Дисертації з теми "Culture populaire – France – 1990-2020"
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Pattieu, Sylvain. "Mouvement syndical et tourisme populaire en France (1945 – années 1980) : le cas de "Tourisme et travail"." Paris 8, 2007. http://www.theses.fr/2007PA083724.
The confluence of French trade union confederation and tourism through social tourism associations linked to them was part of the instauration of a wage-earning society that reached its peak during “les Trente Glorieuses”, the thirty-year boom period after World War II. From 1945 on to the 1980s, to meet the new needs of the workers, trade unions set up a system of association-based holyday organisation, in a form influenced by the experience of Tourisme et Travail, closely linked to CGT. They tried to assign tourism a meaning beyond a mere leisure activity and in collaboration with elected workers’ councils, endowed themselves with installations and equipments in France and abroad; in this undertaking, they were supported by growing investments of public authorities. A small militant elite coming from trade unions specialised in tourism and was in charge with providing nominal earnings to its working-class users. Acting both as service providers and protest movements, at the crossroads between trade-unionism and the tourism market, these associations had to manage the contradictions between the initial project of popular education and re-appropriation by users. In the 1980s, changes in the social, political and economical situation led to serious difficulties. Enjoined to choose between a cultural project – at the expense of a social concern – and their role in assisting the poorest, associations had to give up their objectives of popular education. Tourisme et travail, going bankrupt, turned into a commercial company. The market, in the context of social or solidarity economy, then represented a way to change activity for individuals or organisations coming from the trade union movement and social tourism
Bazin, Maëlle. "Dessiner la liberté d'expression face au terrorisme : sémiotique et sociologie des pratiques graphiques en hommage aux victimes des attentats de « Charlie Hebdo » (France, janvier 2015)." Electronic Thesis or Diss., Université Paris-Panthéon-Assas, 2023. http://www.theses.fr/2023ASSA0078.
Combining contributions from the semiotics of images, the anthropology of the written word and media studies, this research focuses on a corpus of several hundred drawings produced in response to the Islamist terrorist attacks of January 2015 in the Île-de-France region. It establishes the extent to which the drawing, as an auxiliary and subject of discourse of popular mobilisations, constitutes a vector of cohesion between French people. The first part of the thesis shows how the attacks of January 2015 constitute a pivotal moment in remembrance practices in France and explains the connections and originality of this doctoral research. Following on from work on the sociology of the attacks, this thesis focuses primarily on the visual dimension of the messages, an aspect that has been little explored until now. The second part examines the media treatment of the attacks, looking at how the framing of an attack on freedom of expression affects the ways in which the French press and television engage the public. The third part analyses a large amount of empirical material from a number of French public and private archives. It takes account of the plurality of graphic practices and forms of politicization in three specific communication devices: ephemeral memorials in three provincial towns, walls in the capital and letters sent to the editorial staff of Charlie Hebdo
Sayegh, Pascal. "Nationalism as a s social imaginary : negotiations of social signification (dis) integrating discourses in Britain, France and Poland." Thesis, Lyon 3, 2011. http://www.theses.fr/2011LYO30010/document.
Since 1989, nationalism has once again become a major discursive theme in European public and political spaces. Nationalism has thus become “banalised” (according to Michael Billig), relegating the complexities of social histories to mere cultural ‘Others’. The common origin of the resulting social and symbolical tensions can be found in the promotion of State-centred nationalist discourses. The dominant discourse on national identity aims for the reproduction of a continuity of traditional national values and histories in reaction to the threat it perceives in the presence of multiple ‘Others’. This transversal study presents a social-historical analysis of the endurance of national imaginaries and of the modern paradigm of exclusion they reproduce. By elaborating a theoretical framework as an open system (Edgar Morin) to make sense of the complex relations between texts, ideology and the social imaginary, the aim of the thesis is the analysis of the dynamic symbolic promotion, expression and contestation – negotiations of social signification – of national imaginaries. Basing on the study of texts expressing these negotiations, the formation and consolidation of British, French and Polish national imaginaries in the late modern period is articulated through this framework. The analysis then focuses on mainstream political discourses in Britain, France and Poland between 2004 and 2009 which is contrasted with the analysis of contemporary texts of popular culture
Etiemble, Angélina. "Familles et filles marocaines à Rennes : enjeux et jeux de miroirs : ethnicité et culture." Rennes 2, 2002. http://www.theses.fr/2002REN20013.
