Suchergebnisse

International audience ; This article examines the social mobilisations around hunger in Niger during the 1970s and 1980s. The mobilisations were extremely diverse and cannot be defined simply as different forms of organisation. They seem to have been filled with collective references to good food governance and political legitimacy. These references did not pertain to a general ethics of subsistence that could be transposed to other contexts, but instead were rooted specifically in the history of Niger. ; Cet article examine les mobilisations sociales autour de la faim au Niger, dans les années 1970 et les années 1980. Ces mobilisations sont extrêmement diverses et ne sauraient être réduites à leurs formes organisationnelles. Elles apparaissent traversées par des références collectives à la bonne gouvernance alimentaire et à la légitimité politique. Ces références, loin de se rapporter à une éthique de la subsistance que l'on pourrait indifféremment transposer dans d'autres contextes, s'ancrent dans une histoire spécifiquement nigérienne.

Pay-for-Performance (P4P) has, in recent years, become a popular remuneration method for health care providers. Unlike traditional health care payment schemes that focus on volume, It rewards providers (individuals or institutions) who meet certain performance expectations with respect to health care quality or efficiency. Internationally, P4P has experienced wide development over the last decade, though empirical evidences are mixed. In September 2012, the French government launched its first national P4P program for hospitals, named Financial Incentives for Quality Improvement (IFAQ). COMPAQH-MOS has developed the principles of this experiment.The aim of this thesis is to test and to analyse the existing P4P controversies, through the design, implementation and evaluation of IFAQ. Based on previous international programs, a new P4P initiative is designed under the actual French health care context. The implementation process of IFAQ involves selection of quality judgement criteria, construction of scoring method, and decision of financial incentive structures. The impact evaluation of IFAQ is conducted by comparing the treatment and control hospitals' quality results, while taking into account time trend evolution of quality indicators and the effect from a group of hospital characteristics.A framework of cost-effectiveness analysis on P4P programs has also been constructed, and the feasibility of transferring P4P into another context, namely China, has been studied by conducting a case study of P4P in the Chinese health care market. ; Le programme 'rémunération à la performance' (P4P) a, au cours des dernières années, devenu populaire pour les fournisseurs de soins de santé. Contrairement aux régimes de paiement traditionnels de soins de santé mesurés par le volume, il récompense les fournisseurs (individus ou institutions) qui répondent à certaines attentes en matière de la performance en ce qui a trait aux soins de santé de qualité ou de l'efficacité. Son développement à l'étranger a bien connu des ...

Pay-for-Performance (P4P) has, in recent years, become a popular remuneration method for health care providers. Unlike traditional health care payment schemes that focus on volume, It rewards providers (individuals or institutions) who meet certain performance expectations with respect to health care quality or efficiency. Internationally, P4P has experienced wide development over the last decade, though empirical evidences are mixed. In September 2012, the French government launched its first national P4P program for hospitals, named Financial Incentives for Quality Improvement (IFAQ). COMPAQH-MOS has developed the principles of this experiment.The aim of this thesis is to test and to analyse the existing P4P controversies, through the design, implementation and evaluation of IFAQ. Based on previous international programs, a new P4P initiative is designed under the actual French health care context. The implementation process of IFAQ involves selection of quality judgement criteria, construction of scoring method, and decision of financial incentive structures. The impact evaluation of IFAQ is conducted by comparing the treatment and control hospitals' quality results, while taking into account time trend evolution of quality indicators and the effect from a group of hospital characteristics.A framework of cost-effectiveness analysis on P4P programs has also been constructed, and the feasibility of transferring P4P into another context, namely China, has been studied by conducting a case study of P4P in the Chinese health care market. ; Le programme 'rémunération à la performance' (P4P) a, au cours des dernières années, devenu populaire pour les fournisseurs de soins de santé. Contrairement aux régimes de paiement traditionnels de soins de santé mesurés par le volume, il récompense les fournisseurs (individus ou institutions) qui répondent à certaines attentes en matière de la performance en ce qui a trait aux soins de santé de qualité ou de l'efficacité. Son développement à l'étranger a bien connu des ...

