Дисертації з теми "Anthropologie du contemporain"
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Balut, Pierre-Yves. "L'archéologie de la mort dans l'Occident contemporain." Paris 4, 1990. http://www.theses.fr/1990PA040015.
Повний текст джерелаThis thesis is not an excavation publication nor a study of art history, sculpture or architecture as is most research work on funeral rites. From a redefinition of archaeology as a compilation of the technical ability of man, shown beforehand, a model od the splitting up of all procedures regarding the dead is worked out and and its analytical efficiency can be demonstrated on a historically and technically differentiated material : thus elements of comparison can be dealt with in things which have the same purpose, and in one and the same technical piece of work, break up its different purpose. The examples are, as much as possible, western, modern and contemporary. Are first examined the procedures regarding the animal subject and the person as member of the group, each as much for this technical abilities regarding the body, food, clothing, as for housing, furniture, town-planning, worship; as much for is temporary as for what is transmissible. Then the associated representations of the dead or his localisation by images, signs, and inscriptions. In addition, the model of analysis of human funeral rites is applied to the animal in our contemporary world. Lastly the case of memorials is studied, those of wars, and those commemorating other ways of dying : the representation can be very like funeral rites, but sometimes in a more original way settlements, funeral or otherwise; and the nature of history revealed by them favouring certain places. .
Ascencio, Michaelle. "Nèg kampé : lecture anthropologique du roman hai͏̈tien contemporain." Paris, EHESS, 1994. http://www.theses.fr/1994EHES0105.
Повний текст джерелаGenie du paganisme by marc auge, esthetique et theorie du roman by mikhail bakhtine and anatomie de la critique by northrop frye constitute the theorical bases of this thesis that proposes and anthropological reading of the contemporary haitian novel. From the question of the place and the value that the haitian novel concedes to the culture of haiti, culture that globally expresses herself in the vaudou polytheism, the earth's attachement, the importance of the affective ties. . . , our thesis analyses the bilingual vision of the haitians novelists and the image of the society appears in the fourty novel of our corpus. The life of the individual in his family (in haiti) and the life of the individual in exile are the major themes of this literature. These themes are made rich by differents subjects: the image of africa, the zombui figure, the work's notion, the violence, the nostalgy, the fear, the friendship and love that we find again analysed in the chapters of our work. The polarization zombi neg kampe is the common symbol to all this novels written between 1980 and 1991. The message of the novelists turns around of a kind of "sentimental education" of individual which, overtaking the fear and the servitude, become proud and sure of himself
Cheval, Olivier. "Le partage de la douleur : une anthropologie figurative du cinéma contemporain." Thesis, Lyon, 2016. http://www.theses.fr/2016LYSE2139.
Повний текст джерелаThis work started with two crucial insights from Georges Bataille’s œuvre. On the one hand, Bataille formulated a law on the constitution of community in the Collège de Sociologie: “Human beings are only linked together by wrenches or wounds”. On the second hand, he elaborated the idea that works of art are, since Lascaux, the traces of an archaeology of men’s community life, the code of a “non-savoir” about the sacred sphere which ties men together thanks to some borderline figures (the corpse, the tears, the orgy, the sacrifice). These two ideas allow me to define figurative anthropology as the discipline that seeks a figural thought of community in images, and the sharing of pain as one of its privileged objects. Contemporary thoughts of community (Jean-Luc Nancy, Giorgio Agamben, Roberto Esposito) allow me to state this hypothesis: contemporary cinema is not pertaining to the political construction of a people but to the figuration of communities which find in this very sharing their sole purpose. Only a figural work can contravene to the loneliness of a suffering body and break its closed isolation into include it in a pathetic group that synchronises gestures and assembles fleshes. The international corpus of films that I put together about the survival of figures of communion (Joao Pedro Rodrigues, Pedro Costa, Béla Tarr, Steve McQueen, Bruno Dumont) or the choreographic figuration of care (Tsai Ming-liang, Apichatpong Weerasehtakul, Vincent Gallo, Gus Van Sant) comes under a figurative realism which has not to be studied from the point of view of the politics of aesthetics (Jacques Rancière), but of the impolitics of beauty: that is to say that art is the place where the capacity for suffering and sharing, without leading to a political construction, allows the hope of an imminent community
Souvignet, Florent. "L' art contemporain africain aux Etats-Unis : vers une anthropologie des marges." Paris, EHESS, 2014. http://www.theses.fr/2014EHES0604.
Повний текст джерелаThe exhibition "Magiciens de la terre", presented in Paris in 1989, is often viewed as a strong institutional moment towards recent non-Western visual productions. It marks the start of a movement towards opening European and North American museum spaces to the world and announces the era of the globalization. In the aftermath of this event, the notion of contemporary African art developed with the appearance of th key actors including Jean Pigozzi, andré Magnin or Okwui Enwezor. The concept of Contemporary African Art was hotly debated in art and academia alike, attracting substantial attention before its object was defined. Using the semantic plasticity of the three terms, "art", contemporary" and "african" as a potential departure, this dissertation analyzes the emergence of Contemporary African Art not as a category but as a field that encompasses diverse practices and discourses. This dissertation presents an ethnography of the actors involved in the promotion, presentation, and critique of this notion, focused on the galleries, private foundations, and museums at heartof the contemporary art world in New York's Chelsea neighborhoods question of how an artist might lose his "African" denomination and extract himself from the designation "contemporary African artist" to become an unmarked" contemporary artist" is one of its main theme result of four years of ethnographic research in the united states, this text questions the possible permanancy of primitivism and the modalities of its transformation
Boyer-Pellerej, Brune. "La fabrique du bijou contemporain : éthnographie d’ateliers." Thesis, Paris 10, 2020. http://www.theses.fr/2020PA100008.
Повний текст джерелаThe expression “contemporary jeweller”, first appeared in the 1970s, does not clearly describe the practice that it designates, and the jewelers operating in that field use a proliferating vocabulary to qualify themselves. The word “jeweler” does not seem significant enough: some, in France, add “plasticien” [artist] or “designer” to it, others replace it by “goldsmith” and self-identify as “orfèvre-plasticien” [goldsmith-artist]. Embedded as it is in my own contemporary jewelry practice, this dissertation seeks to clear up a few paradoxes: while some theoreticians looking at contemporary work conclude that “this jewelry is an art form” and that its authors are “artists”, contemporary jewelers themselves do not necessarily want to assert for their pieces the status of “art works”. Usually strongly attached to their workshop, they claim to “think with their hands” in order to create objects they still call “jewelry” but set themselves apart from “traditional jewelers” by designating their output as “contemporary”. Having realized that such a practice have never been described, I posited that an ethnographic study of a workshop would enable me to find out how jewelry becomes “contemporary”. I have based my research on the parallel analysis of two ethnographies: the ethnography of a colleague's workshop on one hand and an auto-ethnography on the other. Situated beyond the “art/craft” binary, this double perspective shows that contemporary jewelry makers compose their jewels from an assemblage of experiences, both social and emotional, by cultivating uncertainty and risk-taking, by playing with indetermination
Lambert, Sylvie. "Le bijou contemporain : son rapport au vêtement et à l'art : Anthropologie de l'ornement en Europe depuis les années 1960." Thesis, Paris 4, 2012. http://www.theses.fr/2012PA040210.
Повний текст джерелаUsing a corpus of jewelry from the 1960’s to nowadays, analysed through the Theory of Mediation method, the thesis has three objectives. The first one aims at building an anthropology of jewelery through the detour of sociology, using the Instituant/Institué model (first part), which helps understanding the experimental nature of these ornaments, far away from the traditional investiture of the person. The second objective is to analyse these very specific jewels using the Fabriquant/Fabriqué model (second and third parts), as studying how the nature of these experiments is broken down is indeed too difficult to do in a traditional manner. The third objective is to show the unity of the research by highlighting a similarity with the mechanisms of contemporary arts (clothing, design, furniture, art), indicating a community of projects and therefore a global and widespread phenomenon (second and third parts). These socially unwearable jewels develop unlikely techniques, in line with the unlimited world of contemporary art
Boissier, Annabelle. "L'art contemporain est-il par définition international? : les relations transnationales dans le processus de légitimation de l'art contemporain en Thaïlande." Paris, EHESS, 2008. http://www.theses.fr/2008EHES0349.
