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Culture is at the heart of the stategies of cities : it is an articulated resource of their urban, economical and social projects. This is how new models and concepts appear, promoting a position about its territorial virtues : cultural planning, the creative city, the cultural metropolis, the artistic district, etc. Culture is thus considered as an aspect of territorial development, which contributes to the "cultural sector" losing part of its autonomy. The changes in public cultural action are directly linked to the creation of governance modes that are based on a political logic of the territory. The conventional principles thus generated put the local actors and the former balance to the test. From the government of culture to the cultural governance of cities, we observe the process of emergence and institutionalisation of specific worlds of cooperation in Lille, Lyon, Saint-Etienne and Montreal. The point of this thesis is to contribute to the debate on the constitution of cities as collective actors ; La culture se retrouve au coeur de stratégies de villes comme ressource mobilisée et articulée au sein de projets urbains, économiques et sociaux. Ainsi de nouveaux modèles et concepts apparaissent-ils, véhiculant un discours sur ses vertus territoriales : le cultural planning, la ville créative, la métropole culturelle, le quartier artistique, etc. La culture est alors considérée comme une dimension du développement territorial, faisant perdre au « secteur culturel » une partie de son autonomie. Ces recompositions de l'action publique culturelle sont directement liées à la formation de modes de gouvernance fondés sur une logique politique du territoire. Les principes conventionnels qu'ils génèrent mettent à l'épreuve les acteurs locaux et les équilibres préexistants. Du gouvernement de la culture à la gouvernance culturelle des villes, ce sont les mécanismes d'émergence et d'institutionnalisation de mondes de coopération spécifiques à Lille, Lyon, Saint-Étienne et Montréal qui sont ici observés. Cette thèse ...

Culture is at the heart of the stategies of cities : it is an articulated resource of their urban, economical and social projects. This is how new models and concepts appear, promoting a position about its territorial virtues : cultural planning, the creative city, the cultural metropolis, the artistic district, etc. Culture is thus considered as an aspect of territorial development, which contributes to the "cultural sector" losing part of its autonomy. The changes in public cultural action are directly linked to the creation of governance modes that are based on a political logic of the territory. The conventional principles thus generated put the local actors and the former balance to the test. From the government of culture to the cultural governance of cities, we observe the process of emergence and institutionalisation of specific worlds of cooperation in Lille, Lyon, Saint-Etienne and Montreal. The point of this thesis is to contribute to the debate on the constitution of cities as collective actors ; La culture se retrouve au coeur de stratégies de villes comme ressource mobilisée et articulée au sein de projets urbains, économiques et sociaux. Ainsi de nouveaux modèles et concepts apparaissent-ils, véhiculant un discours sur ses vertus territoriales : le cultural planning, la ville créative, la métropole culturelle, le quartier artistique, etc. La culture est alors considérée comme une dimension du développement territorial, faisant perdre au « secteur culturel » une partie de son autonomie. Ces recompositions de l'action publique culturelle sont directement liées à la formation de modes de gouvernance fondés sur une logique politique du territoire. Les principes conventionnels qu'ils génèrent mettent à l'épreuve les acteurs locaux et les équilibres préexistants. Du gouvernement de la culture à la gouvernance culturelle des villes, ce sont les mécanismes d'émergence et d'institutionnalisation de mondes de coopération spécifiques à Lille, Lyon, Saint-Étienne et Montréal qui sont ici observés. Cette thèse ...

