Teses / dissertações sobre o tema "Patrimoine de création"
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Colasson, Frédéric. "Le patrimoine professionnel". Limoges, 2004. http://www.theses.fr/2004LIMO0498.
Texto completo da fonteThe study of the professional patrimony is an awareness of the considerable weight of the very small, small, and medium-sized company in the French economy : more half of the companies are run under individual shape. By studying the professional patrimony under its legal aspect, we admit implicitly that two masses of possessions and debts can coexist among the possessions of the professional person: a mass of elements allocated to the professional activity, a mass of elements devolved to the private life. It means that law freed itself from classic unitarian patrimonial principles, and that it doesn't hesitate anymore to define the professional patrimony of the individual entrepreneur in order to protect it better. The professional patrimony, which is a more and more significant reality, concentrates the attention of the individual entrepreneur. This one must optimise the legal management of its working tool, by taking care of protecting the family wealth
Orcel, Stéphanie. "Création architecturale et patrimoines anthropologiques au Mexique". Paris 1, 2004. http://www.theses.fr/2004PA010702.
Texto completo da fonteArseneault, Catherine. "Des scrapbooks au Québec : la création d'un patrimoine familial pour passe-temps". Thesis, Université Laval, 2009. http://www.theses.ulaval.ca/2009/26712/26712.pdf.
Texto completo da fonteThe activity of album personalisation – most often called scrapbooking – results from the customary practice of personal or familial archive creation. Today – in Quebec and elsewhere – this practice is perpetuated and renewed in an art consisting of piecing together various materials into a collage in which family photographs hold a predominant place. As the lines between entertainments, traditional practices and culture blur, it is necessary to question how ethnology approaches these recent and increasingly popular leisure activities. This essay documents the main facets of the scrapbooking practice as it exists in Quebec (Canada). It examines how various aspects of today’s leisure activities influence the creation and transmission of familial heritage. How are today’s personal albums involved in the process of familial heritage creation? This study is based on an ethnological research conducted in the Quebec City region. The oral investigation conducted with scrapbooking lovers made possible the acquirement of knowledge regarding this production and the study of their views on the subject. More specifically, the study is focused on the following aspects: the activity’s logistics and how it relates to creativity and identity, the resulting scrapbooking, the performance context and its influence on the scrapbook’s creation process. Finally, we outlined the role scrapbooking plays in the familial heritage of scrapbookers. As an amateur practice, today’s scrapbooking activity is outside of traditional artistic endeavours due to its renewed form of expression. It is at the heart of several issues related, amongst other things, to mass consumption products and the new information technologies.
Chadli, Mohammed. "Musée et médiations du patrimoine : la création du Musée Nejjarine à Fès". Nice, 2007. http://www.theses.fr/2007NICE2012.
Texto completo da fonteThe object of this research-action is the studies of functions a museum which can fill in Fès, classified city Worldwide Heritage by the UNESCO. The questions raised here are based on three facts :the general development of mass tourism and mass culture, the importance of publics in new museology, the influence of colonialism on creation and evolution of museums in Morocco. Supporting the hypothesis of the actual repetition of a missed encounter between local populations and museums during the period of the Protectorate, researches and actions were led during near twenty-five years in three museums of Fès : Batha, Borj and the Museum Nejjarine. The aims of these researches were to operate and to estimate which could be the means for engaging museums to be in connection with its material and human environment. From the approach followed, resulted an analysis of the importance of communication and mediation systems and settings, cultural and intercultural, in each museum. In this respect, the Nejjarine Museum, its unique situation inside the Medina, offered a long duration frame of research. The results show in which conditions and regarding which communication and mediation settings, the opening of the museum on its environment and the reconciliation of the local populations with the institution are made possible. These works open new perspectives of research and action on a new approach of the museum adapted to such traditional contexts as the city of Fès : the « musée éclaté », a network of thematic museums focused on the various « savoir-faire » and the professional corporations of Fès
Bannour, Hakima Sondos. "Les représentations numériques du patrimoine archéologique tunisien : simulation, substitution et création artistique". Paris 8, 2007. http://www.theses.fr/2007PA082822.
