Suchergebnisse

Even though French as a Foreign Language was acknowledged as a science only in the late 1950's, its first fruits are to be sought in the post Second World War years, when a great renovation took place in the French cultural policy and the teaching of French. At the instigation of the Foreign Office, private protagonists of the French dissemination, international organisations for cultural cooperation (European Council and UNESCO), and newly independent francophone countries, is spread in that field the idea of an efficient, pragmatic and vivid French language, supplanting the one of a cultural language, which tended to ossify as well as the image of French civilisation itself. Nevertheless, far from opposing these two ideologies, the French as a Foreign Language field is going to try and conciliate them. Thanks to the exteritorialisation of French and to the interest for alterity that goes with it, francophony appears as the pragmatic and humanist melting-pot which revitalizes the universal messianic myth of French. ; Bien que la didactique du français langue étrangère ne soit reconnue comme telle qu'au début des années 1960, ses prémisses sont à chercher dans les années d'après-guerre, période d'une rénovation en profondeur de la politique culturelle française à l'extérieure et de l'enseignement de la langue, sous l'influence de nouvelles représentations de la langue française. À l'instigation conjointe du ministère des Affaires étrangères, des acteurs privés de la diffusion du français, des organisations de coopération culturelle internationale (Conseil de l'Europe et Unesco) et des pays francophones nouvellement indépendants, se répand dans le champ du FLE l'idéologie du français utile, pratique, courant – vivant, en somme – supplantant celle du français langue de culture qui tendait à se scléroser en même temps que l'image de la civilisation française. Pourtant, loin d'opposer ces deux idéologies linguistiques – français langue de culture / langue pratique – le champ du FLE va chercher à les concilier. Grâce ...

Even though French as a Foreign Language was acknowledged as a science only in the late 1950's, its first fruits are to be sought in the post Second World War years, when a great renovation took place in the French cultural policy and the teaching of French. At the instigation of the Foreign Office, private protagonists of the French dissemination, international organisations for cultural cooperation (European Council and UNESCO), and newly independent francophone countries, is spread in that field the idea of an efficient, pragmatic and vivid French language, supplanting the one of a cultural language, which tended to ossify as well as the image of French civilisation itself. Nevertheless, far from opposing these two ideologies, the French as a Foreign Language field is going to try and conciliate them. Thanks to the exteritorialisation of French and to the interest for alterity that goes with it, francophony appears as the pragmatic and humanist melting-pot which revitalizes the universal messianic myth of French. ; Bien que la didactique du français langue étrangère ne soit reconnue comme telle qu'au début des années 1960, ses prémisses sont à chercher dans les années d'après-guerre, période d'une rénovation en profondeur de la politique culturelle française à l'extérieure et de l'enseignement de la langue, sous l'influence de nouvelles représentations de la langue française. À l'instigation conjointe du ministère des Affaires étrangères, des acteurs privés de la diffusion du français, des organisations de coopération culturelle internationale (Conseil de l'Europe et Unesco) et des pays francophones nouvellement indépendants, se répand dans le champ du FLE l'idéologie du français utile, pratique, courant – vivant, en somme – supplantant celle du français langue de culture qui tendait à se scléroser en même temps que l'image de la civilisation française. Pourtant, loin d'opposer ces deux idéologies linguistiques – français langue de culture / langue pratique – le champ du FLE va chercher à les concilier. Grâce à la déterritorialisation du français et à l'ouverture à l'altérité linguistique qui la caractérise, la francophonie fait figure de creuset à la fois pragmatique et humaniste qui donne un souffle nouveau au mythe messianique et universel du français.

This dissertation intends to unveil the mecanisms of representation and influence on the domestic interior in installations from the 1950s onwards.It is about questioning reasons and meanings of the presence of 19th century patterns ( social levelling, distinction between domestic and public space, hoarding, promotion of the ornementation.) in contemporary practices. Furtheron, the dissertation tries to establish a typology of archetypal personae in contemporary works.19th century is not only the testimony of the rise of the interior and the standardization of social conventions but also aspring of artistic avant-gardes as well as political, industrial and social revolutions. However, when artists deal withdomestic interior they would rather refer to the conservative figure of the bourgeois and a regulated space. Consequently,has there been structural changes or modulations in the representation of interiors since the 19th century ? If so, do the forms used by these works have the same foundation as when the genre was created ?Through examples drawn from contemporary creation but also from curatorial and museographic practices, sociology, litterature or microhistory, we intend to find approaches in link with the issues raised by these works in order to present their variations and what they imply. A complete report is not intended in this dissertation.The visual art practice is directly related to the research topic. Anecdote is used as a lead because it offers an unprecedented access to historical facts, social changes, mechanisms of domination or cultural productions. It is thanks to its appearence in the interior through the decorative that this object is linked to the research topic. ; Cette thèse s'attache à mettre à jour les mécanismes de représentation et de réappropriation de l'intérieur domestiqueau sein des installations depuis les années 1950.Il s'agit de s'interroger quant aux raisons et significations de la présence de motifs hérités du XIXe siècle (nivellement social, distinction entre espace ...

