Suchergebnisse

With through this contribution, fruit of a broader research task on the identity of the current Moroccan rural woman, we try an approach of the possible strategies of action which can help the woman to develop skills professional and personal which allow him a greater participation in the social, political and economic life, to improve its quality of life while contributing to help them with the rebuilding of their female identity in a spirit of more levelling relationship between the kinds, up to now in favour of the man. ; A travers cette contribution, fruit d'un travail de recherche plus large sur l'identité de la femme (construction et reconstruction) rurale marocaine actuelle, nous tentons une approche des stratégies d'action possibles qui puissent aider la femme à développer des habiletés professionnelles et personnelles qui lui permettent une plus grande participation dans la vie sociale, politique et économique, d'améliorer sa qualité de vie tout en contribuant à l'aider à la reconstruction de son identité féminine dans un esprit de rapport plus égalitaire entre les genres, jusqu'ici en faveur de l'homme.

Mention : « très honorable avec les félicitations du jury ». ; Our compared study deals with the literary work of Ilse Losa (1913-2006), a German exiled in Portugal, and Samuel Rawet (1929-1984), a Polish immigrant in Brazil, which have adopted Portuguese as writing language. Having arrived in these lusophone countries a few years before the declaration of the Second World War, both share a jewish origin which is expressed in their characters in the form of conflicts between memory and forgetfulness, communitarianism and integration, tradition and cultural performativity. Moreover, their conditions of women and homosexual acted as an inspiration for the construction of a work opposing gender duality in a context of oppression in these host countries : The Salazarist New State (1933-1974) and the military dictatorship in Brazil (1964-1985). This way, through their personal writings in which the jewish identity and the gender identity are key elements, we can consider the exclusion in a broader way. These authors give us a picture of the brazilian and portuguese societies between the end of the 30's and beginning of the 80's, highlighting the power relations between elites and masses. During a period in which the national identity is being built on the basis of the myth of the great empire in Portugal and of multiculturalism in Brazil, Ilse Losa and Samuel Rawet show that the nation is always a narrative. ; Notre étude comparée porte sur l'œuvre de Ilse Losa (1913-2006), Allemande installée au Portugal, et Samuel Rawet (1929-1984), Polonais immigré au Brésil, deux écrivains qui ont adopté le portugais comme langue d'écriture. Arrivés dans ces pays lusophones quelques années avant la déclaration de la Seconde Guerre Mondiale, ils possèdent une origine juive commune exprimée chez leurs personnages sous la forme de conflits entre mémoire et oubli, communautarisme et intégration, tradition et performativité culturelle. En outre, leur condition de femme et d'homosexuel leur a servi d'inspiration pour la construction ...