Culture is at the heart of the stategies of cities : it is an articulated resource of their urban, economical and social projects. This is how new models and concepts appear, promoting a position about its territorial virtues : cultural planning, the creative city, the cultural metropolis, the artistic district, etc. Culture is thus considered as an aspect of territorial development, which contributes to the "cultural sector" losing part of its autonomy. The changes in public cultural action are directly linked to the creation of governance modes that are based on a political logic of the territory. The conventional principles thus generated put the local actors and the former balance to the test. From the government of culture to the cultural governance of cities, we observe the process of emergence and institutionalisation of specific worlds of cooperation in Lille, Lyon, Saint-Etienne and Montreal. The point of this thesis is to contribute to the debate on the constitution of cities as collective actors ; La culture se retrouve au coeur de stratégies de villes comme ressource mobilisée et articulée au sein de projets urbains, économiques et sociaux. Ainsi de nouveaux modèles et concepts apparaissent-ils, véhiculant un discours sur ses vertus territoriales : le cultural planning, la ville créative, la métropole culturelle, le quartier artistique, etc. La culture est alors considérée comme une dimension du développement territorial, faisant perdre au « secteur culturel » une partie de son autonomie. Ces recompositions de l'action publique culturelle sont directement liées à la formation de modes de gouvernance fondés sur une logique politique du territoire. Les principes conventionnels qu'ils génèrent mettent à l'épreuve les acteurs locaux et les équilibres préexistants. Du gouvernement de la culture à la gouvernance culturelle des villes, ce sont les mécanismes d'émergence et d'institutionnalisation de mondes de coopération spécifiques à Lille, Lyon, Saint-Étienne et Montréal qui sont ici observés. Cette thèse ...

A musical scene can be defined as a cultural space delimited in a territory by a set of activities, places and institutions around a common musical culture. People's music is not only part of an area of social practice and representation, but also of political and economic spaces in which a multitude of public policies are involved. A cultural scene gives a broader picture of the diversity of regulations in place that help shape it — whereas these are not always defined as instruments of cultural governance. The cultural industries, which play a central role in local and trans-local cultural dynamics, are, however, the great absence of various studies on cultural policies. Based on three field surveys (Paris, Sydney, Quebec), we show that interventions in the field of popular music are based only on two action registers — social and economic — which ultimately questions the aims of cultural interventionism. ; International audience ; A musical scene can be defined as a cultural space delimited in a territory by a set of activities, places and institutions around a common musical culture. People's music is not only part of an area of social practice and representation, but also of political and economic spaces in which a multitude of public policies are involved. A cultural scene gives a broader picture of the diversity of regulations in place that help shape it — whereas these are not always defined as instruments of cultural governance. The cultural industries, which play a central role in local and trans-local cultural dynamics, are, however, the great absence of various studies on cultural policies. Based on three field surveys (Paris, Sydney, Quebec), we show that interventions in the field of popular music are based only on two action registers — social and economic — which ultimately questions the aims of cultural interventionism. ; Une scène musicale peut être définie comme un espace culturel délimité sur un territoire par un ensemble d'activités, de lieux et d'institutions autour d'une culture musicale ...

International audience ; For Ulrich Beck (1986), the advent of "The risk society" implies a shift in the rationality of contemporary societies. The driving force of collective action is no longer the production and distribution of wealth but the regulation of risks, including those that affect economic and financial activity. A few major events, from the September 11, 2001 attacks to the Fukushima accident and the 2008 financial crisis, confirmed these analyzes. The awareness of global warming and the worsening of pandemic risks have even reinforced this feeling of urgency. This leads to questioning the notion of crisis, usually conceived as a series of exceptional events momentarily upsetting the order of things, which finds, once the crisis is over, its "normal" course. In the risk society, the crisis becomes a central part of the "normal" order of things.To better account for the profound cultural revolution implied by these findings, this paper places them in the more global context of changes of the contemporary world. Then he highlights the bankruptcy of the political and administrative systems of Western states, faced with such challenges. He concludes on the urgency to change scale and to tackle the real problems, societal and planetary, in rupture with the obsolete political strategies which monopolize for too long the public debates. ; Pour Ulrich Beck, l'avènement de « La société du risque » (1986) implique un basculement de la rationalité des sociétés contemporaines. Le moteur de l'action collective n'est plus la production et la répartition des richesses mais la régulation des risques, y compris ceux qui affectent l'activité économique et financière. Quelques événements majeurs, des attentats du 11 septembre 2001 à l'accident de Fukushima, en passant par la crise financière de 2008, ont confirmé ces analyses. Il en va de même du réchauffement climatique et de l'aggravation des risques pandémiques. Cela conduit à remettre en cause la notion de crise, habituellement conçue comme une série d'événements ...