Повний текст джерелаDuring the nineties a network of contemporary art was developped in Thailand. How and why this network has been able to institutionalize itself and has taken away the monopoly of the academic unlike the avant-gardes movements blooming since the sixties? The analysis will show that this practice has obtained a local legitimacy thanks to th links set up by local actors with the international scene. The ways of existences of these links will be examined to question, from the Thai situation, the stakes of the non Western artist's participations to the international world of contemporary art. If they keep a peripheral position which enable them not to take part in the struggle of international classifications, the new growth after the year two thousand show that they try to knock down the balance of power by diversifying their actions towards other types of transnational relations
Dubois, Arnaud. "La vie chromatique des objets : Approche anthropologique des couleurs de l'art contemporain." Paris, EHESS, 2014. http://www.theses.fr/2014EHES0626.
Повний текст джерелаThis thesis concerns the material practices of colour in the domain of contemporary art. I analyse such practices following the "chaîne opératoire des agglutinations chromatiques" which I have studied during the period of my fieldwork at the Centre Pompidou Mobile and Monumenta 2012. Starting from a microanalysis of the chromatic qualities of the objects (including an art installation, a piece of architecture, a graphic design project and an agglomerate of 14 work of art of the collection of the Musee National d'art Moderne), this study seeks to understand the relationship between the materiality of making colours and the agents involved in such practice. This method allows us to observe and describe the multiple relations that exist between human beings and colours. It therefore pushes us to reflect on the socialisation of colours. In order to carry out this research, I have made use of a combination of methodological and theoretical approaches borrowing from what andré Leroi-Gourhan develops in his L'Homme et la Matière (1943) that builds on the general idea of Marcel Mauss concerning objects and techniques. For Leroi-Gourhan, colour is a fabricated material and is part of different 'techniques of fabrication' and 'actions on matter' that contribute to the way in which societies give colours to things. My ethnography of "parctices of colorization" in contemporary art describes the material culture of colour and oscillates between the anthropology of colour to cognitive anthropology (colour as perception) towards a sort of anthropology of techniques (colour as production). This oscillation creates an epistemological bifurcation, which I believe it is effective for proposing an anthropology of colour that is interested in both colour and the social practices around colour. In other words, in this work, I consider colour as an act - that is, I believe that colour is made/constructed and that a researcher must observe and analyse the actions and the actors engaged in the fabrication of an object of colour and must pay attention to the situations of work within which the 'act of colours' take place
Butel, Jean-Michel. "Liens noués : une monographie du lien amoureux dans le Japon contemporain." Paris, INALCO, 2004. http://www.theses.fr/2004INAL0013.
Повний текст джерелаWe tried in this work to point out what is said about love in a non-Christian society. However, this concern quickly appeared iconoclast in the Japanese context. Love is not a topic for the Japanese ethnology. More exactly, the question does not interest because it has no object to study on, as one affirmed to us. There is no love in Japan, not more than in other exotic cultures. Love, and the disproportionate place that it occupies today in our societies, would be the prerogative of Western civilization. Possibly ! But with a proviso specifying about which kind of love one speaks. We, with this intention, tried to adopt the following step : to choose an indigenous term, an expression which sounds 'very Japanese', to become aware of all the width of its semantic field, to identify its practical applications ; to make a comparison between what it indicates decided to analyze. We will discuss its origin and the implications. Obviously, bond and love are not the same thing. They can however be mobilized at the same time in similar situations. We will quote a certain number of examples taken from Japanese literature to prove it. However, the essential share of this research wants to be ethnographic and raises of religious ethnology : it is a question of identifying worships rendered to divinities, to describe places, practices, objects, which are known as ""tying a bond", to try to recall logics
Dondelinger, Patrick. "L'exorcisme des possédés selon le rituel romain et son interprétation ecclésiale dans l'Occident contemporain." Paris 4, 1996. http://www.theses.fr/1996PA040100.
Повний текст джерелаStarting with both an analytic examination of the rite of exorcism in the roman ritual of 1952 and of its ritual action, we make appear their conceptual underpinnings. The conception of possession according to the roman ritual is confronted to possession in non-Christian cults and then traced through its own inheritance due to ancient cultures, the Bible, early Christianity and its subsequent evolution. We then critically interpret today's theological debate throughout its historical development. In the same way, we treat the present practice of exorcism within the occidental catholic church of roman rite (mainly France, Germany, Switzerland, Italy, USA). Lastly, we turn to a hermeneutic analysis of the experience of possession and the pertinence of exorcism in the light of religious anthropology and theology, paying particular attention to the articulation of the epistemological relationship between the psychological and the spiritual as perceived by catholic faith
Chevallier, Jennifer Geneviève. "L’empreinte du chamane : le souffle de la pensée chamanique dans l’art contemporain des Premières Nations au Canada. Essai de sociologie de l’art entre 1990 et 2010." Thesis, Paris 3, 2011. http://www.theses.fr/2011PA030025.
Повний текст джерелаShamanism in contemporary native art in Canada is becoming one of the most relevant ethnic markers. It is the sacred place, the major source for cultural resistance, with strong roots and political implications underneath. It works as a powerful identity referent. As we analyse the aesthetic phenomenon from a modern perspective,different issues are emerging : how shamanism is acknowledged, both as a concept and as a practice by the First Nations artists ? Which social functions and philosophical involvements are assumed by the contemporary “shamanic art”, considering its symbolic part as the keeper of identity and spirituality, or/and performed or seen as a healing process ?In the postmodern artistic context, shamanism may be considered as an essential source of power and inspiration, a sacred land that most of the native artists are now exploring, defining therefore a new ontology. From the deep roots of the traditional knowledge, their legacy, and through their own contemporary experiment, these artists are trying to bring back the original wisdom in order to reconnect themselves with the native cosmogony and consequently, to reduce the psychic schism between traditionalism’s nostalgy and contemporary indianness (nativeness). Therefore the status of “betweenness”, that is specifically attributed to the native artists, is shifted into a power of creative transformation. This thesis analyses the process of shamanistic inspiration in contemporary native art, through the philosophical and political issues as well as with an anthropological and aesthetics point of view. The historical and sociological contexts are explored before defining th! e two main missions of the “Shamen of Art” : the rewrighting of the History and the Conquest of Identity, drawing through the recognition of their alterity, the architecture of a new “Amerindia”
Ben, Hounet Yazid. "L'Algérie des tribus : Le fait tribal dans le Haut Sud-Ouest algérien contemporain." Paris, EHESS, 2006. http://www.theses.fr/2006EHES0219.
Повний текст джерелаThe thesis research start from a first observation : the continuing feeling of tribal belonging in the area of the "Hautes Plaines" and of the Algerian Sahara. This first observation brings two linked questioning. The first one relates to the tribal dismantling in Algeria. Indeed, it is acknowledged that decolonization largely transformed the social order in Algeria and that is totally destroyed tribal organization. The second question bears a more anthropological aspect wich is the organizational compatibility of a tribal setting in the contemporary organization of States. The thesis develops around a central question : in what cases can we talk about tribe and what type of socio-political realities does this notion cover? Starting from a comparative analysis between two tribal entities settled in Southwestern Algeria (Ain Sefra's region) - one marabout related tribe (mrabtin), the Awlâd Sid Ahmad Majdûb, and one tribal confederation, the c Acmur - that I have tried to answer to the question of the tribal phenomenon in today's Algeria and more largely in contemporary States
Kazadi, Wa Kabwe Désiré. "Jeunesse, littérature et écriture dans le Zaïre contemporain (1970-1996)." Paris 4, 2002. http://www.theses.fr/2002PA040092.
Повний текст джерелаCazes-Valette, Geneviève. "Les déterminants du rapport à la viande chez le mangeur français contemporain." Paris, EHESS, 2008. http://www.theses.fr/2008EHES0315.
Повний текст джерелаThis work, based on both quantitative and qualitative techniques (considered too often as being in opposition whereas they are complementary), provides proofs that the majority of theories developed within the ethnological frame work resist well to any confrontation with a wide, heterogeneous population. Gender, religion, social class, distance to animals partially explain choices relating to meat. The principal factor influencing the frequency of meat consumption though is pleasure, and support this. However, two factors factors emerge as major hindrances : the preoccupation with nutrition and the reprobation of slaughtering animals for food. These issues may be regarded as simple products of the present overall situation, echoing the ambient discourses of the media, and medical and political pundits; however, in time, such issues may become structural
Jang, Insook. "Le theatre coreen contemporain et ses sources : etude ethnoscenologique." Paris 8, 1996. http://www.theses.fr/1996PA081151.
Повний текст джерелаThis study is based on the investigation of one fondamental element of the korean culture. It is built on symbolic, religious, affective and spectacular dimensions in the aim of discovering a new vision for the korean contemporary theatre. It will be applied with the interdisciplinary methodology of the ethnoscenology wich allows to approach the different aspects ot this work
Baracchini, Leïla Gaelle. "Quand l'art vient à D'kar : émergence et production d'un art san contemporain." Thesis, Paris, EHESS, 2019. http://www.theses.fr/2019EHES0026.