Texto completo da fonteBy the analysis of the image of the archaeological inheritance presented in the electronic plays, the educational CD-Roms and the cyberspaces we underlined the difficulty and the complexity of the interpretation of the emotional load and symbolic system of the archaeological inheritance. Thus we highlighted the positive contribution of the digital image in the study, the valorisation and the diffusion of the archaeological inheritance but also the limits and the degradations caused on the direction and the significances of the inheritance. These acculturations can and must be analyzed then reinvested. We chose Tunisia like field of our analyses and proposals. Many Tunisian creations numerical in favour of the inheritance were analyzed according to criteria's well defined what enabled us to have a precise idea on the way in which the image of the Tunisian archaeological inheritance is emphasized or not by the digital images
Taupin, Louise. "Condition du passage à l'échelle d'une startup deeptech : gérer la conception du patrimoine de création". Electronic Thesis or Diss., Université Paris sciences et lettres, 2023. http://www.theses.fr/2023UPSLM074.
Texto completo da fonteFaced with contemporary social and environmental challenges, supporting the emergence of technological innovations is a path worth exploring. The new technologies developed by deep tech start-up carry the ambition to address these issues, on a large scale. However, the conditions for their deployment and the mechanisms for managing design efforts in the scale-up phase are still not well understood. By approaching the scaling-up of deep tech start-up through the theories and methods developed in the field of design, this thesishighlights that deep tech start-up shape their creative heritage during this scale-up phase. Based on three intervention-research projects implemented within deep tech start-up, this research provides a new condition for scaling-up management and offers recommendations to public authorities so as to best deploy the potential impact of these start-up
Solère-Sangla, Marie-Hélène. "L’invention d’une Méditerranée : patrimoine, création et identité en Roussillon : fin du XVIIIe siècle – Entre-deux-guerres". Thesis, Toulouse 2, 2011. http://www.theses.fr/2011TOU20050.
Texto completo da fonteBetween 1810 and 1930 the artistic and cultural circles of the “Pyrénées-Orientales” have been involved in the different policies concerning the local heritage while expressing their will to belong to the French nation. From this cultural movement was born a strong sense of identity. The first part of this study is about the conditions in which this conscience developed as well as the first actions concerning the local heritage. Between 1810 and 1860 the French official policies tried to erase the local sense of identity and to preserve national unity after the trauma of the French Revolution. Our purpose was to study the different ways in which the local heritage as well artistic creation and local historical studies have been institutionalized. The second part studies the years between 1880 and 1930 when the political evolution concerning the local heritage was no longer ruled by national institutions but by the regionalist movement and the way the “Roussillonnais” considered their region as a heritage both to be preserved and enlarged. We have tried to show the influence of French regionalism that associates federalism and a national conscience, the influence of catalan separatism in the creation of a new material culture and an artistic identity strongly marked by a historical and unbroken link with the Mediterrannean world as well as return to antiquity
Weiss, Gaëlle. "Création africaine et mondialisation : la collection Lebaudy-Griaule : quel rapport à la création ?" Thesis, Strasbourg, 2015. http://www.theses.fr/2015STRAG063.
Texto completo da fonteThrough the example of Lebaudy-Griaule’s collection of the University of Strasbourg, this research tries to answer, according to an interdisciplinary approach, to interrogations related to the evolution of African creation, in our globalized context, and, particularly, in Burkina Faso, cultural area determined by the origin of the masks a-dunε koromba of our corpus. The first part consists of a historical exploitation of the collection to understand the conditions of collecting artifacts and the new values which they were invested by "decontextualization". The second part is the opportunity to document the artifacts of our corpus and analyze the evolution of traditional creation in situ. The third part focuses on the relationship between contemporary art and traditional African creation in the era of globalization
Carvajal, perez Daniel. "Gérer le patrimoine de création Dom Pérignon : Modéliser et organiser la transmission de connaissances pour la générativité". Thesis, Paris Sciences et Lettres (ComUE), 2018. http://www.theses.fr/2018PSLEM058.