International audience ; For Ulrich Beck (1986), the advent of "The risk society" implies a shift in the rationality of contemporary societies. The driving force of collective action is no longer the production and distribution of wealth but the regulation of risks, including those that affect economic and financial activity. A few major events, from the September 11, 2001 attacks to the Fukushima accident and the 2008 financial crisis, confirmed these analyzes. The awareness of global warming and the worsening of pandemic risks have even reinforced this feeling of urgency. This leads to questioning the notion of crisis, usually conceived as a series of exceptional events momentarily upsetting the order of things, which finds, once the crisis is over, its "normal" course. In the risk society, the crisis becomes a central part of the "normal" order of things.To better account for the profound cultural revolution implied by these findings, this paper places them in the more global context of changes of the contemporary world. Then he highlights the bankruptcy of the political and administrative systems of Western states, faced with such challenges. He concludes on the urgency to change scale and to tackle the real problems, societal and planetary, in rupture with the obsolete political strategies which monopolize for too long the public debates. ; Pour Ulrich Beck, l'avènement de « La société du risque » (1986) implique un basculement de la rationalité des sociétés contemporaines. Le moteur de l'action collective n'est plus la production et la répartition des richesses mais la régulation des risques, y compris ceux qui affectent l'activité économique et financière. Quelques événements majeurs, des attentats du 11 septembre 2001 à l'accident de Fukushima, en passant par la crise financière de 2008, ont confirmé ces analyses. Il en va de même du réchauffement climatique et de l'aggravation des risques pandémiques. Cela conduit à remettre en cause la notion de crise, habituellement conçue comme une série d'événements exceptionnels bouleversant momentanément l'ordre des choses, lequel est appelé à retrouver, la crise finie, son cours « normal ». Dans la société du risque, la crise devient un élément central de l'ordre « normal » du monde. Pour mieux rendre compte de la profonde révolution culturelle qu'impliquent ces constats, ce papier les replace dans le contexte plus global des mutations du monde contemporain. Puis il met en évidence la faillite, face à de tels enjeux, des systèmes politiques et administratifs des États occidentaux. Il conclut sur l'urgence qui s'attache à changer d'échelle et à s'attaquer aux vrais problèmes, sociétaux et planétaires, en rupture avec les stratégies et les méthodologies obsolètes qui accaparent depuis trop longtemps les débats publics.

International audience ; This research focuses on the score of intellectual capital perceived by analysts of an SRI asset management fund in relation to the level of European corporate governance and the institutional context in which it is situated: the country, regulation of the labor market and culture. We have a constant sample of 286 listed European companies and groups in the years 2010-2012. The methodology used is a longitudinal regression in panel data. The results show that governance practices are significantly associated with the intellectual capital score and that the institutional variables: country, labor market legislation and cultural elements have contrasting effects on the three dimensions of intellectual capital: human capital, structural capital and relational capital. ; Cette recherche s'intéresse au score du capital intellectuel perçu par les analystes d'un fonds de gestion d'actifs ISR en lien avec le niveau de gouvernance d'entreprises européennes et le contexte institutionnel dans lequel elles s'insèrent : le pays, la régulation du marché du travail et la culture. Nous utilisons un échantillon constant de 286 entreprises et groupes européens cotés suivis pendant les années 2010-2012. La méthodologie employée est une régression longitudinale en données de panel. Les résultats montrent que les pratiques de gouvernance sont très significativement associées au score de capital intellectuel et que les variables institutionnelles : pays, législation du marché du travail et éléments culturels ont des effets contrastés sur les trois dimensions du capital intellectuel : capital humain, capital structurel et capital relationnel.

Introduction I. Gouvernance mondiale des industries culturelles et multilatéralisme institutionnel: des désaccords à la prudence A. L'Organisation mondiale du commerce et les industries culturelles: de la confrontation politique au blocage structurel B. La Convention sur la diversité des expressions culturelles: un succès politique sans suite ? II. Échelle bilatérale-plurilatérale: laboratoire de la régulation internationale des industries culturelles A. Services culturels numériques, priorité majeure des États-Unis B. Négociations commerciales et clivages politiques : le numérique en tant que perturbateur de l'exception culturelle? Conclusion ; Peer reviewed