Повний текст джерелаHow to address artworks anthropologically? What can a sociological approach on art bring to the comprehension of “non-western” artistic productions? Or more precisely, what does it mean to investigate contemporary San art? Proceeding from these questions, this PhD thesis offers a reflection on the processes involved in the creation of contemporary San art, and on the issues inherent to developing an anthropological expression about the expression of Others in a postcolonial context.Based on an ethnographic study of the Kuru Art Project – the only existing contemporary San art project at the time of the study – this PhD thesis retraces the networks of relations involved, or having been involved, in the emergence and existence of an art project in D’kar, a small village of the Ghanzi District (Botswana). Through analysing the circulatory movements inherent to the creation and diffusion of contemporary San art, When art comes to D’kar tells the complex story of how the concept of art was introduced in D’kar and of how these paintings and engravings were transformed in an art movement known since 1991 as contemporary San art.Using theoretical and methodological tools provided by: the sociology of art, the sociology of translation and the socio-anthropology of development, this work seeks to describe the practices and discourses involved in the everyday production of contemporary San art. This is done through an analysis of: the modalities and effects following the introduction of the concept of “art” in D’kar (in terms of knowledge transfer); the passage from non-art to art (through the concept of artification); and the everyday conditions surrounding the individual production of these objects (via the day-to-day study of a specific artistic trajectory).At last, this dissertation exposes a reflection on the way to develop an ethnography that takes into account the asymmetry existing in terms of means of expression. Through a reflection on the modalities and issues of discourses production, it tries to bypass these relationship patterns, inviting to rethink the ways of writing about images and the Others in a postcolonial context, and more precisely about this very specific type of objects circulating under the name of contemporary San art
Delisle, Sara. "La voie de l’intériorité responsable : un vécu spirituel contemporain lié à la quête de santé." Thèse, Université de Sherbrooke, 2014. http://hdl.handle.net/11143/5977.
Повний текст джерелаVincent, Cédric. "Frédéric Bruly Bouabré : un prophète africain dans l'art contemporain." Paris, EHESS, 2011. http://www.theses.fr/2011EHES0460.
Повний текст джерелаFrédéric Bruly Bouabré (Côte d'Ivoire) is one of the most emblematic figures to have emerged on the international arts scene over the past twenty years. He is also one of the scene's more controversial figures, due to a set of unpredictable circumstances that saw him move from the status of failed prophet to that of accomplished artist. Discussions of his work commonly lack a serious historical or biographical grounding, resulting in a picture of him as a sweetly naïve character. As a result, his oeuvre is hailed by some and discredited by others less for its inherent complexity or internat contradictions than on the grounds of a wholly invented simplicity. The study aims to explain why and how Bouabré has emerged as a point of reference. To do so, it privileges notions of co-production and translation over ideas of the artist as a self-taught individual driven by vocation alone. In the process, it posits a dialectical relationship between Bouabré's dual identities as prophet and artist. Close attention to how he has been shaped by interactions with others and to howthese interactions have played out over time draws attention to the dynamics of his prophetism. This, in turn, highlights a key aspect of his identity that has tended to be down. Bouabré constitutes a node, a key focus, to understand the spaces of tension and resistance that thicken the realm of contemporary art and complexify the relations it entertains with artists hailing from its shadowlands. Notably, it allows us to think through the emergence of contemporary African art not as a simply chronological or temporal category, but also, and more importantly,as an aesthetic, critical and normative category
Morvan, Arnaud. "Traces en mouvement : histoire , mémoire et rituel dans l’art kija contemporain du Kimberley Oriental (nord-ouest australien)." Paris, EHESS, 2010. http://www.theses.fr/2010EHES0447.
Повний текст джерелаAn investigation of the trajectory by kija speaking artists Paddy Nyunkuny Bedford (1922-2007) and Lena Nyadbi (1936-), publicly commissioned to be reproduced on a large scale in the architecture of the Musée du quai Branly in Paris in 2006 (Australian Indigenous Art Commission), provides the basis of an exploration of east Kimberley art, its historical and biographical content, which sheds light on a subterranean history of this region’s colonisation since the 19th century. Yhe research articulates two trends in the anthropology of art: Thomas and Kopytoff approach, focused on cultural biography of objects, and an analysis based on the relation between art and memory. We analyse a corpus of thirty contemporary kija paintings (realised between 1983 and 2008 by eight artists of the Warmun school) in comparison with three ritual performances (public ceremonies of the joonba and balga kind) observed during several fieldwork in Australia (2005-2008). This allows us to reveal how the artists use paintings in their performances and vice versa in order to inscribe historical events in material works, the body and the landscape simultaneously. This process of ritual “memorialisation” of the landscape, actualized by the paintings, reflects the colonial past of the region and its impact on space and people
Keyser-Verreault, Amélie. "Qigong et nouvelles religions à Taipei (Taiwan) : une exploration des significations de cette pratique en monde contemporain." Thesis, Université Laval, 2011. http://www.theses.ulaval.ca/2011/28844/28844.pdf.
Повний текст джерелаMazzella, di Bosco Marie. "Ethnographie d'un travail spirituel contemporain : danses libres en conscience en Île-de-France : (danse des 5 rythmes, movement medicine, open floor)." Thesis, Paris 10, 2020. http://www.theses.fr/2020PA100093.
Повний текст джерелаCentered on the Île-de-France region, this thesis deals with the dance practices and practitioners of 5Rhythms, Movement Medicine and Open Floor, which have been grouped together here as Freeform Mindful Dances. These dances are undertaken with a view to “self-discovery”; they are close to personal development or well-being techniques without being reducible to them; although neither religious, esoteric nor properly speaking therapeutic, they are nevertheless associated, by their practitioners, with a form of spirituality, transformation and healing. What is it that makes dancing in this way – “freely”, “mindfully”, “collectively”, and to music – spiritual or transformative, that allows it to provide revelations about oneself or about the world, or to act as a factor of healing? On the one hand, the ethnography of these practices sheds a new contemporary and Western light on the close connections between dance and spirituality, and by extension, on the relationships between body, mind and emotion as they are conceived and experienced in the here and now by dancing parties. On the other hand, this research aims to offer a general model for thinking about the multitude of contemporary bodily and spiritual practices that have become increasingly fashionable in recent decades
Davenel, Yves-Marie. ""Sous le même toit" : affirmation culturelle et intégration citoyenne de la minorité Tatare dans le Kazakhstan contemporain." Paris, EHESS, 2009. http://www.theses.fr/2009EHES0376.
Повний текст джерелаMore than one hundred nationalities make up today's Kazakhstan, a source of pride for the Kazakhstani state, who wishes to be viewed by the international community as amodel for interethnic harmony. The Kazakhstani authorities promote cultural diversity and cultural revival, championing a "multiple re-ethnification" policy, while giving a privileged position to the Kazakh culture. In the menawhile, Kazakhstan's president promotes the idea of a civic nation based on the concept that each ethnic group will pledge allegiance to the new state. The Tatars of Kazakhstan case study highlights the patterns of integration taken by a specific national minority into a young post-soviet multi-ethnic state. The ancient settlement of Tatars gives us the possibility of analysing interethnic relation over a long period of time. Then, it casts a light on present-day strategies of integration. This specificity of the Tatars allows us to understand how ethnic frontier is drawn today. Hence, internal divisions can be analysed, especially between generations, on the perception of ethnicity and on what the future of Tatar nation in Kazakhstan must be. Fieldworks were conducted with Tatars associations striving for cultural revival. Enquiries point out which strategies are used to get access to the public space. Militants strive for the recognition of the right of the Tatars to live in Kazakhstan and the recognition of their own position as actors of interethnic concord. This research tackles the issues of the ways citizenship is being built in a multi-ethnic post-soviet state
Maury-Lascoux, Nancy. "L' enseignement du grec en France dans l'enseignement secondaire public contemporain (XXe-XXIe siècle)." Paris, EHESS, 2012. http://www.theses.fr/2012EHES0507.