Texto completo da fonteHow can knowledge transmission help designers in the luxury industries to reinvent the brand's objects and experiences while remaining rooted in its heritage? This open question in the management and design sciences is of interest to the luxury sector, and especially to Dom Pérignon, in constant quest of renewal. Indeed, to innovate without betraying tradition is at the origin of several tensions. In this thesis, we show how the transmission of a "creative heritage" can help designers in the luxury industry to overcome these tensions. By studying the creative heritage of Dom Pérignon and those contained in various haute cuisine books, we highlight three characteristics of this creative heritage that constitute as many lines of research: First, we describe the positive effects on the originality and the operational efficiency that the transmission of a creative heritage can have on the collectives of designers leading innovation projects. Secondly, by using design theories, we construct a formal model linking the knowledge structures and the types of generativity that a creative heritage can promote. We show that a same domain can contain several generativities, that a same creative heritage can favor several types of generativity that might seem incompatible in principle, and that these different types of generativity can evolve over time. Finally, we show that the design of a creative heritage requires interactions between experienced and recipient designers to formalize, reorganize and share a language of the known and a language of the unknown. The latter is composed of the elements of the former. We also highlight that the formal structure of a creative heritage can reflect the structure of the design organization
Martin, Eléonore. "Les dynamiques de création contemporaine du Yuju à Taiwan : de la sauvegarde du patrimoine à l’expérimentation esthétique". Electronic Thesis or Diss., Paris 8, 2015. http://www.theses.fr/2015PA080113.
Texto completo da fonteThe Yuju 豫劇 (improperly translated as "Henan Opera") is a comprehensive performing art from Henan, a province located in the central part of China. It blends stylized action, singing, dialogue and mime, to represent a story or depict different characters. It is often considered as a “traditional performing art”. Its presence and its preservation for more than sixty years in the southern Taiwan are quite surprising. The Yuju arrived in Taiwan in 1949 with the government and the Nationalist army retreating from the communist’s expansion in the mainland. Since then, the Yuju is always played by a unique Taiwanese company named Henan bangzi: Taiwan Yuju company 河南 梆子: 台灣 豫劇. Since 1949, internal politics of the island is largely determined by relations with Mainland China. An indigenization of both, the regime and the refugee population, comes up following a strong policy of bringing Taiwan under Chinese rule and culture. At that time, Chinese classical arts were favoured far beyond local culture. Nowadays, the multicultural aspect of the Taiwan society is encouraged in order to develop a specific Taiwanese identity. Such political context in Taiwan should be significantly hostile to the development of Yuju on the island. Thus, the survival of the Henan bangzi: Taiwan Yuju Company is fundamental and the company have to look for new audiences. Hence, we shall analyse what strategies the company implemented from its arrival in Taiwan in1953 till today, ensuring its sustainability while attracting new audiences. In this specific context, we shall analyse the different aesthetic directions chosen by the company from the promotion of traditional arts to aesthetic experimentation
Martin, Eléonore. "Les dynamiques de création contemporaine du Yuju à Taiwan : de la sauvegarde du patrimoine à l’expérimentation esthétique". Thesis, Paris 8, 2015. http://www.theses.fr/2015PA080113.