The Moroccans are the most important foreign group in Rennes. Located in circumscribed enough sectors of the city, their sociability show a real community life, often felt as in a heavy burden by the girls. They know a family socialization which is largely "ethnicized" by the first generation, mothers especially in charge for their well-educated. In the migratory context, the parental injunctions concerning respect of the "marocanity" ("In our country, the Moraccan women act in such and such way", "You are not a Frenchwoman") draw the "internal" face of the Moroccan ethnicity, while the stereotypes of the French society related to the "Arab" girls (or "Muslim women", "North African women") constitute the "external" face of it. Defining themselves as Moroccan women descendants of immigrants are keen through their behaviour to show conformity with the family standards and values. This is particularly obvious in the field of "exits", leisure, practice of "Islam" or "choice of the spouse". But the fieldwork and the interviews with theses girls provide more informations on their ethnicity : it is built following the "double ascription" principle, on the one hand, the parents'directives and, on the other hand, the French society (girls "locked up", "submissive", "married by force" or, on the contrary, "in rebellion"). Firstly their constant references to "modern" Morocco (more permissive than "traditional" Moroccan immigrants) enable them to legitimate their "misconducts" without betraying their membership of a minority society. Secondly, when confronted to stigmatizing stereotypes of the majority society on the importance of Islam and marriage in their life, they refuse either to reject their families values or to support them and, finally, they adopt an "emotional" register ("the respect due to their parents", "the protection of their honour") to solve this dilemma
Rakotonoelina, Florimond. "Un modele d'analyse linguistique des representations des cultures a partir des textes de la culture informatique (presse et manuels)." Paris 3, 2000. http://www.theses.fr/2000PA030169.
Montillet, Louis. "Jean Vilar, de la tradition théâtrale à l'utopie nécessaire : contribution à l'étude de la pensée de Vilar conduite à la lumière de ses textes." Thesis, Bordeaux 3, 2014. http://www.theses.fr/2014BOR3ET01/document.
The image of the man of the theatre Jean VILAR remains quite reductive today. It can besummed up in two words: Avignon, TNP. The study aims erasing this caricature, it tries to recover VILAR’s course in full: getting out of the legend and back to history. Training, influences, hesitations, deadlocks, difficulties all along his way before he met the theatre. In other words, revealing the itinerary of a man and not a mere icon. An itinerary as well, that of the practitioner and of the thought that grew out of a twenty five years’ career in theatrical work. Within the three components he considers as the very main points of his art – repertoire, creation, audience – does VILAR display a univocal thought or on the contrary does he let one have an inkling of breakings or even of contradictions? Led from his texts – both written and oral – published or unpublished, the study shows a VILAR who is much more complex than the image that remains of him allows one to suspect. Sometimes rather difficult to grasp, built up on doubts and certitudes, ill-being and self-assurance, shyness and pride, failures and successes, such is the man who left an indelible mark on the theatre of the middle of the twentieth century
Lechaux, Bleuwenn. "Scènes et répertoires des engagements des mondes du théâtre : une comparaison New York-Paris." Rennes 1, 2011. http://www.theses.fr/2011REN1G037.
This research deals with theatre professionals’ involvements in political causes, in France and the United States (mainly Paris and New York), specifically since the 1990s. Our main argument consists in demonstrating that the involvements of theatre artists are professionally structured. This questioning enables us to cast light both on involvements through the prism of theatre professions, and on theatre professions through the prism of involvements. The thesis aims to demonstrate that the types (« professional », « peri-professional », « extra-professional »), the modalities (individual, collective) and the forms of involvements (petition, artistic street action, « activist » play, « political » play) can be explored through the lens of the double positioning of artists, both in the theatre field (professional hierarchies, differentiated systems of legitimization and artistic recognition, etc. ), and within their artistic career (beginning of career, « ascending career », well-established career). By inviting analysis of transversal and idiosyncratic realities, comparative research enables us to put theoretical hypotheses to the test, and, thereby, makes possible the transition from a descriptive to an analytical point of view. The architecture of the thesis combines the dimensions of the professional structuration of involvement in different ways : first, the macro-structural level, both historic and spatial (part I) ; then, the level of trajectories and professional and involvement careers (part II) ; and finally, the level of the artistic forms of involvement (part III)
Tannouri, Fadi. "La communauté libanaise en France, diversité ethnique et adaptation." Paris 5, 2000. http://www.theses.fr/2000PA05H050.
Gosselin, Ronald. "Les almanachs républicains : traditions révolutionnaires et culture politique des couches populaires de Paris (1840-1851)." Doctoral thesis, Université Laval, 1990. http://hdl.handle.net/20.500.11794/17628.