Повний текст джерелаThis thesis deals with ancient Greek as a school subect in the French contemporary secondary education. The first part relates the history of Greek studies in France from the 16th to the 19th centuries, then it specifies the place and status of that subject within the pluridisciplinary system secondary education has been since 1902. Just like Latin, ancient Greek subject is the heir of past centuries humanities, and is supposed to convey a certain amount of values and goals. The second part analyses those values and goals through what is said and thought by the most representative ancient languages teachers' associations. Finally, subject contents are dealt with in the third part: they are examined through curricula and the various ways they are implemented in textbooks
Robidas, Josiane. "Pour le plaisir de la chose : analyse de contenu des conceptions et des usages du Kâmasûtra dans l'Occident contemporain." Thesis, Université Laval, 2010. http://www.theses.ulaval.ca/2010/27239/27239.pdf.
Повний текст джерелаPerichon, Laura. "Transformer les relations entre vivants et morts: Propositions pour une clinique ethnopsychologique du deuil contemporain." Doctoral thesis, Universite Libre de Bruxelles, 2020. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/300049.
Повний текст джерелаDoctorat en Sciences psychologiques et de l'éducation
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Strandsbjerg, Camilla. "Les sens du pouvoir : des forces "occultes" à la grâce divine : religion et transformations politiques dans le Bénin contemporain." Paris, EHESS, 2008. http://www.theses.fr/2008EHES0572.
Повний текст джерелаThe thesis focuses on political transformation in Benin on a discursive level and illustrates how religious ideas and practices participate in the construction of new political categories and the ideological frame of power. The analysis focuses both on the changes in the political discourse of former president Mathieu Kérékou from the authoritarian period (1972-1989) to the democratic period (1996-2006), and on the popular interpretations of his discourse. Thereby, the thesis also takes up classical themes from political anthropology proposing a new analysis of the semantic and symbolic exchange between the religious and the political spheres; an analysis intended to contribute to the reflection on political power and the State in contemporary Africa
Buffo, de Capua Carla Maria. "L'influence des cultures indigènes sur l'art contemporain au Matto Grosso." Montpellier 3, 2001. http://www.theses.fr/2001MON30047.
Повний текст джерелаYaneva, Albena. ""L' affluence" des objets : Pragmatique comparée de l'art contemporain et de l'artisanat d'art." Paris, ENMP, 2001. http://www.theses.fr/2001ENMP1063.
Повний текст джерелаHenninger, Aline. "La socialisation de genre à l'école élémentaire dans le Japon contemporain." Thesis, Sorbonne Paris Cité, 2016. http://www.theses.fr/2016USPCF015.
Повний текст джерелаThis research is about gender socialization of children going to Japanese primary schools in the 2010s: it shows the evidence of experiences taking place during differentiated socialization of girls and boys.The purpose of this study is to specify how pupils are acquiring and learning gender norms during their daily life, knowing that those processes are often raised but hardly described in related research works. To achieve this, three complementary methods were set: an ethnographic study, semi-directive interviews and special investigation schemes in order to discuss about gender issues with children.To write down children’s own words is a way to access their representation of sex differences. While being social actors of their own socialization, children are constructing masculinity and femininity, through language, external look, activities, plays, body staging, sexuality and feelings of love expression. Even if the school system organizes sex segregation and normalizes gender roles, children are negotiating those gender relations while performing in their own way the models that school and other social structures offer. Peer groups are also playing a significant role into these complex socialization processes.This thesis in Japanese studies is based on both gender studies and childhood studies
Filiod, Jean Paul. "L'univers domestique au singulier-pluriel : contribution à une ethnographie de l'habiter." Lyon 2, 1995. http://www.theses.fr/1995LYO20039.
Повний текст джерелаBased on an ethnographical and phenomenological approach, this thesis attempts to focus on the domestic realm by looking at the biographical dimension of objects and the sensorial and sensual aspects of intimacy. The first part consists of a methodological discussion on the contribution of ethnology to the study of western societies, and the researcher's reflexive attitude during a survey based on intersubjectivity. The second part presents the results in an exhaustive manner by combining physical description, statements, argumentation and analysis. In the third and final part, the results of the study are examined from an anthropological viewpoint, by referring to several other similar studies and surveys. The first chapter deals with the concept of disorder, the analysis of which reveals that it can be understood as a singular order of biographical memory. This biographical dimension is the starting point for the second chapter where it is established as a fundamental temporality of the domestic realm, which is then providing a condensed version of the biography of the residents. The analysis then demonstrates how this biographical dimension has no significance unless it is interlinked with other temporalities (family and generations, history, antiquity, eternity, etc. ) Both in real life and imagination
Pensa, Iolanda. "La Biennale de Dakar comme projet de coopération et de développement." Paris, EHESS, 2011. http://www.theses.fr/2011EHES0456.
Повний текст джерелаThe study observes the international art system from Dak'Art, the Senegalese contemporary African art biennale; in particular it explores the relationship between visual arts, spatial dynamics, cultural policies and the market; it is based on the keywords cooperation, development, territory and representation. The research analyses the international phenomena of bienniel exhibitions, the ones in Africa, the history of the Dakar biennale, contemporary art and its landscape, contemporary African art historiography, the network of Dak'Art and the way contemporary productions are structured as "projects". It appears clearly that culture is more and more often structured as "projects"; contemporary African art is a brand for the import-export of cultural goods; the network is the central resource of a cultural event and the wider and the more fragmented this network is, the more difficult it is to satisfy it; the geography of cultural events is defined by its international links; cultural events generate landscapes, a combination and interrelation of natural and human factors. The contemporary art system observed from the biennial art exhibition of Dakar appears strongly influenced by the funding organizations, and closely related to cultural policies and to the market, even though it doesn't necessarily imply the selling of artworks within a gallery
Davila, Andrés. "Les formes de la transe dans le cinéma expérimental ethnographique contemporain." Electronic Thesis or Diss., Paris 3, 2023. http://www.theses.fr/2023PA030026.
Повний текст джерелаThis research focuses on the work of contemporary filmmakers whose artistic practice takes up one of the central themes of ethnographic cinema: the phenomenon of trance. Artists such as Marc et Éric Hurtado (Jajouka, quelque chose de bon vient vers toi, 2012), Tiane Doan na Champassak & Jean Dubrel (Natpwe, le festin des esprits, 2013), Vincent Moon (Collection Petites Planètes), Soundwalk Collective & Patti Smith (Illuminations, 2018) and Susana de Sousa Dias (Fordlândia Malaise, 2019), explore new avenues of ethnographic research through experimental film. Although relatively distant in their respective fields of experimentation, these artists approach different dimensions of trance in the same spirit of discovery. To do so, they mainly resort to formal invention and to production and distribution processes outside the film industry. The works of these artists have a specific approach to cinema and are characterized by the use of film (Super 16mm, 16mm, Super 8 and 8mm), the exploration of the particularities of perception, the disdain for standardized digital formats and the use of the powers of sound and music to create a sensory experience. Furthermore, in these works we see how trance cults in the contemporary world, mostly popular, continue to resist subordination to religious systems. In many cases, the trance forms of these cults find strong resonances with the myths, poetry, and music of traditions that depart from religious orthodoxy. Thus, the marginal and sometimes transgressive character of these practices, in relation to institutional religions, often gives them a subversive and libertarian dimension. This research work uses an interdisciplinary method and questions the relationship between this group of films and ethnomusicology, the anthropology of possession, ethnographic cinema and experimental cinema
Müller, Elise. "Poétique du "sauvage" : une pratique de tatouage dans le monde contemporain." Phd thesis, Université de Strasbourg, 2012. http://tel.archives-ouvertes.fr/tel-00758091.
Повний текст джерелаBeaussart, Grégory. "Vivre avec les aléas naturels : ruptures et crises socio-environnementales dans le Japon contemporain." Thesis, Toulouse 2, 2017. http://www.theses.fr/2017TOU20086.
Повний текст джерелаJapanese archipelago has the advantage of a rich environment, full of natural resources : halieutic resources, a diversified climate, large forests blessed with a rich wildlife and flora. In the other hand, Japanese populations suffer from violent and geophysical hazards, from common earthquakes, hurricanes and huge floods to more dangerous tsunamis and volcanic eruptions. Thus, population of Japanese archipelago early developed advanced strategies to overcome the influence of natural disasters cycles over centuries, building their very own cindynic paradigm. However, in the edge of the 20th century, new danger like technologic risks rose from industrial societies like Japan’s, America’s and so on. In such changing social, economical and political context, a mega-quake, followed by a huge tsunami, stroke the northern coast of Japan, in 2011, march the 11th. The day after the tsunami hit the Fukushima nuclear power plant, a nuclear disaster alert were released by Japanese government and foreign governments around the world. The years passing by, the social, environmental, political, and health crisis that expanded from this event revealed new environmental issues, encompassing this type of disaster that redefines and question the traditional Japanese cindynic paradigm. In order to grab the dynamic underlying traditional cindynic paradigm and the reason why it revealed itself to be unable to successfully overcome the crisis that Japan faces today,I chose to move the focus to a field away from Fukushima’s nuclear issues, while keeping an eye on it. The fieldwork of this Ph.D thesis is located in Kii peninsula, a small piece of land standing south of Kyōto. Kii is the landing place of powerful tsunamis, unleashed by mega-quakes produced by the Nankai trough, every 90 to 150 year period. It is also on the usual route of violent hurricanes and torrential rains, that strike from summer to autumn, causing heavy flooding damage. This thesis approaches the problem from multiple angles, crossing exploration of direct experience, memory of disasters, knowledge, religious and political issues. Through this method, I try to enlighten underlying dynamics that made Japanese population able to live in their dangerous environment
Escobar, Cecillia-Luca. "Approche anthropologique de la présence du don contemporain dans deux expériences locales d'échange alternatif: les foires de multi-troc colombiennes et les Systèmes d'Echange Local français." Doctoral thesis, Universite Libre de Bruxelles, 2009. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/210341.