Texto completo da fonteThe Yuju 豫劇 (improperly translated as "Henan Opera") is a comprehensive performing art from Henan, a province located in the central part of China. It blends stylized action, singing, dialogue and mime, to represent a story or depict different characters. It is often considered as a “traditional performing art”. Its presence and its preservation for more than sixty years in the southern Taiwan are quite surprising. The Yuju arrived in Taiwan in 1949 with the government and the Nationalist army retreating from the communist’s expansion in the mainland. Since then, the Yuju is always played by a unique Taiwanese company named Henan bangzi: Taiwan Yuju company 河南 梆子: 台灣 豫劇. Since 1949, internal politics of the island is largely determined by relations with Mainland China. An indigenization of both, the regime and the refugee population, comes up following a strong policy of bringing Taiwan under Chinese rule and culture. At that time, Chinese classical arts were favoured far beyond local culture. Nowadays, the multicultural aspect of the Taiwan society is encouraged in order to develop a specific Taiwanese identity. Such political context in Taiwan should be significantly hostile to the development of Yuju on the island. Thus, the survival of the Henan bangzi: Taiwan Yuju Company is fundamental and the company have to look for new audiences. Hence, we shall analyse what strategies the company implemented from its arrival in Taiwan in1953 till today, ensuring its sustainability while attracting new audiences. In this specific context, we shall analyse the different aesthetic directions chosen by the company from the promotion of traditional arts to aesthetic experimentation
Chen, Meiho. "Recherche de nouvelles formes et structures dans le domaine de la restauration et la création de l'oeuvre d'art dans une perspective éducative : création artistique et restauration d'une oeuvre d'art à partir de l'exemple de la création d'une oeuvre murale". Paris 8, 2003. http://www.theses.fr/2003PA082271.
Texto completo da fonteThe conservation and preservation of cultural properties have merged into one subject in Taiwan since 21 September 1999, the date of worst earthquake in the last one hundred years. This earthquake damaged irreparably some cultural treasures with the result that learned men are in a hurry to find some methods to prevent these events from re-occurring. The study of the relationship between creativity and restoration has application in preserving new creations for the future. The temple represents spiritual centers in the chinese society of Taiwan. This is one exemple of sacred places that encourage creativity. The mosaic mural in the temple of Mother, The Fourth Celestial being, is a creative work showing the utmost inspiration devide of revelation as perceived in a dream
Méchin, Elodie. "Le droit patrimonial à la vie privée". Thesis, Lyon 3, 2014. http://www.theses.fr/2014LYO30070.
Texto completo da fonteIn addition to the generally accepted non-patrimonial dimension or privacy, attributes have a patrimonial dimension. The right to privacy is now deemed to constitute intangible property largely exploited by its holder. Moreover, this commercial exploitation has opened the way for the existence of a second right pertaining to privacy, a right of a patrimonial nature which supplements non-patrimonial rights. However, this right is not upheld by case law, despite the fact that the courts are developing patrimonial personality rights under French law. Yet it is essential for positive law to protect privacy through a new regime which takes account of its dual nature. The copyright regime could very well be applied to privacy. As well as being closely linked to personality, privacy has a form which is perceptible to the senses. It is a creation of the individual himself. Everyone shapes his private life as he sees fit and makes it an original work. Thus, the monopoly of the author over his work appears to be a potential "patrimonial right to privacy."
Niang, Abiboulaye. "Sauvegarde et valorisation du patrimoine culturel immatériel du Sénègal: projet de création d'un écomusée des pratiques divinatoires et curatives". Master's thesis, Universidade de Évora, 2015. http://hdl.handle.net/10174/18722.
Texto completo da fonteThioye, Boubocar Obeye. "Processus de trasmission des savoirs agricoles chez les sereer au Sénégal: projet de création d'un écomusée du terroir". Master's thesis, Universidade de Évora, 2015. http://hdl.handle.net/10174/18714.
Texto completo da fonteRosenquist, Marta. "La réappropriation d'anciens espaces industriels par la création contemporaine : la Friche la Belle de Mai à Marseille". Thesis, Aix-Marseille, 2015. http://www.theses.fr/2015AIXM3127.