This dissertation intends to unveil the mecanisms of representation and influence on the domestic interior in installations from the 1950s onwards.It is about questioning reasons and meanings of the presence of 19th century patterns ( social levelling, distinction between domestic and public space, hoarding, promotion of the ornementation.) in contemporary practices. Furtheron, the dissertation tries to establish a typology of archetypal personae in contemporary works.19th century is not only the testimony of the rise of the interior and the standardization of social conventions but also aspring of artistic avant-gardes as well as political, industrial and social revolutions. However, when artists deal withdomestic interior they would rather refer to the conservative figure of the bourgeois and a regulated space. Consequently,has there been structural changes or modulations in the representation of interiors since the 19th century ? If so, do the forms used by these works have the same foundation as when the genre was created ?Through examples drawn from contemporary creation but also from curatorial and museographic practices, sociology, litterature or microhistory, we intend to find approaches in link with the issues raised by these works in order to present their variations and what they imply. A complete report is not intended in this dissertation.The visual art practice is directly related to the research topic. Anecdote is used as a lead because it offers an unprecedented access to historical facts, social changes, mechanisms of domination or cultural productions. It is thanks to its appearence in the interior through the decorative that this object is linked to the research topic. ; Cette thèse s'attache à mettre à jour les mécanismes de représentation et de réappropriation de l'intérieur domestiqueau sein des installations depuis les années 1950.Il s'agit de s'interroger quant aux raisons et significations de la présence de motifs hérités du XIXe siècle (nivellement social, distinction entre espace domestique et public, mise-en-scène de soi, accumulation de biens, valorisation de l'ornementation. ), au sein de pratiques contemporaines. Plus loin, on cherche à établir une typologie de personae archétypales au sein des oeuvres contemporaines. Témoin de l'émergence de l'intérieur autant que de la normalisation des conventions sociales, le XIXe siècle est également le creuset des avants-gardes artistiques autant que des révolutions – politiques, industrielles, sociales. Pourtant, c'est vers la figure conservatrice du bourgeois et d'un espace très réglementé que se tournent les artistes lorsqu'ils choisissent de se réapproprier l'intérieur domestique. Dès lors, existe-t-il des changements structurels ou des modulations dans la représentation des intérieurs depuis le XIXe siècle ? Le cas échéant, les formes adoptées par ces oeuvres sont elles issues des mêmes sources que lors de la naissance du genre ?À travers un ensemble d'exemples empruntés au champ de la création contemporaine, mais également à ceux des pratiques curatoriales et muséographiques, de la sociologie, de la littérature ou de la micro-histoire, il s'agit de dresser des pistes de réflexion quant aux enjeux soulignés par ces réalisations, afin d'en présenter les variations et ce qu'elles induisent, hors d'un compte rendu exhaustif. La pratique plastique est partie liée du sujet de recherche, l'anecdote y est érigée en guide en ce qu'elle offre une liberté d'accès sans précédent aux faits historiques, transformations sociales, mécanismes de domination ou productions culturelles. C'est à son émergence au sein de l'intérieur par le décoratif que cet objet est afférent au sujet de recherche.