Mention : « très honorable avec les félicitations du jury ». ; Our compared study deals with the literary work of Ilse Losa (1913-2006), a German exiled in Portugal, and Samuel Rawet (1929-1984), a Polish immigrant in Brazil, which have adopted Portuguese as writing language. Having arrived in these lusophone countries a few years before the declaration of the Second World War, both share a jewish origin which is expressed in their characters in the form of conflicts between memory and forgetfulness, communitarianism and integration, tradition and cultural performativity. Moreover, their conditions of women and homosexual acted as an inspiration for the construction of a work opposing gender duality in a context of oppression in these host countries : The Salazarist New State (1933-1974) and the military dictatorship in Brazil (1964-1985). This way, through their personal writings in which the jewish identity and the gender identity are key elements, we can consider the exclusion in a broader way. These authors give us a picture of the brazilian and portuguese societies between the end of the 30's and beginning of the 80's, highlighting the power relations between elites and masses. During a period in which the national identity is being built on the basis of the myth of the great empire in Portugal and of multiculturalism in Brazil, Ilse Losa and Samuel Rawet show that the nation is always a narrative. ; Notre étude comparée porte sur l'œuvre de Ilse Losa (1913-2006), Allemande installée au Portugal, et Samuel Rawet (1929-1984), Polonais immigré au Brésil, deux écrivains qui ont adopté le portugais comme langue d'écriture. Arrivés dans ces pays lusophones quelques années avant la déclaration de la Seconde Guerre Mondiale, ils possèdent une origine juive commune exprimée chez leurs personnages sous la forme de conflits entre mémoire et oubli, communautarisme et intégration, tradition et performativité culturelle. En outre, leur condition de femme et d'homosexuel leur a servi d'inspiration pour la construction d'une œuvre marquée par la lutte contre le binarisme de genre dans un contexte d'oppression dans leur terre d'accueil : l'État Nouveau salazariste (1933-1974) et la dictature militaire brésilienne (1964-1985). Ainsi, à travers leur écriture personnelle où l'identité juive et l'identité genrée constituent des questions charnières, nous pouvons penser l'exclusion de façon plus large. Ces auteurs nous fournissent donc un portrait des sociétés brésilienne et portugaise entre la fin des années 30 et le début des années 80, mettant en lumière les enjeux de pouvoir entre l'élite et le peuple. Dans une période de construction d'une identité nationale basée sur le mythe du grand empire au Portugal et l'apologie du métissage et du multiculturalisme au Brésil, Ilse Losa et Samuel Rawet montrent que la nation est toujours une narration.

In the course of my previous research, I realized that asking young French women about their body appearance was an interesting way to gather information regarding gender and sexuality. For this thesis, I generalized the analysis of the opinions about appearance and clothes, adding men's opinions and an intergenerational comparison.This qualitative investigation is based on sixty interviews with men and women, who have been interviewed about their clothing tastes and opinions regarding body appearance. I carried out this study in the political context of the vote on the same-sex marriage law, at a moment (2011-2015) when the "gender topic" was sensitive. This led me to direct my research towards a "sociology of knowledge" (Berger, Luckmann: 1966) of gender in the French context.As indicated in the title of the thesis, I indeed consider the thematic "clothes" as a pretext to understand how visually differentiated groups of men and women are created, and the links between those differentiated appearances and the gender identification.Introduction sets out how I came to study this question, the methodology used, the theoretical and epistemological orientation. Chapter 1 describes the historical context of women's and men's different preferences in terms of choice of clothes. Then, in chapter 2, I try to explain the modalities through which taste in clothes and the associated "techniques of the body" (Mauss: 1934) are transmitted. Chapter 3 focuses on the construction of identity as a mechanism which accentuates and naturalizes the differences. Chapter 4 analyzes opinions concerning gender hierarchy and some way of dressing that aim at subverting this hierarchy. I finally discuss the point of view of those who attach an importance to the symbolic accentuation of sex differences in chapter 5. ; Ayant remarqué, au cours de mes recherches de master, que questionner les jeunes Françaises sur leur apparence était un outil privilégié pour accéder à des informations concernant le genre et la sexualité, j'ai poursuivi ma ...