Texto completo da fonteCreated in 1992 on 45,000 m2 of a former tobacco factory in a working-class district near the Saint-Charles Train Station in Marseille, la Friche la Belle de Mai is a place of interdisciplinary artistic creation, production, and diffusion. The site’s main structures include theatre companies, a radio station, a restaurant, a contemporary art gallery, as well as numerous visual arts associations. In this work, we ask the following question: What is the relationship between the indeterminate spaces of la Friche la Belle de Mai and the development of the site, perceived through three visual arts associations? Starting by retracing the history of the tobacco industry in France and Marseille, we examine the transformation of the site through three associations present at la Friche for over fifteen years. We show how the flexibility of the spaces and the adaptability of the organizational policies of the site allow these associations to establish themselves and create a site-specific dynamic. We then describe the way in which la Friche is “normalized” as it becomes permanent, and the consequences of that evolution for the visual arts. Finally, we evoke the site’s recent development including that linked to Marseille-Provence 2013: European Capital of Culture, and we compare it to another converted industrial site – Tramway in Glasgow. Based on this analysis, we evoke perspectives that would allow achieving a balance between a more normative context and the flexibility offered by indeterminate spaces
Piram, Sarah. "Conscience patrimoniale et création architecturale en Iran : autour de la figure d'André Godard (1881-1965)". Electronic Thesis or Diss., Paris 10, 2024. http://www.theses.fr/2024PA100011.
Texto completo da fonteSituated at the crossroads of several trade routes, empires and continents, the Iranian territory and its various populations have undergone numerous conquests and dominations throughout their history. As a result, the art formed in this territory presents a multitude of identities that together comprise notions of continuity and unity in the definition of its heritage. However, the Qajars and then the Pahlavis brought all these influences together to create a single identity that is evident in the art of each period, and particularly in the architecture. The birth of archaeology was not without consequences in terms of heritage resonance, since it raised awareness of Iran's ancient monuments, and contributed to the very definition of antiquities, while also enabling the development of new monumental programs. France played an important role in this heritage awareness through André Godard (1881-1965), a French Beaux-Arts architect whom the Iranian government placed at the head of its Archaeological Service between 1928 and 1960. Godard, who had specialized in Islamic architecture and knew neither Iran nor Iranians well at the time of his arrival, discovered a fascinating world and culture. With his wife and main collaborator, Yedda Godard (1889-1976), he led a double life in this country, that of an Orientalist architect and that of an administrator. Access to the couple's archives, most of which are held by the Musée du Louvre, provides a starting point for an in-depth study of the process of heritage preservation in Iran. This archival material, made up of photographs, scientific and administrative documents, is packed with new anecdotes and information on the modernization of Iran, in the fields of archaeology, architecture and fine arts
Dong, Han. "Traditions et création : une approche de la culture Baizu sous l'angle de l'ethnomusicologie, Yunnan, Chine". Paris, EHESS, 2015. http://www.theses.fr/2015EHES0684.
Texto completo da fonteComing from musicology and as a musician (piano), I have attempted to describe, analyze, comprehend and defend, the specificity of the Bai music - a cultural minority of Yunnan - its main features and the the influences it has received as of today. This work is an attempt at the crossroads of ethnography and ethnomusicology. After a brief introduction to the Baizu of Dali and the surrounding mountains, its oral language and madrine script, the inquiries in the field focused on : songs in daily life, marriage, funerals and feasts, allowing a presentation of various aspects of daily life and ritual life. Vocal music, as well as instrumental music, are then analyzed in context, (ethnography) but also the poetic and musical composition are analyzed at the formal level (ethno-musicology). Bai theater as performed by the villagers, instrumental music as well as dance are presented and analyzed. Organology and the manner to play the local instruments open the whole research. A sociological survey on the trends of today in a global world, bring the work to a close. By a pluridisciplinary approach we hope the complexity of the artistic expressions of the Bai intangible heritage is brought to light
Page, Marine. "Création d'objets mats : optimisation d’un procédé d’impression en relief en termes d’apparence". Thesis, Paris, CNAM, 2018. http://www.theses.fr/2018CNAM1204/document.