Georges, Pierre-Marie. "Ancrage et circulation des pratiques artistiques en milieu rural : des dynamiques culturelles qui redessinent les ruralités contemporaines." Thesis, Lyon, 2017. http://www.theses.fr/2017LYSE2156/document.
By drawing attention to new objects and actors, artistic practices are a fruitful entry point for rethinking current dynamics of French rural life. This thesis interrogates cultural development in relation to recent social and institutional changes in rural areas, without isolating such areas from social relations or the geographical spaces that underlie them. If culture appears as a distinction argument in a context of territorial competition, it intersects with a residential logic and an openness of rural actors to the cultural field. This, in turn, can initiate dynamic interactions with artists and various professionals. Such “creatives,” always on the search for new living and working spaces, are increasingly moving to rural areas, where they cooperate with the latter’s respective associations and amateur practices. Thus, contrary to a sectoral methodology, we consider this topic with a multipolar approach of culture, in order to understand how artistic actors distinguish territories, and how these territories become, in return, renewed living spaces. To overcome the usual boundaries of local development, we have chosen to put forward the multiple scales of rurality by considering artists as actors in motion, who play with various territorial resources. The microsocial approach makes here possible to think the local in its interfaces, its networks and its mobilities. And this return to the site shows the impact that artists can have on the definition of rurality itself, thus engaging to a broader reflection on the status of rural space in society. One of the originalities of this thesis is to use a qualitative method centered on artists’ analyses of their own positioning and strategies, vis- à-vis contemporary transformations of knowledge, spaces and creative practices in rural areas. Through an approach that correlates rural contexts and scales of analysis, this thesis shows the role of art spaces in the rural fabric and the way they contribute to the emergence of new articulations between rural areas and metropoles
Glas, Marjorie. "De l'animateur au créateur, du profane au sacré : socio-histoire du théâtre public français 1945-1990." Paris, EHESS, 2016. https://hal.science/tel-01519838.
State intervention in theatrical matters is historically based on the social role played by the "popular theatre" after the second world war. In a context of aesthetic transformations and growing institutionalization, the social function of theatre is objectified in the category of a "public theatre" which is differentiated from the merchant one. Through the analysis of the trajectory of the signers of the Declaration of Villeurbanne in 1968, deemed to have introduced the power to creators in the theatrical field, this thesis questions the social role of theater in a socio-historical perspective. The terms of the engagement with the theatrical field in the social world are analyzed through differnte practices revealing the relation of theatre with the society: the widening of the audience and the coming of new viewers, the constitution of a specific directory, and artists' positions in the public debate are all significant. Correlated to the process of professionalization and institutionalization which crosses the field, the analysis of the evolution of these practices emphasizes the progressive demonetization of the social function of the theater between 1945 and the most recent period. This is especially visible through the establishment of two central figures in the theatrical field, the director and the "programmateur", to the detriment of the cultural leader (the "animateur"). The refocusing of activities on artistic issues contributes to a growing distinction between aesthetic innovation and activities devoted to the relation with the audience. This opposition is objectified by the authorities and contributes to a disqualification of the audience in the process of consecration. The political issue, which originally founded the public theater category, is gradually reinvested in the perspective of an intrinsically emancipatory art
Mansier, Thomas. "Identité du rock et presse spécialisée : évolution d'une culture et de son discours critique dans les magazines français des années 90." Lyon 2, 2004. http://theses.univ-lyon2.fr/documents/lyon2/2004/mansier_t.
The french rock press of the Nineties remains attached to the mediation (resulting from the Sixties and Seventies) rock - rebellion of the youth. But this music is not any more exclusively appreciated by the young people (who often prefer other styles, while the former young people claim their right to appreciate it) and appears increasingly subjected to economic logics (thus far away from the original counter-cultural positions). This forces the writers to open their comprehension of rock and youth to new definitions more in agreement with the time : acceptance of the electronic music, ageing in the rock, etc. Besides this transformation of their subject of analysis, the journalists are confronted with another difficulty : this type of publications is above all an identity press, that the public purchase to find reference marks. The specialized press must convince its readers that precedings definitions (musical, but also sociocultural) that it used to diffuse must be questionned. This more especially as, at the end of the decade, the appearance of new technologies (democratization of the CD copy, downloads on the Internet) imposes a public discussion on the cost of musical creation, therefore a more significant media coverage of its economic requirements. This research work is structured around the analysis of the discursive arguments employed by the specialized journalists to give media coverage to this rock's change of identity
Agar, Bruno. "La force du religieux et du politique chez Madonna. Une approche de son expression à partir de ses trois documentaires : Madonna, Truth or Dare, 1991 ; I'm Going to Tell You a Secret, 2005 ; I Am Because We Are, 2008." Thesis, Université Paris-Saclay (ComUE), 2016. http://www.theses.fr/2016SACLE060/document.