This dissertation is about the representation of queens in early modern English drama through the tragic figures of Dido in Dido, Queen of Carthage , by Christopher Marlowe, Lady Macbeth in Macbeth and Cleopatra in Antony and Cleopatra by William Shakespeare, as well as the eponymous character in The Duchess of Malfi by John Webster. The theory of the king's two bodies by Ernst Kantorowicz, once applied to queenship, sheds light on the complex alliance between the queens' gender identity and their political authority. This leads to a reflection on the importance of spectatorship, representation and theatricality in their exercise of power. These elements draw a parallel between the characters under scrutiny and a historical figure. As a matter of fact, the Renaissance was a period deeply influenced by feminine reigns, among which that of Elizabeth I in England. Her use of her gender identity and of theatrical representation may offer a useful point of comparison with her fictive counterparts to better understand her influence upon the evolution of the representation of queens on stage. ; Ce mémoire examine la figure des reines dans le théâtre anglais de la première modernité à travers les personnages tragiques de Didon dans Dido, Queen of Carthage , de Christopher Marlowe, de Lady Macbeth dans Macbeth et de Cléopâtre dans Antony and Cleopatra de William Shakespeare, ainsi que du personnage éponyme de The Duchess of Malfi de John Webster. La théorie des deux corps du roi d'Ernst Kantorowicz, appliquée aux souveraines, permet de mieux comprendre l'alliance complexe entre leur identité de genre et leur autorité politique. Cela mène à une réflexion sur la place accordée au regard et à la théâtralité dans leur exercice du pouvoir. Ces éléments créent un parallèle entre les personnages étudiés et un personnage historique. En effet, la Renaissance fut une époque fortement marquée par des règnes féminins, notamment celui d'Élisabeth I en Angleterre. Son rapport à son identité de genre et au spectacle permet de la comparer à ses homologues fictives pour mieux comprendre son influence sur l'évolution de la représentation des reines sur scène.

This dissertation is about the representation of queens in early modern English drama through the tragic figures of Dido in Dido, Queen of Carthage , by Christopher Marlowe, Lady Macbeth in Macbeth and Cleopatra in Antony and Cleopatra by William Shakespeare, as well as the eponymous character in The Duchess of Malfi by John Webster. The theory of the king's two bodies by Ernst Kantorowicz, once applied to queenship, sheds light on the complex alliance between the queens' gender identity and their political authority. This leads to a reflection on the importance of spectatorship, representation and theatricality in their exercise of power. These elements draw a parallel between the characters under scrutiny and a historical figure. As a matter of fact, the Renaissance was a period deeply influenced by feminine reigns, among which that of Elizabeth I in England. Her use of her gender identity and of theatrical representation may offer a useful point of comparison with her fictive counterparts to better understand her influence upon the evolution of the representation of queens on stage. ; Ce mémoire examine la figure des reines dans le théâtre anglais de la première modernité à travers les personnages tragiques de Didon dans Dido, Queen of Carthage , de Christopher Marlowe, de Lady Macbeth dans Macbeth et de Cléopâtre dans Antony and Cleopatra de William Shakespeare, ainsi que du personnage éponyme de The Duchess of Malfi de John Webster. La théorie des deux corps du roi d'Ernst Kantorowicz, appliquée aux souveraines, permet de mieux comprendre l'alliance complexe entre leur identité de genre et leur autorité politique. Cela mène à une réflexion sur la place accordée au regard et à la théâtralité dans leur exercice du pouvoir. Ces éléments créent un parallèle entre les personnages étudiés et un personnage historique. En effet, la Renaissance fut une époque fortement marquée par des règnes féminins, notamment celui d'Élisabeth I en Angleterre. Son rapport à son identité de genre et au spectacle permet de la comparer à ses homologues fictives pour mieux comprendre son influence sur l'évolution de la représentation des reines sur scène.

This thesis analyses a complex question linkingcontemporary dance, gender and feminism in Francefrom 1968 to 2015. Dance shares the concerns offeminist activists regarding issues of identity, sexuality, emancipation, the deconstruction of gender andbinarisms, of universalist research and femaleness. Thisstudy examines how feminism informed artists who,whatever the era, had difficulty admitting that they werefeminists or seeing their art as an expression of theircommitment. Considering the subversive potential ofdance implies an analysis of its relationship with gender,in particular the female gender, as well as the real andsymbolic place of women. Preconceived ideas andstereotypes thus confront reality. The year 1968 markeda turning point for society and for dance, including froma political point of view. Dance came into its own at thesame time that second-wave feminism came to the fore.The reconfiguration of the relationships between danceand feminism that occurred over this 50-year periodallows one to assess reciprocal influences and topostulate the existence of a feminist dance. Comparingfemale choreographers' modes of expression with thoseof men, facilitates the understanding of genderedconstructions and their potential for challengingheteronormativity and androcentrism. How do the majorpolitical changes (establishment of the NCCs,management changes, parity, etc.), feminists(appearance of a third wave, etc.), aesthetics andmediatisation nurture dance as a means of expressionof gender and feminism? The generalisation of nudityand the queerisation of dance suggest the passage fromthe transgression of gender to its subversion. Thisthesis aims to understand how third-wave feminism,more open to cultural and intersectional dimensions,enabled dance to be feminist. ; Cette thèse porte sur un objet complexe liant danse contemporaine, genre et féminisme dans l'espace français de 1968 à 2015. La danse partage les préoccupations des militantes féministes à l'égard des problématiques d'identité, de sexualité, ...