Texto completo da fonte2.5D printing is between traditional color printing, for the process and its visual quality, and 3D printing, which makes forms and reliefs by ink superposition. Because of its properties, 2.5D printing could allow the realistic reproduction of objects and surfaces, but inks are too glossy. To reduce and control this glossy aspect of inks, we modulate the roughness of the printed layers, at the micro-scale, both in frequency and amplitude. Influence of parameters was measured, and different strategies were suggested to reduce sparkle and to allow the creation of matte colored layers: by constituting a 5D space where gloss and color are modeled, we can make gloss level of colored surfaces uniform.Several case studies form the Conservation of Cultural Heritage were considered, where 2.5D printing could help the curator, the conservator or the archivist. We studied in particular the issues of the the gap filling on an archaeological object, the realistic reproduction of surfaces, and the creation of matte objects for readability
Von, Szilagyi Emmanuel Brito. "La création des écoles d´apprentis et d’artisans au Brésil (Escolas de Aprendizes e Artífices do Brasil) du XXe siècle (1909 - 1937) : enjeux sociaux, politiques et culturels". Master's thesis, Universidade de Évora, 2020. http://hdl.handle.net/10174/29204.
Texto completo da fontePellas, Jean-Raphaël. "Fiscalité et service public". Thesis, Paris 1, 2015. http://www.theses.fr/2015PA010266.
Texto completo da fonteThe financing of cultural activities through taxation undergoes mutations that affect the very essence of public service culture. Both the tax that the public service culture are vectors of social cohesion. On the one hand, the tax connects the individual to a political community and social ties rooted in body of constitutional rules. But in recent decades, this link penny loosens the pressure resistance to tax. The adoption of new own paradigms to provide consent to taxation does not seem sufficient to stem tax avoidance. On the other hand, cultural public policy of the State, which is a factor of social cohesion around cultural identities are fragmented in the same time, to the point that a multiplication of decision making bodies in the cultural field has seen the day during the last thirty years. This institutional arrangement, polycentric, led the state to adopt new governance models making it more permeable hybridization of its work with the private sector. The scarcity of public resources allocated to support cultural activities weaken in times of cri sis, the fulfillment of cultural interventions of the state. The new tax regulation model that tends to b1ing about a procedural legitimacy of the tax, in the absence of cognitive legitimacy, combined with the new cultural mode! which involves increasing participation of the management of cultural activities by the private sector leads to a reordering of cultural public action. By using private financing techniques including sponsorship background, including conservation and development of cultural heritage value is weakened to market risk. The cultural state is no longer collection of the market but is confined to a strategist State posture. Paradoxically, the commodification of cultural property, accentuated by tax incentives, unfolds as to blur the public cultural action of the catalyst state of cultural identities
Ruoso, Carolina. "Nid de frelons : neuf temps pour neuf atlas : histoire d'un musée d'art brésilien (1961-2011)". Thesis, Paris 1, 2016. http://www.theses.fr/2016PA01H059/document.
Texto completo da fonteThis research sought to understand how Museum de Arte da Universidade do Ceara (MAUC) has become a Hornets House. In order to elaborate this explanation, we observed fifty years of it history (1961-2011), starting from the intrigue about the museum models in dispute in the late twentieth century, in Fortaleza city, as well as about the controversies involving its memory. So we organized our narrative in Nove Tempos para Nove Atlas, trying to analyze this Hornet House inside out, against the grain, and for this reason we present the MAUC through it scenes, watching from behind the windows, which are the characteristics and movements to this adjective. We understand that a Hornets House Museum goes through silence, while develop community and collaborative practices that take part of its history, contributing to the broad conceptual elaboration of its curatorial process. In this thesis we unfold its conceptual aspect that justified the creation of MAUC. We traced through a reading on knowledge circulation works of art and exhibitions, a mapping of relationships networks mobilized by this museum through its structural program. We investigate the possibilities of artistic creation in the physical museum space and the dimensions of cooperation proposed by the institution regarding expositions and works of art. We also try to identify the ways of seeing and being of the visitors at MAUC through the eyes of photographers while viewing exposures
Aboulker, Delphine. "La construction de la valeur des maisons d'architectes du XXe siècle : de la patrimonialisation à l'émergence d'un marché". Paris, EHESS, 2007. http://www.theses.fr/2007EHES0060.