Covered over 80 % of tropical forest, and in the context of the spectrum of oil depletion, Gabon is faced with the challenge of ensuring a balance between exploitation and conservation of its resources. As a result, policies are largely guided by the commitments made by Governments to meet international orders, but also by pressure from donors and sponsors (international NGOs, foundations, cooperation agencies…) for a Sustainable Development. This shift towards sustainable forest management has led the country to significant reforms: new modes of governance (with the involvement of "new" actors in different ambitions), new forest code, a new organization of institutions, new ways of uses of forests. A break seems to be marked here from independence and even colonial times management. Between a claim of national sovereignty and management of a resource that touches on global issues, forest governance is complex for a state limited in technical and financial resources. Forest areas and people who depend on them become the battleground of various and diverse strategies, sometimes divergent, which do not always correspond to the local socio- cultural reality, but legitimized by the single label for sustainable management. Our thesis provides keys for the reading of this governance and the dynamics of forest policies in Gabon, with emphasis on the observation of certain players. While it is often assumed that southern states forest's are under the influence of powerful international NGOs, a symbol of a prescribed governance and environmental intervention, Our study shows that the presence of these players may also reflect a southern Governments strategy to regain their resources and their territories. From dominants to dominated relationship, we go to a win-win relationship, sometimes at the risk of a local population exploited and designated. In addressing the role of games and players to understand the territory, this thesis provides opportunities to bring a new perspective on the management of forest resources in ...

Since the 1990s, the concept of participation has made a comeback in civil society but also in the political sphere as a generalization of public debate. Intrinsically linked to the process of individuation in contemporary society, the "participatory imperative" has gradually gained policymakers' attention, therefore questioning the traditional way, based on elective legitimacy, that public action is implemented.Like other public policy, cultural policy is also facing the issue of citizen participation in the public decision process. Concepts of cultural democracy and more recently the ones of diversity and cultural rights have come to affirm people legitimacy to contribute effectively to the development of a shared political project.In spite of this, cultural policy seems to be inadequately prepared to face the participatory issue. The ideal of cultural democratization, which has legitimized government intervention in the cultural field since the creation of the Ministry of Culture, has also induced a strong hierachical system at the expense of citizens, further compromising the emergence of a new framework.However, the process of decentralization of public action has made municipalities a major producer of cultural policy. Culture has gradually become a key factor in local development aimed at both increasing attractiveness and ensuring social cohesion. In addition, cities have had to narrow the gap between decision centers and citizens in order to take into account the territory special needs and realities. They have embraced the notions of proximity and governance, and strive to implement them through various participatory devices. In support of these factors, municipalities could then initiate a change in governance and promote equalization in cultural legitimacies. In a bottom-up perspective, citizens are likely to provide new forms of co-construction regarding public policy. In a comparative approach, we propose to observe local participatory dynamics in the cultural field and assess their political and ...

Since the 1990s, the concept of participation has made a comeback in civil society but also in the political sphere as a generalization of public debate. Intrinsically linked to the process of individuation in contemporary society, the "participatory imperative" has gradually gained policymakers' attention, therefore questioning the traditional way, based on elective legitimacy, that public action is implemented.Like other public policy, cultural policy is also facing the issue of citizen participation in the public decision process. Concepts of cultural democracy and more recently the ones of diversity and cultural rights have come to affirm people legitimacy to contribute effectively to the development of a shared political project.In spite of this, cultural policy seems to be inadequately prepared to face the participatory issue. The ideal of cultural democratization, which has legitimized government intervention in the cultural field since the creation of the Ministry of Culture, has also induced a strong hierachical system at the expense of citizens, further compromising the emergence of a new framework.However, the process of decentralization of public action has made municipalities a major producer of cultural policy. Culture has gradually become a key factor in local development aimed at both increasing attractiveness and ensuring social cohesion. In addition, cities have had to narrow the gap between decision centers and citizens in order to take into account the territory special needs and realities. They have embraced the notions of proximity and governance, and strive to implement them through various participatory devices. In support of these factors, municipalities could then initiate a change in governance and promote equalization in cultural legitimacies. In a bottom-up perspective, citizens are likely to provide new forms of co-construction regarding public policy. In a comparative approach, we propose to observe local participatory dynamics in the cultural field and assess their political and ...