This thesis analyses a complex question linkingcontemporary dance, gender and feminism in Francefrom 1968 to 2015. Dance shares the concerns offeminist activists regarding issues of identity, sexuality, emancipation, the deconstruction of gender andbinarisms, of universalist research and femaleness. Thisstudy examines how feminism informed artists who,whatever the era, had difficulty admitting that they werefeminists or seeing their art as an expression of theircommitment. Considering the subversive potential ofdance implies an analysis of its relationship with gender,in particular the female gender, as well as the real andsymbolic place of women. Preconceived ideas andstereotypes thus confront reality. The year 1968 markeda turning point for society and for dance, including froma political point of view. Dance came into its own at thesame time that second-wave feminism came to the fore.The reconfiguration of the relationships between danceand feminism that occurred over this 50-year periodallows one to assess reciprocal influences and topostulate the existence of a feminist dance. Comparingfemale choreographers' modes of expression with thoseof men, facilitates the understanding of genderedconstructions and their potential for challengingheteronormativity and androcentrism. How do the majorpolitical changes (establishment of the NCCs,management changes, parity, etc.), feminists(appearance of a third wave, etc.), aesthetics andmediatisation nurture dance as a means of expressionof gender and feminism? The generalisation of nudityand the queerisation of dance suggest the passage fromthe transgression of gender to its subversion. Thisthesis aims to understand how third-wave feminism,more open to cultural and intersectional dimensions,enabled dance to be feminist. ; Cette thèse porte sur un objet complexe liant danse contemporaine, genre et féminisme dans l'espace français de 1968 à 2015. La danse partage les préoccupations des militantes féministes à l'égard des problématiques d'identité, de sexualité, ...

This thesis analyses a complex question linkingcontemporary dance, gender and feminism in Francefrom 1968 to 2015. Dance shares the concerns offeminist activists regarding issues of identity, sexuality, emancipation, the deconstruction of gender andbinarisms, of universalist research and femaleness. Thisstudy examines how feminism informed artists who,whatever the era, had difficulty admitting that they werefeminists or seeing their art as an expression of theircommitment. Considering the subversive potential ofdance implies an analysis of its relationship with gender,in particular the female gender, as well as the real andsymbolic place of women. Preconceived ideas andstereotypes thus confront reality. The year 1968 markeda turning point for society and for dance, including froma political point of view. Dance came into its own at thesame time that second-wave feminism came to the fore.The reconfiguration of the relationships between danceand feminism that occurred over this 50-year periodallows one to assess reciprocal influences and topostulate the existence of a feminist dance. Comparingfemale choreographers' modes of expression with thoseof men, facilitates the understanding of genderedconstructions and their potential for challengingheteronormativity and androcentrism. How do the majorpolitical changes (establishment of the NCCs,management changes, parity, etc.), feminists(appearance of a third wave, etc.), aesthetics andmediatisation nurture dance as a means of expressionof gender and feminism? The generalisation of nudityand the queerisation of dance suggest the passage fromthe transgression of gender to its subversion. Thisthesis aims to understand how third-wave feminism,more open to cultural and intersectional dimensions,enabled dance to be feminist. ; Cette thèse porte sur un objet complexe liant danse contemporaine, genre et féminisme dans l'espace français de 1968 à 2015. La danse partage les préoccupations des militantes féministes à l'égard des problématiques d'identité, de sexualité, ...