Texto completo da fonteSince the end of the 1990s, an international market of 20th century domestic architectural masterpieces has emerged in which they are appreciated no longer as just homes but as works of art. While focusing on France, an early leader in the recognition and preservation of cultural heritage sites, this thesis also consists of a comparative study of Great Britain and the United States. It offers an updated look at the social processes of building the esthetic and economic value of these designer homes: cultural heritage, classification, esthetic réévaluation, acceptance as 'collectors' items, as well as the way the market operates. This study shows that value assessment takes place at the intersection of two systems of actors: those involved with cultural heritage preservation (government, communities and associations) and marketplace actors (owners and realtors). As for the architects, they operate transversally between these two worlds
Régnier, Marie-Clémence. "Vies encloses, demeures écloses. Le grand écrivain français en sa maison-musée (1879-1937)". Thesis, Paris 4, 2017. http://www.theses.fr/2017PA040140.
Texto completo da fonteThe reflection undertaken in the thesis offers an archaeology of the collective representations relating to the writer’s domestic space and work, by means of a socio-criticism of the texts in which they materialise. From the notion of “house-museum”, the writer’s house-museum is considered a real place, as well as a mental and material structure where « images of the writer » are invented, organised and displayed. Albeit varied, even heterogonous, these images define a coherent imagination and imagery of the writer’s figure. In the thesis, the discursive dimension of the writing place′s “paratopia” is put into perspective with scenographic and postural approaches that are centred on the figure of the writer. To that end, the study predicates that the arrangement of objects in house-museums is based on these ‘‘sceno-mythographies,’’ which are then transposed into the museum space thanks to various display devices. Right from the start, the thesis shows that the writer’s stagings perpetually constitute an essential lever of the writers’ collective memorial appropriations and their works because they crystallise successful mythical representations, which are actualized in the spirit of the age. More broadly, they take part in writing the literary history that is institutionalised in the 19th century: they put the emphasis on certain writers, on a mythology of the literary creation, and on works that came to life in “high literary places.” Finally, the thesis tackles the issues of poetics and reception that link the writers’ houses to their literary work
Mehadji, Meriem. "Les politiques culturelles et le processus de développement dans le monde arabe : analyse d’une série d’indicateurs". Thesis, Paris 5, 2014. http://www.theses.fr/2014PA05D005/document.
Texto completo da fonteIn 2010, the appraisal of the Millennium Development Goals (MDGs) indicated that all the countries and the different actors involved in this process should underlay their efforts to implement projects adapted to the nature of the various societies. To this end, the issue of "culture" has emerged as an obvious and inherent factor in achieving these goals.Our research issue raises in this context through a geostrategic area which undergoes great changes in the political, economic and social level. Thus, can the culture constitute a basic element in the development programs undertaken in the Arab States? The present thesis is developed through three main stages. First, the integration of culture in this process as a real sector. Then, the means and methods used by the different actors involved and concerned with the field of culture in the Arab countries. Finally, specific indicators related to the region which could show the limits, but also the potential of Arab States.This approach acts as clearing, insofar as the development through cultural sector remains largely untapped in the Arab world. However, the changes occurring in recent years in the region can lead to a genuine reconsideration of the cultural sector and its relationship with the development process
Dupont, Geneviève. "La mise en valeur du patrimoine naturel et culturel par la création de sentiers écotouristiques dans l'arrière-pays de la Baie-des-Chaleurs, Gaspésie". Mémoire, 2007. http://www.archipel.uqam.ca/991/1/M10197.pdf.
Texto completo da fonte