The issue of this research is the one to analyze to what extent the cultural action is integrated to the metropolization process, in the sense of a reinforcement of the weight of Metropolis as political stakeholder of globalization. Thus, we will discuss the way culture takes part in the metropolitan strategies in a globalized context, having for consequence to weight on the different imperatives of public action (visibility for public policy, cohesion of urban territories, transparency of public policy, integration to the international exchange system of metropolises,…) Therefore, essentially through the set-up of project, we can evoke the integration of the metropolitan cultural action in a system of constraint due to globalization; system, which partially induces the principles of cultural action and what could be expected of it. This is mainly translated by a process of heteronomization of cultural action, by a progressive integration of cultural policy into the metropolitan strategies, completing the process of instrumentalization initiated in the 80's in favor of economic and social development. This situation is also translated by an evolution of the strategies of actors, of the metropolitan cultural policy. As a consequence we can possibly talk about pluralization of the cultural action. According to each context, this pluralization is more or profound and is heading towards different directions, calling for an important consideration for socio-territorial embodiment logics. Finally, this stresses on the constitution of a new model of cultural public policy for metropolises whom influences is no more, as it was the case for cities, in a sector-based cultural policy inspired by the state-driven action of a ministry for culture, but is now anchored in the cross-sector and territorialized action of the European Union. In a comparative perspective, we are relying on the study of projects intrinsically cultural or impacting on this sector of public action in four european cities : Barcelona, Bordeaux, ...

The issue of this research is the one to analyze to what extent the cultural action is integrated to the metropolization process, in the sense of a reinforcement of the weight of Metropolis as political stakeholder of globalization. Thus, we will discuss the way culture takes part in the metropolitan strategies in a globalized context, having for consequence to weight on the different imperatives of public action (visibility for public policy, cohesion of urban territories, transparency of public policy, integration to the international exchange system of metropolises,…) Therefore, essentially through the set-up of project, we can evoke the integration of the metropolitan cultural action in a system of constraint due to globalization; system, which partially induces the principles of cultural action and what could be expected of it. This is mainly translated by a process of heteronomization of cultural action, by a progressive integration of cultural policy into the metropolitan strategies, completing the process of instrumentalization initiated in the 80's in favor of economic and social development. This situation is also translated by an evolution of the strategies of actors, of the metropolitan cultural policy. As a consequence we can possibly talk about pluralization of the cultural action. According to each context, this pluralization is more or profound and is heading towards different directions, calling for an important consideration for socio-territorial embodiment logics. Finally, this stresses on the constitution of a new model of cultural public policy for metropolises whom influences is no more, as it was the case for cities, in a sector-based cultural policy inspired by the state-driven action of a ministry for culture, but is now anchored in the cross-sector and territorialized action of the European Union. In a comparative perspective, we are relying on the study of projects intrinsically cultural or impacting on this sector of public action in four european cities : Barcelona, Bordeaux, ...

Le thème de la gouvernance culturelle est abordé sous une triple approche : approche historique ; approche par la coopération au développement et les relations internationales ; approche par la société du savoir, l'économie créative et les tic. Aujourd'hui, les politiques culturelles, en se fondant sur les droits culturels et sur une autre "gouvernance", pourront mieux répondre aux défis du monde de demain. ; El tema de la governança cultural queda englobat en un enfocament triple: l'enfocament històric, l'enfocament de la cooperació al desenvolupament i les relacions internacionals, i l'enfocament de la societat del saber, l'economia creativa i les tic. Avui en dia, les polítiques culturals, en basar-se en drets culturals i en una altra «governança», podran respondre de manera més satisfactòria als desafiaments del demà. ; El tema de la gobernanza cultural queda englobado en un enfoque triple: el enfoque histórico, el enfoque de la cooperación al desarrollo y las relaciones internacionales, y el enfoque de la sociedad del saber, la economía creativa y las tic. Hoy en día, las políticas culturales, al basarse en derechos culturales y en otra «gobernanza», podrán responder de manera más satisfactoria a los desafíos del mañana. ; The question of cultural governance is dealt with from three approaches: the historical approach, the development cooperation and international relations approach, and the knowledge society, creative economy and ict approach. Today, cultural policies, based on cultural rights and on other "governance", will be better placed to meet the challenges of tomorrow.