The museological and gender research is mostly emerging in the American and English context. They are part of a activism which, since the 1970s, denounces the lack of (re) knowledge of women in cultural and artistic circles. Think in particular of Linda Nochlin's article on women artists in 1971 and then of Ann Sutherland Harris in 1973 pointing to the low number of women in senior positions in university art departments and museums 1. The 1970s also saw the creation of several feminist programmes offering new interactions between artistic practices, teaching, exhibitions and debates with the Feminist Art Program in 1971 at the California Institute of the Arts and the opening of the Women's Building in Los Angeles in 1973 2. It is also a moment for the foundation of feminist activist groups such as WAR (Women Artists in Revolution) and WCA (Women's Caucus for Art). The years ; International audience Research on museology and gender appears primarily within the American and English context. It is part of a militancy which, since the 1970s, has denounced the failure to acknowledge women in cultural and artistic milieus. But why do these protests choose to target museums? It is undoubtedly because the museum is a very powerful multidimensional place, at once institutional, social, educational, media-related and cultural, which employs practises of collection, classifcation and display of stories through selected objects. It is as much a place of production and legitimation of knowledge as it is a place of afirmation of cultural sensibilities and identities. From its historical origins, as shown by TonyBennett in The Birth of the Museum. History, Theory, Politics (1995), the museum asserts itself as a place of social construction and identity-building which cannot possibly be apolitical. One could go further and suggest viewing the museum as a place that sets standards as much as it can also transform and perform them.The objective of this article is to trace a historiographical review of advocacy research combining ...

The present PhD thesis considers the emergence of Language and Gender Studies in Anglo-American culture from the moment they were established and acknowledged as a relevant field of inquiry, in the 1970s. We define and locate key concepts, while testing their practical usefulness for the pragmatic analysis of political discourse. The linguistic study of gender relations in society lies at the crossroads of gender studies and general linguistics. Whether viewed as a general intellectual pursuit or structured as a formal subject, Language and Gender Studies remain unknown to the general public and marginal in academia. In the first three chapters, we explore the historical context and define the main claims of Language and Gender Studies, with a detailed description of the different trends known as the 'deficiency', 'dominance', 'difference' and 'performance approaches'. In the final chapter, we put the general framework to the test by applying relevant notions and methods to actual instances of political speeches and debates involving Hillary Clinton (2007-2016) and / or Donald Trump (2015-2016). This corpus-based study confirms that linguistic form is not only a revealer but also a shaper of the social performance of gender and power. Our analysis of the spoken interactions that took place during political meetings and acrimonious television debates confirms that Hillary Clinton was indeed caught in a double bind as a female contender for the American Presidency in the male dominated world of politics. The tensions and contradictions that she experienced as a woman who publicly engaged in tough battles against tough men, were described by Robin Lakoff as early as 1975 in Language and Woman's Place. We consider the harmful consequences of this situation on Hillary Clinton's political reputation and personal identity. Another challenge to be met by women in US politics is escaping gender stereotypes and establishing the generic feminine at the top of the nation: a woman (not a man) standing for the entire country. ...