This dissertation deals with the ways in which the contemporary popular culture uses concepts and tools coming from religion and politics in order to exert some influence on our society. The length of American singer Madonna’s career makes her decades-long artistic expression a privileged locus where such concepts can be grasped and analysed, starting in the 1990’s. This provides the opportunity to better understand the means of expression in our contemporary world, together with what is at stake in popular culture
Budin, Noémie. "La Représentation du Petit Peuple dans la littérature francophone contemporaine pour adolescents : tradition et renouvellement féeriques depuis 1992." Thesis, Université de Lorraine, 2016. http://www.theses.fr/2016LORR0278/document.
The core issue of this PhD thesis is the Faerie People (Fairies, Elves, Goblins, etc.) who originate from traditional folklore and pagan beliefs. Although this imaginary world was forsaken in the 19th century by a French literature which did not consider it as a serious topic, the growth of a new children literature in the 20th century has allowed a revival of the allegorical nature of these characters for entertaining purposes. It is necessary to demonstrate how the Faerie People is identified, described and used in a corpus that comprises different media, such as novels, comics, cinema, television, and video games. Besides, it will be interesting to understand the different elements which explain the renewal of these ancient characters and its impact on our society.How do the contemporary artists choose to represent these magical characters in their works? What impact does such phenomenon have on cultures and media? What are the challenges of this revival for our society which no longer believes in these popular legends? All these questions are developed in this work.In a nutshell, the representation of the Faerie People in our contemporary imaginary corpus is the core issue of this thesis. Based on the revival of an ancestral tradition, this study is carried out from a cultural, literary, social, marketing, and historical perspective as it seems to reflect our society’s need to get to the roots of this imaginary world
Lecat-Ciarafoni, Ludivine. "Art, réseaux et pouvoirs dans la culture : Réseaux artistiques et réseaux politiques sur la Côte d'Azur." Thesis, Nice, 2014. http://www.theses.fr/2014NICE2024/document.
Based on the study of social networks, we have observed how the interrelationships between the world of contemporary art and the politics in the establishment of cultural policies are numerous. Reform driven by the State from the 1980s has led to the creation of an institutional network become the cornerstone for the advancement of the careers of artists and undertaking the pre-existing merchant network. This upheaval brought the artists in the French Riviera to develop a strategy of seduction regarding to cultural leaders and local politicians, through to school education, openings, artists groups and associations.Only an ethnological investigation, based on conversation and ethnographic observations done during openings, press conference, more or less with formal meetings gave us a better comprehension about interaction between artists and politicians in one place: the French Riviera
Eghtesad, Soodeh. "Implications culturelles des pratiques d’évaluation dans les cours de langue étrangère : Le cas de l’Iran, de la France et des États-Unis." Thesis, Paris 3, 2011. http://www.theses.fr/2011PA030201.
Given the importance of assessment in the teaching and the learning of foreign languages, this dissertation aims at comparing and analyzing the assessment practices used in university-level foreign language classes in three countries: Iran, France and the United States. The goal of this research is not to valorize one of these countries’ educational systems, but to understand if the assessment practices used in these countries are universal or culturally specific and if specific, what social, political or economic realities are involved. For the completion of this study, a set of semi-directive comprehensive interviews were conducted with 48 language instructors (French, English and Persian languages) in these three countries. These interviews provided us with the representations of the participants of their assessment practices, which enabled us to establish four images that reflect the key concepts relating to assessment: these images were course objectives, assessment tools and practices, exam and instructors’ perception of (foreign) languages. Through a qualitative analysis of these interviews revealed that assessment practices in academic (university) settings were in part universal, due to their institutional contexts, which require the implementation of certain rules and regulations, as well as the elementary level of students involved in these assessment practices, which favored the use of the activities that lie in the inferior levels of the Bloom’s Taxonomy. At the same time, we also able to observe significant differences among the assessment practices used in these three countries, which raise from the specificities of these three cultures and education/teaching traditions, as well as the uses of the language in question, which depend on the political, economic, social and geographic situations of each of these three countries
Entraygues, Adeline. "La place des réseaux socionumériques dans la culture de l'information : pratiques prescrites scolaires et pratiques d'information informelles des jeunes dans le second degré." Thesis, Bordeaux 3, 2020. http://scd.u-bordeaux-montaigne.fr/these/acces_reserve.php.