What do we learn when studying economic ideas through their impagination? In this dissertation, we take the stance that economic ideas are partially elaborated according to the specific logic of cultural industries: the economy is indeed represented through several means such as books, scientific papers, press articles, but also comic books, documentaries or paintings. Each of these formats has an impact on the production and consumption of economic ideas. This stance unfolds in three distinct research paths. First, the production and consumption of economic ideas are analysed as cultural practices bearing high profits of distinction. In post-WW2 France, economic knowledge has been central in claiming political legitimacy, as well as in individual and collective strategies to reinforce positions in the political space, public administration, private companies and academic institutions. Second, by focusing on cultural mediators – here, publishing companies – we show that there is no automatic relation between supply and demand of economic ideas: by working on that relation, publishers directly participate in the making of the cultural goods being traded (here, economic books), as well as they take part in the production of legitimate authors and readers of economic ideas. Most specifically, we show that publishers largely contributed in making economics the knowledge of "white collars" (the cadres), therefore participating in the affirmation of that social group. Finally, analysing the market of economic ideas enables us to shift our focus from an academic-centered approach of the history of economic ideas. Authors of economic books indeed form a multi-professional space, in which scholars neighbour high civil servants, business and political leaders. This dissertation hence initiates the cultural study of an "economic culture" which, by being opposed to "ideologies", constitutes a powerful means in legitimizing or contesting the social order. ; Qu'apprend-on en étudiant les idées économiques au prisme de leur « mise en livre » ? On prend le pari dans cette thèse que les idées économiques sont, au moins partiellement, élaborées dans le cadre d'industries culturelles ayant leur logique propre : l'économie est représentée dans des livres, dans des articles scientifiques et de presse, mais aussi dans des films documentaires, des bandes-dessinées, ou encore des œuvres d'art… autant de formats porteurs d'effets sur la production et la consommation des idées économiques. Ce pari a été décliné en trois pistes de recherche. Premièrement, l'étude du marché du livre d'économie depuis 1945 permet d'aborder la production et la consommation des idées économiques comme des pratiques culturelles à forte valeur distinctive, centrale dans la revendication de la « compétence économique» et dans les stratégies individuelles ou collectives de renforcement des positions occupées dans différents espaces, comme l'enseignement supérieur, l'entreprise, l'administration, ou dans le champ politique. Ensuite, en nous focalisant sur les «intermédiaires», ici les éditeurs, on montre qu'il n'y a pas de relation automatique entre offre et demande d'idées économiques : en travaillant à cette mise en relation, les éditeurs participent à la désignation des producteurs et des consommateurs légitimes des idées économiques et dans le même temps, dans la fabrication des biens échangés. On montre notamment que les éditeurs contribuent à faire de l'économie un savoir de «cadres», participant en ce sens à l'affirmation de ce groupe social. Enfin, l'entrée par le marché déplace le regard par rapport aux approches académico-centrées qui assimilent histoire des idées économiques et histoire de la science économique. L'espace des auteurs de livres d'économie apparaît en ce sens comme multi-professionnels et irréductible aux seuls producteurs académiques. Dans son ensemble, cette thèse amorce l'étude historique d'une «culture économique», qui, en se constituant contre les «idéologies», c'est-à-dire les croyances infondées et profanes, constitue un puissant instrument de légitimation ou de contestation de l'ordre social.

The Nigerian era sees the development of a set of original, corporatist professional organisations, framing professional groups defined by specialised competence and university level diploma, mobilised in support of the national development project. These 'professional unions' are sometimes seen as the heirs of Ottoman corporations. The purpose of this article is to question some theoretical interpretations that have been proposed, based on universal models, and to show the value of an approach inspired by socio-history and the work of Sewell, mindful of the persistence of idiomes through breaks in history. ; International audience The Nasser era saw the development of a number of professional organizations for occupational groups defined by specialized skills and university degrees, and mobilized for the national development project. A favorite object of study for political scientists, these "professional unions" are sometimes regarded as distant heirs of Ottoman guilds. The study focuses on the examination of theoretical interpretations, based on models with universalizing ambitions, and aims at demonstrating the value of an approach inspired by social history and Sewell's work, which takes into account the persistence of idioms through historical discontinuities. ; The Nigerian era sees the development of a set of original, corporatist professional organisations, framing professional groups defined by specialised competence and university level diploma, mobilised in support of the national development project. These 'professional unions' are sometimes seen as the heirs of Ottoman corporations. The purpose of this article is to question some theoretical interpretations that have been proposed, based on universal models, and to show the value of an approach inspired by socio-history and the work of Sewell, mindful of the persistence of idiomes through breaks in history. ; L'époque nassérienne voit le développement d'un ensemble d'organisations professionnelles originales, de type corporatiste, encadrant des ...

