considered as inseparable from the wholepractice of dance, at which level should the analysis be placed? How could semiotics make asignificant contribution to dance studies ? This work aims to answer to these questionsfocussing on the Argentinian tango. It is approached as a complex object of analysis, a "wholeof sense", that is both as bodily interaction and practice, and as a fundamental driver inidentity and imaginary building processes. To this end, we examine and test some theoreticaland methodological models in current semiotics. The peculiar aspects of tango require a pointof view able to keep together a semiogenetic approach and a syntagmatic one. Therefore, wepropose a model which strengthens different levels of deployment and development of tango.Finally, we show how this framework could provide an original perspective about some issueson patrimonialization and improvisation, as a crucial topic in the current debate on tango
Rodrigues, Orlando. "Structures foncières et pratiques patrimoniales dans la région de la Terra Fria Transmontana (Portugal)". Master's thesis, Institut Agronomique Méditerranéen de Montpellier, 1992. http://hdl.handle.net/10198/6551.
Texto completoLe, Grandic Marie. "Histoires de familles et de transmissions : une sociologie des pratiques festives". Thesis, Sorbonne Paris Cité, 2016. http://www.theses.fr/2016USPCA158.
Texto completoThis thesis looks at the social and anthropological functions of family celebrations, and focuses in particular on transmission. The study of these festive gatherings contributes to an exploration of the complexity of social ties. It shows that these spaces are ambivalent, as they both integrate and exclude from festivities. The material and immaterial elements that can be passed down are introduced in all their variety. Festive practices socialise while also being a social product themselves, and create learning opportunities through processes of inculcation and impregnation. The educational relationship seems heightened by the particular atmosphere of these celebrations, which bring people physically closer and allows the relaxing of rules and habits. Through this proximity, participants become more attentive to each other, and more inclined to reciprocity in their relationships. Around the table, relatives negotiate the family memory by sharing their experiences and through the narration of old memories, especially past or future celebrations. Between reserve and elation, these groups thus create a sense of community that is significant both for the group’s evolution and for the individual, and his or her attitude towards others. Along the way, the different phases of festivities create space for encounters and dialogue, which allow individuals to tell their story and process their plural identity. From a methodological perspective, this qualitative analysis of festive practices within the framework of the family draws on an ethnographic approach, and combines participant observation with the gathering of multiple voices. Through her own involvement, the writer questions the proximity between the researcher and the field studied
Jordan, lozano José. "Transmissions indirectes via l’environnement de pathogènes impliquées dans les gastroentérites aiguës de l’Homme à/autour de Bogotá (Colombie) Contamination of water, leafyvegetables and air by human enteric pathogens (GI and GII noroviruses, rotavirus type A, Salmonella spp., Shigella spp., Cryptosporidium spp.) in the suburb of Bogotá (Colombia) Mouse intestinal villi as a model system for studies of Norovirus infection". Thesis, Avignon, 2020. http://www.theses.fr/2020AVIG0359.