Повний текст джерелаL’enquête porte sur un échange de biens, parallèle à l’échange marchand et localement accompli dans le contexte d’un monde globalisé, perspective qui inscrit la recherche dans le champ de l’anthropologie économique des mondes contemporains.
Le phénomène de la mondialisation, associé au progrès des techniques de communication, permettant d’observer des procédés analogues, engendrés par des causes communes dans différentes parties du monde, le terrain, tel que défini ci-dessus, fut réalisé sur deux sites socio-culturellement différents puisque implantés en Colombie pour l’un, et en France, pour l’autre. Ces deux sites furent traités comme un seul terrain multi-local dont le croisement des données recueillies a enrichi l’analyse.
Avant de passer à la partie descriptive des ethnographies réalisées, le travail évoque des théories et des expériences antérieures qui ont permis de reconnaître la différence entre les expérimentations monétaires et les systèmes d’échange multilatéral ou dispositifs comptables centralisés employant une unité de compte pour faciliter les échanges. La production et la consommation sont stimulées par un type de monnaie qui joue un rôle complémentaire à la devise officielle et permet des transactions multilatérales.
Devant la diversité des systèmes alternatifs à l’échange marchand, un choix s’imposait pour déterminer ceux qui seraient l’objet de l’enquête de terrain. Les initiatives sélectionnées pour une observation directe furent les foires de multi-troc colombiennes et les systèmes d’échange local (SEL) français.
Les deux monographies décrivent le déroulement des investigations en Colombie et en France, ainsi que les constats qui s’imposèrent à leur issue.
Il apparaît qu’au-delà de la raison économique d’échanger biens et services sans se soumettre à l’usage de l’argent comme fin en soi, les adhérents à ces expériences de micro-économie y trouvent un milieu propice à cultiver de nouvelles relations sociales. Les raisons de participer sont multiples mais s’alignent souvent sur des valeurs communes telles que la confiance, l’entraide, le respect de l’autre, la tolérance ou la solidarité, autant de logiques qui font de ces groupements, des espaces de création de liens sociaux favorables à l’émergence du don moderne. Tel qu’il a été développé et actualisé par Jacques T. Godbout, Alain Caillé et les exposants du Mouvement Anti-Utilitariste dans les Sciences Sociales –M.A.U.S.S.- ./ABSTRACT
The main objective of this thesis is the analysis of configurations of the social link emerging within alternate systems of local exchange, in order to find traces of the “maussian gift”.
The investigation covers the exchange of property which is parallel to trade exchange and is locally accomplished in the context of a global world, a perspective which integrates our research within the field of economic anthropology of contemporary worlds.
The phenomenon of the globalization, coupled with advances in communication technology, allows us to observe similar processes around the world, engendered by common causes. The fieldwork, as mentioned above, was realized on two socio - culturally different sites, one in Colombia, the other one in France. These two sites were treated as a single multi-local fieldwork, and their combined information enriched our analysis.
Before proceeding to the descriptive part of the conducted ethnographic research, the document evokes theories and previous experiences which allowed us to recognize the difference between monetary experiments and multilateral trading systems or devices using a centralized accounting unit to facilitate the exchanges. The production and the consumption are stimulated by a type of exchange that is complementary to the official currency and allows multilateral transactions.
Considering the variety of alternative systems in the exchange market, a choice was necessary to determine, who would be the object of the fieldwork. The initiatives selected for direct observation were the Colombian multi-barter fairs and the French systems of local exchange (SEL).
Both monographs describe the progress of investigations in Colombia and in France, as well as the resulting reports.
It seems that, apart from the economic reason for exchanging goods and services without being subject to the use of money, which is an end in itself, those who take part in such experiences of microeconomics find a convenient environment to cultivate new social relationships.
The reasons for participating are numerous, but often aligned on common values such as trust, mutual aid, respect for the others, tolerance or solidarity, which all contribute to transform these gatherings into spaces mean to create social links favourable to the emergence of the modern gift. This theory was developed and updated by Jacques T. Godbout, Alain Caillé and the members of the Anti-Utilitarian Movement in Social Science -M.A.U.S.S.-.
Doctorat en sciences sociales, Orientation anthropologie
info:eu-repo/semantics/nonPublished
Bordeleau, Lilianne. "Le blanchiment de l'apparence : enjeux identitaires et pratiques corporelles dans un contexte contemporain : étude chez des femmes d'origine haïtienne de Montréal." Thesis, Université Laval, 2012. http://www.theses.ulaval.ca/2012/29069/29069.pdf.
Повний текст джерелаTeffahi, Abdellah. "Pour une anthropologie philosophique contemporaine." Thesis, Reims, 2011. http://www.theses.fr/2011REIML002/document.
Повний текст джерелаThe situation of man in the world raises the fundamental issue of the rapport between feeling and rationality, a dichotomy which transforms human action in history in positive or negative ways. However, the fact that feelings encompass a wide spectrum of emotional hues inherent to the human condition places affectivity at the core of reality. As affectivity manifets itself in the body as a psychosomatic experience, so it immerses the individual in a wish for being, in a search for hapiness and a desire for peace of mind and body. Yet in modern times, this desire to be no longer becomes a desire or enthusiasm for spiritual effort nor a striving toward wisdom and peace between men as a project for historical realisation; instead, the aim of mankind has become hapiness as the pursuit of pleasure and self-satisfaction
Fernandez, Quintana Anabel. "Le culte de María Lionza au Venezuela contemporain : mémoire collective et politique." Thesis, Paris Sciences et Lettres (ComUE), 2018. http://www.theses.fr/2018PSLEH025.
Повний текст джерелаThe cult of possession around María Lionza experienced a period of growth at the beginning of the twentieth century, when the heavy flow of migrants supplied not only the operation of the oilfields but also the urban spaces which, as the principal beneficiaries of the economic miracle created by the discovery of the “black gold”, underwent a dizzying process of modernization. This devotion to María Lionza, which originated in the north central region of Venezuela, was therefore strengthened in parallel with the rise of the rentier economic model and the erection of a centralised State determined to implement an ambitious programme of national unification in which the patriotic historiography, then broadly promoted by the authorities, was the driving force. Curiously, the great symbols of this republican cosmogony would gradually come to be found in the “spirit” centres (marialionceros) which flourished, especially in cities: thus, in the late 1950s, several historic figures (such as the Chief Guaicaipuro and the Liberator Simón Bolívar) were gradually integrated into the devotional altars, which were always ready to accept new entities. These characters, who came to be seen as divinities, communicate directly with the followers of the cult through mediums during the sacred trance ritual. This thesis examines the nature and sense of the interferences and possible overlaps between the representations of the past transmitted by the Venezuelan nation-state, and those promoted by the cult of María Lionza. Through an exploration of the mutations undergone by this religious devotion in the twentieth century, we examine the extraordinary capacity of this religious phenomenon to retrieve certain episodes of the past, from the Spanish Conquest and the Wars of Independence to the contradictory oil-based modernity. Within this approach, the notion of “collective memory” plays a central role, because this re-appropriation essentially presupposes the re-elaboration, in accordance with the political and economic crises which have shaken the country, of Venezuela’s history as seen in scholarly discourse. Starting with a field survey carried out at the most important pilgrimage site of the cult of María Lionza, the Sorte Mountain (Yaracuy state), we explain the threads of memory which have become intertwined and entangled in the cult over the course of the last two centuries, while offering a consideration of the new, sometimes completely unsuspected readings which they offer of the shared past. For this purpose, we offer firstly a detailed analysis of the sacred geography of Quibayo (Sorte Mountain) to demonstrate how the collected representations of previous times work in tandem with the historical periods of social tension whose coups and countercoups marked different generations of devotees. We then turn to the performative dimension of collective memory, by focusing on one of the most popular spiritual approaches, that of the Indians, and their staging of the principal ritual of collective possession, the “dance over coals”. Finally, we trace the recent development of the cult in this period of revolutionary fervour, and measure the impact of the powerful return of a nationalist ideology on this religious devotion
Le, Calvé Maxime. "Le Parsifal de Jonathan Meese : enquête ethnographique sur un projet de mise en scène contemporaine." Thesis, Paris Sciences et Lettres (ComUE), 2018. http://www.theses.fr/2018PSLEH114/document.