This study describes the German film market in Moselle during the annexation of the department to Nazi Germany. It analyses the local politics of cinema put in place by the new authorities (part 1), the programming of films (part 2), their circulation and their consumption by the spectators (part 3). Focusing on an anthropological approach to the cinema, it attempts to question the effectiveness of the mechanisms of cultural hegemony that are not reduced to political manipulation, nor to the implicit presentation of a worldview. The focus is on pleasure as the driving force of aesthetic behaviour and the expression of a shared sensibility.From July 1940, the cinema is completely "Germanized": the organisation of the film industry is placed under the control of the NSDAP and the films (Deutsche Wochenschau, Kulturfilm and feature films) are all screened in German. However, the cinema remains the core activity of the annexation. Cinema attendance is significant, particularly because of the quality of films that were the best in Europe before the advent of Nazism. Market analysis also shows how few propaganda films, of the kind most readily associated with Nazi cinema were shown and that Germanic cultural entertainment focused predominantly on the most successful genres (such as musicals, melodramas, historical films) and on the reputation and beauty of famous celebrities (Viktor de Kowa, Marika Rökk, Viktor Staal, Viktor Rökk, etc.)The study of German films in annexed Moselle is essentially a study of the experience of the viewers, especially the youngest of them, whose memories we have been able to revive through oral surveys. The films are a way to have fun, of escaping a coercive and repressive daily life, and the social tensions inherent in society at the time. This appropriation of film is aimed at neutralising the more dangerous ideological ideas, and the profound attachment of viewers to the German cinema in general. The gratification continues because it is the subject of exchanges, discussions, sharing. ...

This study describes the German film market in Moselle during the annexation of the department to Nazi Germany. It analyses the local politics of cinema put in place by the new authorities (part 1), the programming of films (part 2), their circulation and their consumption by the spectators (part 3). Focusing on an anthropological approach to the cinema, it attempts to question the effectiveness of the mechanisms of cultural hegemony that are not reduced to political manipulation, nor to the implicit presentation of a worldview. The focus is on pleasure as the driving force of aesthetic behaviour and the expression of a shared sensibility.From July 1940, the cinema is completely "Germanized": the organisation of the film industry is placed under the control of the NSDAP and the films (Deutsche Wochenschau, Kulturfilm and feature films) are all screened in German. However, the cinema remains the core activity of the annexation. Cinema attendance is significant, particularly because of the quality of films that were the best in Europe before the advent of Nazism. Market analysis also shows how few propaganda films, of the kind most readily associated with Nazi cinema were shown and that Germanic cultural entertainment focused predominantly on the most successful genres (such as musicals, melodramas, historical films) and on the reputation and beauty of famous celebrities (Viktor de Kowa, Marika Rökk, Viktor Staal, Viktor Rökk, etc.)The study of German films in annexed Moselle is essentially a study of the experience of the viewers, especially the youngest of them, whose memories we have been able to revive through oral surveys. The films are a way to have fun, of escaping a coercive and repressive daily life, and the social tensions inherent in society at the time. This appropriation of film is aimed at neutralising the more dangerous ideological ideas, and the profound attachment of viewers to the German cinema in general. The gratification continues because it is the subject of exchanges, discussions, sharing. ...

What do we learn when studying economic ideas through their impagination? In this dissertation, we take the stance that economic ideas are partially elaborated according to the specific logic of cultural industries: the economy is indeed represented through several means such as books, scientific papers, press articles, but also comic books, documentaries or paintings. Each of these formats has an impact on the production and consumption of economic ideas. This stance unfolds in three distinct research paths. First, the production and consumption of economic ideas are analysed as cultural practices bearing high profits of distinction. In post-WW2 France, economic knowledge has been central in claiming political legitimacy, as well as in individual and collective strategies to reinforce positions in the political space, public administration, private companies and academic institutions. Second, by focusing on cultural mediators – here, publishing companies – we show that there is no automatic relation between supply and demand of economic ideas: by working on that relation, publishers directly participate in the making of the cultural goods being traded (here, economic books), as well as they take part in the production of legitimate authors and readers of economic ideas. Most specifically, we show that publishers largely contributed in making economics the knowledge of "white collars" (the cadres), therefore participating in the affirmation of that social group. Finally, analysing the market of economic ideas enables us to shift our focus from an academic-centered approach of the history of economic ideas. Authors of economic books indeed form a multi-professional space, in which scholars neighbour high civil servants, business and political leaders. This dissertation hence initiates the cultural study of an "economic culture" which, by being opposed to "ideologies", constitutes a powerful means in legitimizing or contesting the social order. ; Qu'apprend-on en étudiant les idées économiques au prisme de leur « ...