Texto completoAcute gastroenteritis affect between a quarter and a half of people in the World each year. They are responsible for significant morbidity, mortality and healthcare costs. Their direct or indirect transmissions via water, food, air or inert surfaces depend on their aetiology (viral, bacterial or parasitic) and the local context. Bogotá and its region have several specificities: wastewater are often discharged into rivers without or after primary treatment only, the deposit in landfill of toilet papers and diapers soiled by excrement, and the low consumption of fruits and vegetables largely restricted to a handful of relatively cheap products that may be irrigated by surface freshwaters heavily contaminated with faeces. Our PhD aimed to assess the fluxes of some human enteric pathogens in the region of Bogotá and to try to relate these fluxes to the population health. The PhD combined three contributions. First, a method for culturing the human norovirus has been developed using isolated mouse intestinal villi as a cell model exhibiting the full diversity of intestinal epithelial cells. Several concentrations of trypsin were tested to activate noroviruses; the method was applied to faecal and environmental samples. Second, contamination with E. coli and some human enteric pathogens was monitored in water (landfill leachate, runoff water, river, irrigation water, drinking water), leafy vegetables eaten raw (chards) and air (above a landfill, in rural areas, in urban areas) in the Bogotá region. Third, the impact of socioeconomic contexts and individual practices (food, hygiene and health) on cases of acute gastroenteritis was assessed from surveys carried out in one district of Bogotá and analysed by various tools (principal component analysis, modelling …). We have shown that mouse isolated intestinal villi allow the infection and replication of human norovirus. The virus has to be activated with trypsin and has an average replicative cycle of 10 h. Villi are efficient in obtaining abundant biological material and are ideal for studying the biological activity of norovirus or for generating antibodies. They made it possible to see infectious noroviruses not detected by molecular method in several faeces and environmental samples; almost all samples positive by molecular method or immunodot-blot contain infectious noroviruses. At the regional level, the discharges of wastewater in the Bogotá and Balsillas rivers and in Tres Esquinas march contaminate the irrigation network of La Ramada area in the northwest of Bogotá with E. coli and potentially human enteric pathogens. Chards harvested in this area were heavily contaminated, in contrast to other growing areas. Their contamination evolved from their production to their purchase in nearby stores, washings increasing or decreasing their contamination, and handling on the merchant's stalls increasing contamination. The air was often contaminated with E. coli and Shigella spp.; it was not possible to detect a particular contribution of the Doña Juana landfill in pathogen aerosolization. The presence of Shigella spp. was observed in parallel in more than half of the stools of people with diarrhoea. Surveys have shown that the annual frequency of acute gastroenteritis decreases with increasing age; it seemed less common in households with elderly people, possibly due to stricter food hygiene practices. A transmission model of acute gastroenteritis distinguishing contamination from outside the households and contaminations between people in the same households did not show significant differences between neighbourhoods. Used to simulate numerical experiments, it suggests working on much higher numbers of surveys
La gastroenteritis aguda afecta entre una cuarta parte y la mitad de las personas en el mundo cada año. Son responsables de importantes costos de morbilidad, mortalidad y asistencia sanitaria. Sus transmisiones directas o indirectas a través del agua, alimentos, aire o superficies inertes dependen de su etiología (viral, bacteriana o parasitaria) y del contexto local. Bogotá y su región aledaña tienen varias especificidades: las aguas residuales a menudo se vierten a los ríos sin o solo después de un tratamiento primario, el depósito de papel higiénico y pañales sucios con excrementos son dispuestos generalmente en un relleno sanitario, y el bajo consumo de frutas y verduras restringido en gran medida a un puñado de productos relativamente baratos pueden ser irrigados por aguas dulces superficiales muy contaminadas con excrementos. Nuestra tesis doctoral tuvo como objetivo evaluar los flujos de algunos patógenos entéricos humanos en la región de Bogotá y tratar de relacionar estos flujos con la salud de la población. El doctorado combinó tres contribuciones. En primer lugar, se desarrolló un método para cultivar el norovirus humano utilizando vellosidades intestinales aisladas de ratón como modelo celular que exhibe la diversidad completa de células epiteliales intestinales. Se probaron varias concentraciones de tripsina para activar norovirus; el método se aplicó a muestras fecales y ambientales. En segundo lugar, se evidenció la contaminación de