Повний текст джерелаThis doctoral dissertation interweaves the fields of anthropology of art and that of performance studies to examine the work of Jonathan Meese around the drama Parsifal. Through several ethnographic inquiries presented as a series of narratives and analysis, this monograph addresses the singular destiny of an artistic project that I followed in participant observation between 2014 and 2017: the conception of a staging for the opera Parsifal. This event allows the telling of the story of a paradoxical encounter between a contemporary artist, Jonathan Meese, born in 1970, and an artist of the past, Richard Wagner (1813-1883), two controversial polemicist creative figures in the Germany of their own times.The show was to take place in the 2016 edition of the Bayreuth Festival. The staging, with scenography and costumes, was designed by Meese and his team, and presented to the intendants. But the affair did not turn out as planned: they were not accepted for the Festival and the breach of contract was the occasion for a lively controversy. Yet the encounter took place, as a design process, in the performance of the artist, and brought forth another opera - the Mondparsifal - presented in Vienna and Berlin in 2017.Jonathan Meese holds an important position in the contemporary art landscape in Germany. A prolific visual artist, he has made his character the central medium of his work, by a permanent mise en abime of his position as a great artist, between romantic genius and art “brut”. He is famous for his provocative speeches - he proclaims the "dictatorship of art" and performs Hitler's salutes in an aesthetic influenced by the punk movement. Playing with the ambivalences of the Richard Wagner legacy, Meese brings into his work the figure of the Bayreuth master since the beginning of Wagner’s’ career – along with pop-culture figures and fairy-tales characters. The exploration of the stakes of his engagement by the Festival shows that the association of these two characters, by the strange resonance that it produces, has the potential to update a part of the heritage of Richard Wagner: the radical and total dimension of his controversial work. However, the ethnographic survey carried out among the Wagnerians, at the Richard-Wagner Circle of Paris and the Bayreuth Festival, shows that this heritage is the subject of a complex set of tensions that make renewal difficult. Personal concerns and long-established aesthetic musical values, discourses related to musical excellence, elitist worldliness and touristic convenience, favour a stiffening of public expectations.The first-person narrative of the staging's conception depicts the professional team struggling with the requirements of this encounter between contemporary art and musical drama. Significant divergences were observed as to how to proceed together on the "path" of creation - until the final presentation. I describe how the images of the staging emerge in the discussion space, how different media is used to let them evolve or to fix them temporarily. I show the cyclical evolution of the "versions" taken up at each session, as well as the skills of the collaborators of the artist in this effort of distributed cognition.Finally, I used ethnographic drawing to relate the rehearsals of the contemporary opera Mondparsifal. Through drawings, theoretical approaches, and ethnographic narrative this dissertation stays linked with the study of atmospheres as a central element in the account of the processes of creation. This interdisciplinary inquiry highlights the singularity of Jonathan Meese as an artist and theatre producer while engaging with larger questions about polemical creative processes
Diese Dissertation verbindet die Bereiche Anthropologie der Kunst und Performance Studies, um das Werk von Jonathan Meese um das Drama Parsifal zu untersuchen. Durch mehrere ethnografischen Untersuchungen, die als eine Reihe von Erzählungen und Analysen präsentiert werden, widmet sich die Monographie dem einzigartigen Schicksal eines künstlerischen Projekts, das ich zwischen 2014 und 2017 in teilnehmender Beobachtung verfolgt habe: die Konzeption einer Inszenierung für die Oper PARSIFAL. Dieses Ereignis ermöglicht die Narration der Geschichte einer paradoxen Begegnung zwischen einem zeitgenössischen Künstler, Jonathan Meese (Jahrgang 1970) und einem Künstler der Vergangenheit, Richard Wagner (1813-1883) - zwei umstrittene, polemische und schöpferische Figuren in Deutschland.Die Aufführung sollte 2016 im Rahmen der Bayreuther Festspiele stattfinden. Die Inszenierung mit Szenografie und Kostümen wurde von Meese und seinem Team entworfen und den Intendanten präsentiert. Aber die Sache lief nicht nach Plan: Sie wurden für das Festival nicht angenommen, der Vertragsbruch verursachte einen Skandal. Doch die Begebenheit fand als Entwurfsprozess und in einer Performance des Künstlers statt und brachte eine weitere Oper hervor - das MONDPARSIFAL -, das 2017 in Wien und Berlin aufgeführt wurde.Jonathan Meese nimmt eine wichtige Position in der zeitgenössischen Kunstlandschaft Deutschlands ein. Als bildender Künstler hat er seinen Charakter zum zentralen Medium seiner Arbeit gemacht, indem er seine Position als Künstler, zwischen romantischem Genie und der Art "brut", immer wieder hinterfragt. Er ist berühmt für seine provokanten Reden, proklamiert die "Diktatur der Kunst" und führt den Hitlergruß in einer von der Punk- Bewegung beeinflussten Ästhetik aus. Mit den Ambivalenzen des Richard-Wagner- Nachlasses spielend, bringt Meese die Figur des Bayreuther Meisters von Anfang an mit Popkulturfiguren und Märchenfiguren zusammen. Die Erforschung seines Auftrags bei den Bayreuther Festspiele zeigt, dass die Verbindung der beiden Charaktere, durch die besondere Resonanz, die sie erzeugt, das Potential hat, einen Teil des Erbes von Richard Wagner zu aktualisieren: die radikale und totale Dimension dieser kontroversen Arbeit. Die ethnografische Untersuchung der Wagnerianer, des Richard-Wagner-Verbandes in Paris und der Bayreuther Festspiele zeigt jedoch, dass dieses Erbe komplexe Spannungen erzeugt, die eine Erneuerung erschweren. Persönliche Anliegen und alteingesessene ästhetische Vorstellungen von Musik, Diskurse in Bezug auf musikalische Exzellenz, elitäre Weltläufigkeit und touristische Bequemlichkeit begünstigen eine Versteifung der öffentlichen Erwartungen.In der Erzählung des Konzeptionsprozesses wird das professionelle Team dargestellt, das sich mit der Begegnung zwischen zeitgenössischer Kunst und Musiktheater auseinandersetzt. Signifikante Konflikte wurden beobachtet, wie auf dem "Weg" der Schöpfung bis zur endgültigen Präsentation gemeinsam vorzugehen ist. Ich beschreibe, wie die Bilder der Inszenierung im Diskussionsraum entstehen, wie verschiedene Medien dazu benutzt werden, sich zu entwickeln oder temporär zu fixieren. Ich zeige die zyklische Entwicklung der "Versionen", die in jeder Sitzung aufgegriffen wurden, sowie die Fähigkeiten der Mitarbeiter des Künstlers in diesem Bemühen um verteilte Erkenntnis.Schließlich habe ich ethnografische Zeichnungen verwendet, um die Proben der zeitgenössische Oper MONDPARSIFAL zu erzählen. Durch Zeichnungen, theoretische Ansätze und ethnografische Narrationen ist die Dissertation mit dem Studium der Atmosphären als zentralem Element in der Darstellung der Schöpfungsprozesse verbunden. Diese interdisziplinäre Untersuchung beleuchtet die Einzigartigkeit von Jonathan Meese als Künstler und Theatermacher, und beschäftigt sich mit zentralen Fragen zu kreativen Prozessen
Deso, Gaëtan. "Entre émergence et affirmation de l’art contemporain au sein du Triangle Polynésien : étude comparée de la Polynésie française et d’Aotearoa – Nouvelle Zélande." Thesis, Montpellier 3, 2016. http://www.theses.fr/2016MON30067/document.