The present PhD thesis considers the emergence of Language and Gender Studies in Anglo-American culture from the moment they were established and acknowledged as a relevant field of inquiry, in the 1970s. We define and locate key concepts, while testing their practical usefulness for the pragmatic analysis of political discourse. The linguistic study of gender relations in society lies at the crossroads of gender studies and general linguistics. Whether viewed as a general intellectual pursuit or structured as a formal subject, Language and Gender Studies remain unknown to the general public and marginal in academia. In the first three chapters, we explore the historical context and define the main claims of Language and Gender Studies, with a detailed description of the different trends known as the 'deficiency', 'dominance', 'difference' and 'performance approaches'. In the final chapter, we put the general framework to the test by applying relevant notions and methods to actual instances of political speeches and debates involving Hillary Clinton (2007-2016) and / or Donald Trump (2015-2016). This corpus-based study confirms that linguistic form is not only a revealer but also a shaper of the social performance of gender and power. Our analysis of the spoken interactions that took place during political meetings and acrimonious television debates confirms that Hillary Clinton was indeed caught in a double bind as a female contender for the American Presidency in the male dominated world of politics. The tensions and contradictions that she experienced as a woman who publicly engaged in tough battles against tough men, were described by Robin Lakoff as early as 1975 in Language and Woman's Place. We consider the harmful consequences of this situation on Hillary Clinton's political reputation and personal identity. Another challenge to be met by women in US politics is escaping gender stereotypes and establishing the generic feminine at the top of the nation: a woman (not a man) standing for the entire country. ...

This thesis analyses a complex question linkingcontemporary dance, gender and feminism in Francefrom 1968 to 2015. Dance shares the concerns offeminist activists regarding issues of identity, sexuality, emancipation, the deconstruction of gender andbinarisms, of universalist research and femaleness. Thisstudy examines how feminism informed artists who,whatever the era, had difficulty admitting that they werefeminists or seeing their art as an expression of theircommitment. Considering the subversive potential ofdance implies an analysis of its relationship with gender,in particular the female gender, as well as the real andsymbolic place of women. Preconceived ideas andstereotypes thus confront reality. The year 1968 markeda turning point for society and for dance, including froma political point of view. Dance came into its own at thesame time that second-wave feminism came to the fore.The reconfiguration of the relationships between danceand feminism that occurred over this 50-year periodallows one to assess reciprocal influences and topostulate the existence of a feminist dance. Comparingfemale choreographers' modes of expression with thoseof men, facilitates the understanding of genderedconstructions and their potential for challengingheteronormativity and androcentrism. How do the majorpolitical changes (establishment of the NCCs,management changes, parity, etc.), feminists(appearance of a third wave, etc.), aesthetics andmediatisation nurture dance as a means of expressionof gender and feminism? The generalisation of nudityand the queerisation of dance suggest the passage fromthe transgression of gender to its subversion. Thisthesis aims to understand how third-wave feminism,more open to cultural and intersectional dimensions,enabled dance to be feminist. ; Cette thèse porte sur un objet complexe liant danse contemporaine, genre et féminisme dans l'espace français de 1968 à 2015. La danse partage les préoccupations des militantes féministes à l'égard des problématiques d'identité, de sexualité, d'émancipation,de déconstruction du genre et des binarismes, de recherche universaliste ou de féminitude. Nous analysons comment le féminisme informe les artistes qui, quelle que soit l'époque, peinent à se dire féministes ou à penser leur art comme l'expression de leur engagement. Considérer le potentiel subversif de la danse implique une analyse de son rapport au genre et en particulier au genre féminin, doublée par celle de la place réelle et symbolique des femmes. Les idées reçues et les stéréotypes se confrontent à la réalité.L'année 1968 marque un tournant social qui concorde avec celui de la danse, y compris d'un point de vue politique. L'art chorégraphique prend son essor au moment où la seconde vague féministe arrive sur le devant de la scène. En 50 ans les rapports qu'entretiennent la danse et le féminisme sont reconfigurés, ce qui permet d'évaluer les influences réciproques et de postuler l'existence d'une danse féministe. La confrontation aux langages des chorégraphes hommes permet de comprendre les constructions genrées et leur potentiel de remise en cause du système hétéronormé et androcentré.Comment les grandes mutations politiques (mise en place des CCN, turn-over des directions, parité, etc.),féministes (apparition d'une troisième vague, etc.),esthétiques et médiatiques nourrissent-elles la danse en tant que moyen d'expression du genre et du féminisme ? La généralisation de la nudité et la queerisation de la danse soulèvent l'enjeu du passage de la transgression du genre à sa subversion. Il s'agit de comprendre comment la troisième vague féministe, plus ouverte à la dimension culturelle et intersectionnelle, permet à la danse d'être féministe.