E. coli y patógenos entéricos humanos en el agua (lixiviados de vertedero, agua de escorrentía, río, agua de riego, agua potable), vegetales de hoja que se comen crudos (acelgas) y aire (sobre un vertedero sanitario, así como en áreas rurales y urbanas) en la región de Bogotá. En tercer lugar, se evaluó el impacto de los contextos socioeconómicos y las prácticas individuales (alimentación, higiene y salud) frente a los casos de gastroenteritis aguda a partir de encuestas realizadas en una localidad de Bogotá y analizadas mediante diversas herramientas (análisis de componentes principales, modelización…). Con este doctorado, hemos demostrado que las vellosidades intestinales aisladas de ratón permiten la infección y la replicación del norovirus humano. El virus debe activarse con tripsina y tiene un ciclo replicativo promedio de 10 h. Las vellosidades son eficaces para obtener abundante material biológico y son ideales para estudiar la actividad biológica de los norovirus o para generar anticuerpos. Ellas permitieron ver norovirus infecciosos no detectados por método molecular en varias heces y muestras ambientales; casi todas las muestras positivas por método molecular o inmunodot-blot contienían norovirus infecciosos. A nivel regional, los vertidos de aguas residuales en los ríos Bogotá y Balsillas y en el humedal Tres Esquinas contaminan la red de riego La Ramada en el noroeste de Bogotá con E. coli y potencialmete con patógenos entéricos humanos. Las acelgas recolectadas en esta área resultaron muy contaminadas, a diferencia de otras áreas de cultivo. Su contaminación evolucionó desde la producción hasta su compra en las tiendas cercanas, los lavados aumentaron o disminuyeron su contaminación y la manipulación en los puestos de comercio aumentaron la contaminación. El aire a menudo estaba contaminado con E. coli y Shigella spp., sin poder atribuir al relleno sanitario Doña Juana un rol particular. A su vez la presencia de Shigella spp. se observó en paralelo en más de la mitad de las deposiciones de personas con diarrea. Las encuestas demostraron que la frecuencia anual de gastroenteritis aguda disminuye respecto al aumento en edad; parecía menos común en hogares con personas mayores, posiblemente debido a prácticas de higiene alimentaria más estrictas. Un modelo de transmisión de gastroenteritis aguda que distinguió la contaminación fuera de los hogares y las contaminaciones entre personas dentro de los mismos hogares no mostró diferencias significativas entre vecindarios
Raymond, Caroline. "Les pratiques effectives de transposition didactique dans la planification et l’enseignement de la danse à l’école primaire québécoise : un mouvement dialogique intérieur et interactif". Thèse, Université de Sherbrooke, 2014. http://hdl.handle.net/11143/5483.
Texto completoAkogbeto, Magloire. "Jeunes béninois et prévention du VIH/SIDA : quelles conceptions et quelles stratégies possibles ?" Thesis, Lyon, 2016. http://www.theses.fr/2016LYSE2034.
Texto completoHow the individual conceptions of young people can influence HIV prevention? That is the research question which this thesis is trying to answer. The aim of the research is to understand the reasons why young people do not translate knowledge on HIV into preventive practices.Data obtained by a survey of 17 young students from Benin were collected in individual interviews and analyzed by the method of the grounded theory.Results show a mismatch between individual conceptions of the young people and the knowledge on HIV. The young people have a self-centered conception and a magico-religious conception of the HIV prevention. They have an external locus of control which influences the prevention and gets them feeling powerless and sometimes invulnerable in front of the virus etc.The theory developed through the data analysis is the following one: individual conceptions of young people are based on social representations, experiences, practices, social and cultural context which influence the integration of the knowledge on HIV and train as a result barriers to implementing prevention devices against AIDS.Mainstreaming of the individual conceptions and social representations is therefore essential in the development of theoretical models of intervention and relevant prevention devices. An increase of the internal locus of control of young people through education focused on empowerment, a prevention oriented on risk reduction and the development of health literacy are strategies that may be relevant and adapted to the Beninese context
Maugery, Ariane. "L' instant et le mouvant : une esthétique du corps dansant : présence corporelle des pratiques dansées". Aix-Marseille 1, 2007. http://www.theses.fr/2007AIX10093.
Texto completoHulin, Annabelle. "Les pratiques de transmission du métier : de l'individu au collectif. Une application au compagnonnage". Phd thesis, Université François Rabelais - Tours, 2010. http://tel.archives-ouvertes.fr/tel-00554917.
Texto completoTalérien, Jean Stéphane. "Le développement professionnel des enseignants expérimentés par la transmission explicite de pratiques entre pairs". Thesis, La Réunion, 2018. http://www.theses.fr/2018LARE0037/document.