Повний текст джерелаThis PhD thesis, in contemporary Art History, aims to resituate Pacific contemporary art of French Polynesia and Aotearoa – New Zealand as much into their own history as international history. Through an Art History and Anthropological approach, the purpose of this research is to highlight the historical and artistic specificities of these two territories often paired up due to a common past. When the concept of international art is transposed and applied to Pacific islands, it appears ethnocentric and Western. The aim of this study is to show that contemporary societies, and thus also art, are the result of cultural hybridization. With a thorough examination of the emancipation attempts towards the Western model and postcolonial gaze, this research compares the positions of actors involved in the affirmation and integration of Oceania within the international art field
Rollot, Mathias. "Eléments vers une éthique de l'habitation." Thesis, Paris 8, 2016. http://www.theses.fr/2016PA080008/document.
Повний текст джерелаThe research aims at questioning the inhabitation philosophical idea in its critical contents. Beyond its binary reduction (inhabilitability : what would be inhabitable, and what may be un-inhabitable), it tries to shape more complex explainations of the different resistances to the inhabitations processes. To do so, the research first construct a dialogic structure of the « inhabitation » philosophical notion. Then, it put it in relation to the philosophical thinking of Günther Anders. Through the notions of conformisation, of « dividu », or the one of « familiarization », it wants to show how human inhabitation polarities can be difficult to realize in certains spatial configurations, with certains technological disposals, or inside certain societies or cultural structures. In all this, the study tries to establish a new reading of the complex relations that stands between architectures, inhabitations and responsabilities inside the liquid modernity we live in. Introduction of a larger « critical theory of milieus », it works at constructing a series of elements capable of representing inhabitation as a ethical value, as much as bringing the thinking to new potentialities. Sketching, in this way, contents and limits of what could be a paradoxal but also necessary inhabitation’s ethic
Boŝkoviḱ, Aleksandar. "Constructing gender in contemporary anthropology." Thesis, University of St Andrews, 1996. http://hdl.handle.net/10023/13183.
Повний текст джерелаOrtiz, Horacio. "Anthropologie politique de la finance contemporaine : évaluer, investir, innover." Phd thesis, Ecole des Hautes Etudes en Sciences Sociales (EHESS), 2008. http://tel.archives-ouvertes.fr/tel-00348712.
Повний текст джерелаEvaluer : l'évaluation financière se fait aujourd'hui en mobilisant une ontologie de la valeur financière qui définit les objets d'investissement, tels que les actions ou les dérivés de crédit, comme ayant une valeur intrinsèque, défini par le rapport libre et immédiat entre le sujet évaluateur et l'objet, une valeur relative, définie par la comparaison entre différents objets, et une valeur de marché, définie par l'acte de l'échange. Selon les philosophies libérales qui organisent cette ontologie, ces trois valeurs s'accordent lorsque le sujet est libre d'échanger, acte par lequel il se constitue comme sujet politique et moral libre. Dans la pratique quotidienne des analystes financiers, des vendeurs d'information financière, et des traders de Brokers Inc. et dans celle des gérants de fonds observés, ces approches de la valeur et la figure censée les réaliser définissent et légitiment les procédures d'évaluation et d'investissement. Elles organisent les différentes tâches professionnelles, les rapports commerciaux entre entreprises et les rapports entre professionnels au sein d'une même entreprise. La définition de la valeur par la finance contemporaine est ainsi le fait de salariés dans des organisations hiérarchisées, dont les procédures sont organisées par la figure de l'investisseur libre et de ses trois approches de la valeur. La légitimité du dispositif se retrouve dans la définition des tâches, alors que le sujet évaluateur, omniprésent comme figure, n'est incarné par personne.
Investir : le pouvoir d'évaluation de la finance contemporaine n'est tel que parce qu'il organise à son tour l'orientation de l'investissement, c'est-à-dire la distribution effective de ressources. La distribution de ressources par la finance contemporaine, notamment dans le cadre de la gestion de fonds pour tiers, se fait par l'achat et la vente d'actifs financiers selon les logiques de définition de la valeur décrites plus haut. Selon les philosophies politiques et morales libérales, l'échange effectué par le sujet libre, en ce qu'il permet une distribution des ressources plus efficiente, contribue à une « création de valeur ». Celle-ci était comprise, par tous les professionnels observés, comme le fait de générer des bénéfices pour ses clients, pour son employeur et pour soi-même. L'approche de l'investissement considérée comme « classique », dite de « buy and hold », implique de diversifier l'investissement en achetant des actifs selon leur valeur fondamentale et en les gardant sur le plus ou moins long terme. L'équipe de gestion d'Acme investissait l'argent de ses clients, notamment des entreprises d'assurance françaises, dans des dérivés de crédit issus notamment de la titrisation de prêts à la consommation aux Etats-Unis. Chaque acte d'achat d'un titre était ainsi une distribution de ressources globale, reliant financièrement des personnes très éloignées à travers des cadres juridiques multiples, comme par exemple des souscripteurs de polices d'assurance en France à des emprunteurs de crédits immobiliers aux Etats-Unis. Les logiques d'investissement, les droits et devoirs dans le contrat du dérivé de crédit (par exemple la distinction de « tranches ») et dans les taux d'intérêt que pouvait attendre l'« investisseur », étaient les règles quotidiennes cette distribution globale. A l'époque de mes observations, ces règles étaient en train de changer. L'approche de buy and hold perdait sa rentabilité, et l'équipe devait passer à des approches d'investissement à plus court terme et avec des transactions plus rapides, visant à profiter des variations des prix des actifs par rapport à leur valeur de marché. Ceci impliquait un positionnement différent dans l'imaginaire de la valeur financière, en mobilisant une approche de la valeur plutôt qu'une autre afin de continuer à en « créer ». Les différents rapports aux imaginaires financiers se retrouvent dans les tensions à travers lesquelles ces changements se sont opérés au sein de l'équipe observée. La distribution effective de ressources était ainsi organisée par des philosophies politiques et morales libérales selon lesquelles un sujet se réalisait comme libre en définissant et en créant de la valeur, mais ce sujet était distribué dans des procédures par rapport auxquelles les personnes avaient des rapports très divers, allant du rejet à l'adhésion en passant par l'indifférence. Les employés se positionnaient dans les rapports conflictuels au sein de l'entreprise en mobilisant les possibles multiples et limités organisés par ces imaginaires financiers.
Innover : les approches de l'investissement des hedge fund, dites « alternatives », se définissent de manière négative par le fait de ne pas suivre les préceptes de l'approche classique. Les membres de Hedge Consulting cherchaient à développer des manières d'évaluer et d'investir nouvelles, vendues comme telles à de potentiels clients, notamment des entreprises de gestion de fonds pour tiers. Leurs tentatives de définir un nouveau produit, une technique d'investissement innovante, étaient néanmoins cadrées par les imaginaires financiers décris plus hauts, définis par les philosophies politiques et morales libérales, que les membres de Hedge Consulting devaient mobiliser pour trouver des partenaires commerciaux et exister en tant qu'entreprise. Ainsi, ces imaginaires étaient la limite institutionnelle au changement dans les approches de la valeur et de l'investissement.
Les imaginaires financiers et les tâches professionnelles qu'ils organisent se retrouvent aujourd'hui dans toutes les entreprises qui constituent la finance contemporaine, dont les rapports financiers s'étendent sur le monde entier. Ces pratiques ont pour effet un accès très inégal au crédit. L'application des philosophies politiques et morales libérales de l'échange par des employés à travers de procédures contribue ainsi à constituer un espace politique global, dans lequel sont définis des droits et des devoirs, des possibles sociaux hiérarchisés dans la distribution globale de ressources.
Muscianisi, Véronique. "Les modalités d'incorporation des savoir-faire au Théâtre du Mouvement : l'apprentissage sensoriel de l'acteur au sein d'une compagnie de mime contemporain (Ile-de-France)." Electronic Thesis or Diss., Paris 8, 2015. http://www.theses.fr/2015PA080031.
Повний текст джерелаThis thesis proposes a study of the expertise within Théâtre du Mouvement, a contemporary mime company co-directed by Claire Heggen and Yves Marc in France. Based on performing arts studies, ethnology, as well as data in physiology and movement science, it specifically concerns the transmission of sensory skills. The first part presents the epistemological and methodological framework of the research, favoring a mode of micrological knowledge and an ethnographic approach. The second part deals successively with refining kinesthetic and proprioceptive sensitivities – insisting on a global self-knowledge and the incorporation of the principles of mime developed by Etienne Decroux (1898-1991) – visual and tactile sensitivities, highlighting the transmission of sensory expertise. Finally, the third part, through the portraits of three woman artists, experts from the company, postulates the sharing of a sensitive culture in the group of artists. This research is a contribution to the actor’s learning in “Arts du Mime et du Geste” in France today, as well as a contribution to an ethnography of sensory techniques and their transmission within performing arts
Di, Trani Antonella. "Le Ghetto de Venise, anthropologie contemporaine d’une ancienne enclave urbaine." Paris, EHESS, 2015. http://www.theses.fr/2015EHES0649.