Despite the government's will to make school a place of struggle against inequalities between men and women, several studies show that there are disparities in girls' and boys' academic performance. Those disparities have a part in the perpetuation of those inequalities, all the more so as girls and boys tend to turn to different course choices and then to different professional careers. Some researchers have taken an interest in the origin of those disparities. They have thus wondered about the part of school in the perpetuation of those gender stereotypes. School is actually one of the children's spheres of socialisation: they take in norms and values which orientate their representation of the world and of themselves. The aim of this research is to better understand the extent to which the gender stereotypes taken in by pupils may influence their academic performance. The purpose is to comprehend individuals through the filter of gender identity and not through that of sexual identity: this research does not deal with the link between the individuals' sexual identity and their academic performance, but with the link between the pupils' compliance with gender stereotypes and the match of their performance with the latter. At the same time as this link, this study examines the teacher's position with regard to a possible perpetuation of the differences between boys' and girls' academic performance. ; Paradoxalement à la volonté gouvernementale de faire de l'école un lieu de lutte contre les inégalités entre les hommes et les femmes, plusieurs études montrent l'existence de disparités dans les résultats scolaires des filles et des garçons. Ces disparités contribuent à la reproduction de ces inégalités, filles et garçons ayant par ailleurs tendance à choisir des orientations scolaires puis professionnelles différentes. Des chercheurs se sont intéressés à l'origine de ces disparités. Ils se sont ainsi interrogés sur le rôle de l'école dans la transmission des stéréotypes de genre. L'école est en effet une des sphères de socialisation de l'enfant : il y intègre des normes et des valeurs qui orientent la représentation du monde qui l'entoure et de lui-même. L'objectif de cette recherche est de mieux comprendre dans quelle mesure les stéréotypes de genre intégrés par les élèves peuvent influencer leurs résultats scolaires. L'idée est d'appréhender les individus par le filtre du genre et non du sexe : ce n'est pas le lien entre sexe et résultats scolaires qui est concerné, mais le lien entre conformité de l'élève vis-à-vis des stéréotypes de genre et adéquation de ses résultats avec ces derniers. Parallèlement à ce lien, cette étude interroge la place de l'enseignant dans une possible reproduction des différences de résultats scolaires entre filles et garçons.

Communication presented to international meetings "The body and law. From the beginning to the end of life" AIECI. Marseille 23-24 September 2005. The metaphor of the renaissance is sometimes used to refer to transsexualisation. Based on this qualification, the article explores the transition and reflects its conceptualisation in our society. The description of the transsexual pathway thus reveals that the claim for a sex registration other than that received at birth is conceived as a significant change of identity, as it is envisaged as the arrival of a new person in the world. That change can, moreover, be achieved only gradually in the context of a socially organised procedure and only if it is used as a therapeutic act complying with sex standards. Wishing and undertaking a change in the gender of the summons is therefore a commitment to seek relief from a state of disorder of identity, recognition of sex norms and reference to them in order to be able to transform one's body; it is a chance to develop in a medical and judicial pathway that makes time a condition for the completion and success of the company. ; The metaphor of rebirth is sometimes used to evoke the transsexual transition. From this qualification, the article investigates the transition and reports on its conceptualization in our society. The description of the transsexual process reveals that the claim of belonging to an ascribed gender other than the one received at birth, is conceived as a consequent identity change: a new being comes into the world. Moreover, this change can be only realized in the framework of a gradually medical and legal protocol which respects carefully gender norms. In consequence to begin a transsexual transition means translating the desire of transformation in terms of identity trouble and asking for its treatment; signifies testifying to recognize the gender norms and refering to them for the body transformation; and also means engaging in a medical and legal journey which considers temporality as the condition ...