Texto completoThe international scientific literature shows the reality of teachers' informal learning in the workplace, within schools. However, these learnings have several limitations and are of lower quality than those that are carried out in an organized environment. The purpose of this research is precisely the professional development of experienced teachers through a professional development program that considers their informal learning.This study is part of an anthropocultural research program (Bertone, 2011; Chaliès, 2012) whose main theoretical assumptions are borrowed from the philosophy of ordinary language (Wittgenstein, 2004). It was conducted within the framework of two innovative training devices allowing an experienced teacher (the peer trainer) to ostensibly teach one of his specific practices considered effective to an experienced peer teacher (the trained peer). The main research results show the modelling of the professional activity of peer trainers and thus contribute to documenting international research on informal learning by primary school teachers. They also show the learning of new professional practices from trained peers understood as the acquisition of new rule systems. Finally, the results show the professional development of the trained peers understood as the interpretation of the rules learned in new circumstances as well as the reflexive development of the professional activity of the trained peers
Kerestetzi, Katerina. "Vivre avec les morts : réinvention, transmission et légitimation des pratiques du palo monte (Cuba)". Thesis, Paris 10, 2011. http://www.theses.fr/2011PA100179.
Texto completoThis thesis is on palo monte, a Cuban initiatory religion of Bantu origin, widespread over all Cuban territory. Its worshippers, the paleros, establish ritual bonds with determined spirits of the dead, called nfumbis, in order to receive their supernatural powers. Imposing a small number of prescriptions, palo monte enables its devotees to operate a wide range of ritual innovations and improvisations. Indeed, the inexistence of a mythological corpus, a sacred text or a strict liturgy, and more generally of any kind of institutionalized authority, allows every initiatory group to define its religious methodology in an autonomous way. The aim of this research is to explain how these religious practises are created, legitimized and transmitted in a context which allows for extreme variability. In this perspective, the analysis focuses primarily on palo monte’s materiality and more specifically to the daily interactions between the paleros and their nganga, a cauldron condensing the presence of a dead man. I argue that the nganga, as an omniscient object-subject, mediates a complex relational network and enables a constant reinvention of palo monte’s ritual practises. I focus thus on palero rituals as performances through which priests make a name for themselves by creating a kind of customized cosmology. By putting forward an interactional analysis of these/their rituals, I show how determined aspects of the adepts’ personalities intercede in the definition of each groups’ ritual patterns. Finally, I point out how paleros’ reflexive acts – in the form of pervasive critique, vindication, debates, etc. – are constitutive of their practices’ transmission and renewal
Caplat, Jacques. "Quand le geste technique transforme l'intention : l'évolution de l'accordéon diatonique en Bretagne". Thesis, Paris Sciences et Lettres (ComUE), 2018. http://www.theses.fr/2018PSLEH139/document.
Texto completoThis work aims to understand why and how the Breton diatonic accordion has undergone a profound organological and stylistic transformation during the last decades. The evolution of the instrument here reflects the historical and social dynamics, that the accordion has integrated into its very form because of its rare plasticity, bringing them into light. The status of professional musicians in a largely amateur context, the roles and mechanisms of learning traditional knowledge initially based on orality, the fluctuation of social expectations through successive generations, are some of the aspects that unfold over the course of the study and connect with one-another.Starting from the observation of a progressive organologic change, we will seek to understand the profound changes of the social functions played by the instrument. A historical overview will allow to define the intentions and the status of the "pioneers" of the revival of the Breton diatonic accordion in the 1970s. Based on this foundation, we will show how the accordion as a tool is in close and permanent interaction with the musician's gesture and with his intention (producing notes – and in what social function), and how much the passage of generations has renewed the context of use of the accordion and the status of Breton music said "to be danced". Thus, we will see that the progressive modification of the intention led to a modification of the instrument, but that this, in turn, weakens the effectiveness of the previous intentions
Hinkati, Christophe. "Transmission du patrimoine : problemes théoriques et pratiques pour les exploitations agricoles familiales en Basse-normandie". Caen, 1995. http://www.theses.fr/1995CAEN0558.