Повний текст джерелаIn 1516, the Senate of the Republic of Venice instituted a forced relocation and consolidation of the Jews of the lagoon city. It persisted until 1797, when Napoleon brought down the gates of the Ghetto. The departure of some of the Jews to the city and the arrival of Christian city-dwellers to the old enclave progressively recomposed the population. By analyzing the processes at work in this location, this thesis first proposes a reexamination of the notion of Ghetto through the singular case of Venice. By bringing particular attention to the semantic trajectory of this word, caught between abusive usage and representation, this thesis aims at demonstrating how the different actors – Venetian Jews, Christian inhabitants, visitors and newly arrived Hassidic Jews – each update its signification with regards to the Ghetto’s original function and meaning. In what way is it still a ghetto since it has lost its coercive specificity? What relationship does the Venetian Jewish community, of which only thirty people still live in the ghetto, entertain with what they call their “historical reference location”? Previously neglected by urban policies, the Ghetto is now the subject of renewed interest from the city and above all from the local Jewish community. Confronted with its devitalization and the recent implantation of a new Hassidic Jewish community from the United States, the Venetian Jews are obliged to rethink their genealogical and current relationship with the Ghetto, which has become a place of social stakes implicating both its long history and its materiality. These different actors thus reclaim the ghetto through the construction of a specific discourse, distinctive usages of the public space and old historical limits. Depending on the perceptions they have of the place, different actors integrate these limits into the city’s economy or, on the contrary, they reclaim them by taking the ghetto out of its state of latency. The aim is to report the different modes of this recent reactivation of its history. If the Venetian Jews use the local past and their patrimonial resources to enhance or revitalize the Ghetto and to reaffirm their belonging to it, the newly arrived also intend to legitimize their presence in the place. Even if the latter are more destitute than the former because of their very recent relocation to the Ghetto, their community is more structured and active. The Ghetto thus becomes a place of power where each Jewish community mobilizes strategies to construct its visibility and represent Jewishness in this “emblematic” location. Its long history is also reactivated by Christian inhabitants mindful to preserve it as a place of daily life confronted with the possible missionary and tourist excesses of a Ghetto-to-be
Gabry-Thienpont, Séverine. "Anthropologie des musiques coptes en Égypte contemporaine : tradition, identité, patrimonialisation." Paris 10, 2013. http://www.theses.fr/2013PA100006.
Повний текст джерелаThis dissertation focuses on Egyptian Coptic Music in their anthropological, socio-political and historical dimensions, added to the fact that the Coptic community is a religious minority in Egypt nowadays. The first part will present the ethnography of a monastery from Upper Egypt, Dayr el-Moḥâreb, and the surrounding villages constituting the parish. It will describe the human context of musical practices. The second part will focuse on the repertoire’s liturgy and paraliturgy, before considering the different actual ways of transmission. The third part will study the evolution of Coptic Music since the 19th century through the influence of the Coptic Revival, and its consequences on the Coptic Music. Does, nowadays, Coptic Music fits in the line of ancient Egyptian civilisation as it is underlined in the discourses of the orientalists and musicologists, and in the identity rhetoric of the Copts? Can we speak about “Coptic Music” in plural including many cultural influences as Ancient Semitic, Greek, Arab and the West, especially during the 20th century?
Martin, Serge. "Langage et relation : Anthropologie du sujet amoureux et poésie contemporaine." Cergy-Pontoise, 2002. http://www.theses.fr/2002CERG0161.
Повний текст джерелаRelationship theories as "praxeology", "sociology of mediation", "aesthetic relationship" are nowadays compelling recognition. None of them though seems to follow the "theory of language" initiated by Saussure. My research seeks to think over the concept of relationship in and through language. The loving subject, as it appears in contemporary poetry, is my main object, but it confronts with various and even contradictory categories: "love", "poetry", "subject". On the first hand, I observe that in all fields relationship is thought of through oppositions of essentialist terms: same and other, presence and absence. Inbstead of repeating this dualism, I prefer to draw attention to the various and moving subjective relational rhythms, wich the poems invents to tell and make love in the same movement of speech: those relational systematics produce a continious loving language-body: an ever specific "relationship signifier". Then I observe the relationship-poem in each speech act, initiating an anthropology of relationship in order to rethink the links between poetics, politics an ethics, in threee inseparable domains of activity: language, society and love. The poem of language as relationship-subject is a loving force that opens unedingly new individual or social forms of subjectivation in the midst of discourse. I should say that poetics of relationship could try to give a meaning of it
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.
Повний текст джерелаPanhaleux, Frederic. "S'investir en religion. Chronique d'une enquête ethnographique dans le Morbihan." Thesis, Paris, EHESS, 2017. http://www.theses.fr/2017EHES0038/document.
Повний текст джерелаThis thesis presents, in the form of an ethnographic chronicle, the analysis of part of the survey carried out into the deanery and parish of Questembert, in the south-west of Morbihan in Bretagne, France. This study, conduced between 2003 and 2007, first consisted in an investigation about « acts of believing », empirical and simultaneously about our survey practices, on description and interpretation of ordinary religious activities.I tell the steps of such an interrogative course, the transformations of the definition of this research object « fleeing » and the extension of the scope of the investigation : from « belief » to « ordinary langage » to « action », and to dynamics of involvment into Church movements and parish activities and, jointly, dynamics of « taking charge » of one’s own faith – of a religious langage, prayer practices, etc.The gradual discovery of actual problems, of concrete motives and issues of commitment of my interlocutors, then allows to clear coordinates of a situation imbricating local and general issues : between « exculturation » (D. Hervieu-Léger) of catholicism, crisis and renewed efforts of parish mobilization and dynamism of actors and movements of traditionnal sensitivity under the Pontificate of John-Paul II then Benedict XVI, and tensions between protagonists of different spiritual sensitivities. The pastoral and militant enterprises observed, the interrelations sometimes conflictual between actors are part too of this context politicaly dominated by the right and of religious integration formerly important of the south-west of Morbihan, and of a municipal context of partisan antagonism then very marked. The analysis of actual dynamics of engagement and « take in charge » and those, passed, of trajectories imbricating family, professionnal or militant life leads us to highlight some of the recurring logics, the spiritual grounds and former social environments of catholic mobilization, and illuminate by contrast the difficulties observed.The evolutions of this research, from « belief » – « object not found » but leading to refine ethnographic descriptions – to dynamics of action and involvment, were accompagned with a critical feeback on my initial survey practice, inherited from objectivating and decontextualizing traditions in anthropology and sociology. The restitution of the stages of this route makes it possible to argue precisely the processual approach, articulated to action, and the form of writing that I reached. It makes it possible too to support a criticism of my initial practice in that it induces in particular blindness to action, in the strong sense, mainly here in the case of an entreprise combining religious and partisans issues at the heart of the parish environment
Mauderli, Laurence. "Atmosphères ressenties, formes empruntées : une lecture ethno-anthropologique et ontologique de l'oeuvre de Jasper Morrison." Thesis, Toulouse 2, 2016. http://www.theses.fr/2016TOU20001.
Повний текст джерелаThis research aims towards an ethno-anthropological and ontological reading of the work by the British designer Jasper Morrison.Linking an ethno-anthropological (André Leroi-Gourhan) and ontological perspective (Martin Heidegger) to Jasper Morrison’s production, that is furniture, objects, images and texts enables us to bring out something entirely new contributing in a significant way to our comprehension of this major figure of contemporary design. Not only does this thesis examine the tangibility of the ties between mind and material, between man, object and civilisation, but it also shows the extent to which the designer is connected to his context of existence, which he creates or recreates infinitely through design. In other words, this thesis, of interpretative structure, reveals the mechanics of Morrison’s practice, a practice which starts with a poetic-experimental approach, conditioned by the desire to liberate itself from the typological constraints, and evolves quickly towards an obvious respect of those very constraints. Morrison, this « new world constructor » who is obsessed by the concept of home, works towards a design which could be called “beyond visible” or, one which shows a tendency to blend into the panoply of shapes rather than detach itself from it. Indeed the designer, who is charmed by « artefacts without artists », attempts to get closer to these anonymous productions, trying to re-treat their substance and thus replaying Thoreauvian feelings in Walden. Finally, this thesis offers another new horizon towards the reading of Jasper Morrison’s production. It deals with the question of atmosphere as a line of approach and/or a prospective study by the designer whose production refers to a form of existential vigilance of man and consequently of the objet in our contemporary world