The purpose of our research is to question the epistemological issues of information culture and the place of SNSs in a school context. Through the prism of prescribed and informal information practices on NSRs, the aim is to study how a multi-layered and stratified information culture is being formed.Juvenile information practices on SNSs, which are divided between sharing and searching for information and communication between peers, question the documentary pedagogy implemented by teacher-librarians, who are responsible, within the school, for Media and Information Education.What are the links between prescribed documentary practices and informal juvenile practices? How do teacher-prescribed documentary pedagogical practices influence juvenile informal information practices on SNSs? What forms for information culture centred around SNSs? To answer these questions, we have implemented a comprehensive methodology combining interviews and observations of sessions and mobilizing analysis of speeches and pedagogical documents. Through the prism of prescribed information learning, one can observe that an information culture is emerging that is moving towards a critical approach to information taking the form of operational and conceptual information literacy education and shaping a culture of information citizenship
Buduchev, Vitaly. "La fabrique médiatique des élections biélorusses : la lecture nationale de l’événement et les représentations transnationales à l’épreuve des dynamiques coopératives." Thesis, Sorbonne université, 2019. http://www.theses.fr/2019SORUL018.
This work focuses on the journalists from Russian and French daily newspapers who cover political events on the Belarussian territory. Their own national and transnational representations, are at the center of our questioning. The way their cooperative interactions elaborate the Russian and French audience's perception of the Belarusian elections is another aspect of this work. Their narrative, framed by each newspaper's editorial project for which they work is the third aspect this thesis explores.Our goal is to identify the common values that tie together the different actors of the world of information in Minsk, which is motivated by foreign reporters. Furthermore, we shed light on inner dynamics within the groups that take part in the mutual production of information, which create distinct communities that make up this world and are united around their own objectives, their own identities, and their own narrative. This is where the matter of borders between these communities lies and allows us to reveal the foreign reporters' team and the Belarusian dissident community. This work also interrogates the structures of both communities, the relationships between their respective members, their inner conventions, the relations between colleagues and individuals outside of the group. Finally, we explore the results of such cooperation, which are in line with the editorial projects of the Russian and French newspapers. Thus we analyze the expression of professional logistics on an editorial scale that transpires through the enunciation of the different press titles
Noesser, Cécile. "La résistible ascension du cinéma d’animation : Socio-genèse d’un cinéma-bis (1950-2010)." Thesis, Paris 3, 2013. http://www.theses.fr/2013PA030043.
Our thesis describes the aesthetic, economic and social path of the french animation movies.This socio-genesis focuses on the moment when it becomes an artistic field, reaching at theend a late recognition, which is still poorly informed. The first part makes the archeology ofits evolution, from the first independence conquest after war, to the setting out of a publicpolicy, which makes a heavy change on the animation landscape at the early 1980’s. In this context of impeded empowerment of the animation field, we will examine then the respective roles of the National Cinematography Center, the producers and the television channels, andthe new rules they introduce. We will finally highlight the impact of these operators, who judge and produce cinematographic quality, on the destiny of the artists ant their movies
Bondar, Nikolay. "Les enjeux géopolitiques de la diaspora : les communautés russes dans un nouveau contexte géopolitique." Electronic Thesis or Diss., Paris 8, 2022. http://www.theses.fr/2022PA080029.
The aim of this thesis is to study and analyze the main elements and factors that influence the geopolitical processes in the Russian diaspora. The development of this bipolar organism today is determined by local and global actors, as well as by their set of influence tools. In fact, major geopolitical players have important interests in Russian communities, especially in the geopolitical context of the new cold war. Russian communities are influenced by all these factors that constitute its bicepheral structure. It must be noted that intradiasporic collaboration appear all the more complex since both parties and the State powers behind them maintain conceptions and generate representations concerning the future form of existence of this community. The management of important migratory flows, particularly to Europe and the United States, attracts the attention of geopolitical actors who invest heavily in the development of soft power. But this geopolitical intention at the same time causes the division of the diaspora into several camps, each with its own political sensitivity, giving rise to a very cоmplеxе and heterogeneous structure of the Russian communities. It should be mentioned that between 1991 (the beginning of the last wave of Russian immigration) and 2019, following the intensification of the influence of soft power, took place the division between the two parties, the emergence of new actors and structural changes in the diaspora. This thesis studies the mechanism of segmentation or even division of a community into different entities, often antagonistic to each other, caused by soft power. The geopolitical study of this group will reveal its influence on internal and external geopolitics within cities that have great economic and political importance for France and the United States