Texto completoSince some decades, agriculture knows deep mutations, essential in its cobntribution to employment and national economic growth. And one of the happenings of this phenomenon is estimated in handing over the farm, what makes up an important action for the future of agricultural branch, consequenty for the local economic system where those economic units are created and developed. Nowadays, it is question, for the boss to tackle under a new look to the problems of perenniality of his farm taking on the one hand the new habits of consumption on the other hand the rarity of potential successors facing up to the important number of people retiring. This transformation in the agricultural circle has induced us to suggest on basse-normandie scale an investigation which renders an account of the keeness of the preparation in the handing over the farms. This will have to allow firstly the boss of farm to acquire the undertaking reflex which can help him seize the economic juridical, fiscal and financial opportunities then the command of success key factors of the handing over of his farm
Le, Boulba Pauline. "les bords de l’œuvre : réceptions performées & critiques affectées en danse". Thesis, Paris 8, 2019. http://www.theses.fr/2019PA080011.
Texto completoThis practice-based research developed from questioning reception of dance and manners of sharing this experience. In venturing countercurrent to a history of dance criticism which bears judgment and makes assessments, I attempted to favor initiatives which disrupt, disturb and blur the borderlines that settle between creativity and reception. The first chapter of this research focuses on the analysis of three choreographic works: Une hypothèse de réinterprétation by Rita Quaglia (2009), histoire(s) by Olga de Soto (2004) and Admiring La Argentina by Kazuo Ohno (1977). Each of these pieces offer three different perceptions of artworks, three ways of speaking about/with artworks, three ways of answering to dance by dancing. The three works analyzed in the first chapter are characterized by the importance they grant to subjectivity as a vector of (perceptive and cognitive) knowledge. Thus, introducing the term “affected critique” to the term “performed reception” implemented the scope of my analysis. This term elects both the subjective dimension within these objects and my personal relationship to the works and people which have moved and “possessed” me over the course of my observations these past years. “Affected criticism” also arises from research on the careers of two dance critics – Laurence Louppe (1938-2012) and Jill Johnston (1929-2010) – which form the core of my second chapter. Through the particularities of their critical practices, I cared to question a heritage from which I wished either to differentiate myself or on the contrary to adopt and develop as my own. This research consequently developed as a progressive mise en abyme of my personal gaze as spectator and of the different ways of working as an artist and researcher. This dissertation therefore tries to embrace and account for the multiple shapes – journal entries, fragments of critical writing, analysis of artworks and artistic practices, performance material – that form as many standpoints from which to observe a body of work. A performative moment will prolong the written work of this research during the submission
Khadar, Fadila. "Contrôle de topologie dans les réseaux de capteurs : de la théorie à la pratique". Thesis, Lille 1, 2009. http://www.theses.fr/2009LIL10190/document.
Texto completoWireless Sensor Networks are networks of small communicating devices with constrainted resources. They are usually deployed in risky or difficult to access areas. Each sensor gathers information about its environment and send it to a dedicated entity using other sensors as relays. A large number of sensors may be deployed to ensure the coverage of given area. This large number implies that each sensor has to maintain, for each neighboring sensor, information about its activity for instance. Maintaining this information is memory consuming and implies a huge communication overhead. The aim of this thesis is to reduce the number of neighboring sensor while keeping network services up. The set of neighboring nodes is defined by the communication range. Topology control aims at logically reducing the number of neighboring sensors while power control aims at physically reducing this number. In this work, we theoretically study the bounds that can be obtained by using topology and power control. We study algorithms defined with a ideal physical layer model and show how to adapt them to be used with a realistic physical layer. On a practical side, we developped a communication stack, Goliath, that includes topology and power control. We evaluate the performances of Goliath with and without topology control and power adjustment. When Goliath uses power adjustment, sensors use a transmission power smaller than the maximum power without any impact of the performances of the network