The thesis studies ski resorts planned and built at high altitude after the Second World War in the Franco-Italian Alps.The two national contexts, different for economic history, politics and geographical location, now share similar problems, which look to the future of a tourism model based on mass attendance, long stays and an offer concentrated around skiing. Indeed, climatic hazards, changes in the modes and times of tourist use, ageing of structures and infrastructures, are only some of the challenges which these places are facing today. Several researchers from various disciplines then suggested that the station could be rethought in continuity with the territory, the latter included in its economic, geographical or administrative nature.The research aims at investigating these questions in the field of architecture and through a historical study. By questioning the relationships established between the station and the territory (in its spatial, environmental and landscape components) during the design, construction and evolution process, the wish is to go beyond a reading of high mountain tourist establishments as decontextualized objects.Working on the spatial coordinate of the territory, we formulate the hypothesis that the establishment of winter sports resorts has led to large-scale transformations, and that, at the same time, the environmental, historical, economic and geomorphological characteristics of the sites concerned have played an active role in the design and construction process.Working on the temporal coordinate of the territory, we assume that the history of the winter sports resorts built in the 1960s and 1970s is only one step in the long process of transforming high-altitude sites for tourism. In this perspective, the history of activities preceding tourism, located in the same places, plays a decisive role.We rely on a method developed by environmental historians such as William Cronon, who considers the history of a territory as the result of interactions between human actions and natural data over a long period of time. The work is carried out through the study of four cases: Pila and Sansicario, in the Italian Alps; Chamrousse and La Plagne in the French Alps. We mobilize a corpus mainly constituted by documents belonging to different archival collections (local authorities, architects and urban planners, technicians), which we process by analyzing textual, graphic and cartographic documents, as well as by re-drawing and constructing chronosystem systemic timelines.In addition to give a contribution to the understanding of the history of tourism development in high mountain areas, we hope, through this work, to contribute to the debate on the methodological issues of research in the history of architecture. ; La thèse étudie les stations de sports d'hiver planifiées et construites en haute altitude après la Seconde Guerre mondiale dans les Alpes franco-italiennes.Les deux contextes nationaux, différents du fait de leurs histoires économiques, politiques et situations géographiques, partagent aujourd'hui des problèmes similaires. Ceux-ci concernent le futur d'un modèle touristique basé sur une fréquentation massive, de longs séjours et une offre concentrée autour de la pratique du ski. En effet, l'aléa climatique, le changement dans les modes et les temps de la fréquentation touristique, le vieillissement des structures et infrastructures, représentent seulement une partie des enjeux auxquels ces lieux se confrontent. Plusieurs chercheurs provenant de diverses disciplines suggèrent alors de repenser la station comme étant en continuité avec le territoire d'implantation, ce dernier compris dans sa nature économique, géographique ou administrative.La recherche, menée dans le domaine de l'architecture, souhaite contribuer à la réflexion autour de ces questionnements par une étude historique. En interrogeant les relations établies entre la station et le territoire (dans ses composantes spatiales, environnementales, paysagères), durant le processus de conception, de construction et d'évolution, nous souhaitons aller au-delà d'une lecture des établissements touristiques de haute montagne considérés comme des objets décontextualisés.En nous appuyant sur la coordonnée spatiale du territoire, nous formulons l'hypothèse que l'implantation des stations de sports d'hiver a entrainé des transformations à grande échelle, et que, en même temps, les caractères environnementaux, historiques, économiques, géomorphologiques des sites concernés ont joué un rôle actif dans le processus de conception et construction.À partir de la coordonnée temporelle du territoire, nous supposons que l'histoire des stations de sports d'hiver construites dans les années 1960 et 1970 n'est qu'une étape dans le processus long de transformation touristique des sites de haute altitude. Dans cette perspective, l'histoire des activités précédentes au tourisme, implantées sur les mêmes lieux, joue un rôle décisif.Le travail se déroule à travers l'étude de quatre cas : Pila et Sansicario, dans les Alpes italiennes ; Chamrousse et La Plagne dans les Alpes françaises. Pour cela, nous nous appuyons sur une méthode mise en place par les historiens de l'environnement, tels que William Cronon, qui considèrent l'histoire d'un territoire comme le résultat des interactions entre activités humaines et données naturelles, sur un temps long. Nous mobilisons un corpus principalement constitué de documents appartenant à différents fonds d'archives (des collectivités territoriales, des architectes et urbanistes, des techniciens), que nous traitons par l'analyse de documents textuels, graphiques et cartographiques qui le composent, ainsi que par le re-dessin et la construction de frises chrono-systémiques.Au-delà de contribuer à la compréhension de l'histoire de la mise en tourisme des territoires de haute montagne nous souhaitons, par ce travail, participer à la réflexion autour des enjeux méthodologiques de la recherche en histoire de l'architecture.