Pay-for-Performance (P4P) has, in recent years, become a popular remuneration method for health care providers. Unlike traditional health care payment schemes that focus on volume, It rewards providers (individuals or institutions) who meet certain performance expectations with respect to health care quality or efficiency. Internationally, P4P has experienced wide development over the last decade, though empirical evidences are mixed. In September 2012, the French government launched its first national P4P program for hospitals, named Financial Incentives for Quality Improvement (IFAQ). COMPAQH-MOS has developed the principles of this experiment.The aim of this thesis is to test and to analyse the existing P4P controversies, through the design, implementation and evaluation of IFAQ. Based on previous international programs, a new P4P initiative is designed under the actual French health care context. The implementation process of IFAQ involves selection of quality judgement criteria, construction of scoring method, and decision of financial incentive structures. The impact evaluation of IFAQ is conducted by comparing the treatment and control hospitals' quality results, while taking into account time trend evolution of quality indicators and the effect from a group of hospital characteristics.A framework of cost-effectiveness analysis on P4P programs has also been constructed, and the feasibility of transferring P4P into another context, namely China, has been studied by conducting a case study of P4P in the Chinese health care market. ; Le programme 'rémunération à la performance' (P4P) a, au cours des dernières années, devenu populaire pour les fournisseurs de soins de santé. Contrairement aux régimes de paiement traditionnels de soins de santé mesurés par le volume, il récompense les fournisseurs (individus ou institutions) qui répondent à certaines attentes en matière de la performance en ce qui a trait aux soins de santé de qualité ou de l'efficacité. Son développement à l'étranger a bien connu des avancées, au cours de la dernière décennie, même si les preuves empiriques sont mitigées. En septembre 2012, le gouvernement français a lancé son premier programme national de P4P pour les hôpitaux - Incitations Financières à l'Amélioration de la Qualité (IFAQ). Compaqh-MOS-EHESP a élaboré les principes de cette expérimentation.L'objectif de cette thèse est d'examiner et d'analyser les controverses autour du P4P, par l'analyse de la conception, de la mise en œuvre et de l'évaluation de l'impact d'IFAQ. Inspirés de programmes étrangers, IFAQ est conçu dans le contexte des soins de santé en France. Le processus de mise en œuvre d'IFAQ inclut la sélection de critères de jugement, la construction de score composite, et la décision des modes de valorisation financiers. L'évaluation de l'impact d'IFAQ est effectuée en comparant un groupe intervention et un groupe de contrôle, tout en tenant compte de l'évolution de la tendance des indicateurs de qualité et de l'effet d'une série de caractéristiques des hôpitaux.Un cadre d'analyse d'évaluation médico-économique des programmes P4P a également été construit. Enfin, la capacité de transfert du modèle IFAQ a été appréhendée par l'étude de son application potentielle dans un autre contexte, à savoir la Chine.

International audience ; Documenting mass repression and violence from the perspective of asylum is part of a perspective that places documentary production by and for the exiled subject at the center of the analysis and shifts the focus from asylum policies, humanitarian actors and/or international solidarity. Positioning this question in relation to the theme of Latin American repression allows us to inscribe ourselves in the temporality of Third Worldism and the new social movements in favor of human rights in the 1970s and 1980s and their ambivalences. This study focuses on a period in which repressive regimes established a law of silence and terror within the borders of the various Latin American states, combating the production and circulation of information on police practices, disappearances and torture. The exile becomes, on the contrary, a space of documentary production and circulation. This production becomes central in the repertoires of action of the exiles themselves, of European solidarity associations, of internationalist jurist groups, as well as of agents of national asylum administrations. ; Documenter, à partir de l'asile, les répressions et violences de masse s'inscrit dans une perspective qui place la production documentaire par et pour le sujet exilé au centre de l'analyse et déplace une focale souvent orientée vers les politiques de l'asile, les acteurs humanitaires et/ou la solidarité internationale. Positionner cette question par rapport à la thématique des répressions d'Amérique latine permet de s'inscrire dans la temporalité du tiers-mondisme et des nouveaux mouvements sociaux en faveur des droits de l'homme des années 1970-1980 et de leurs ambivalences. Cette étude s'intéresse à une période où les régimes répressifs instaurent, dans les frontières des différents Etats d'Amérique latine, une loi du silence et de la terreur, combattant la production et la circulation d'informations sur les pratiques policières, les disparitions et la torture. L'exil devient à l'inverse un espace de ...

International audience ; Documenting mass repression and violence from the perspective of asylum is part of a perspective that places documentary production by and for the exiled subject at the center of the analysis and shifts the focus from asylum policies, humanitarian actors and/or international solidarity. Positioning this question in relation to the theme of Latin American repression allows us to inscribe ourselves in the temporality of Third Worldism and the new social movements in favor of human rights in the 1970s and 1980s and their ambivalences. This study focuses on a period in which repressive regimes established a law of silence and terror within the borders of the various Latin American states, combating the production and circulation of information on police practices, disappearances and torture. The exile becomes, on the contrary, a space of documentary production and circulation. This production becomes central in the repertoires of action of the exiles themselves, of European solidarity associations, of internationalist jurist groups, as well as of agents of national asylum administrations. ; Documenter, à partir de l'asile, les répressions et violences de masse s'inscrit dans une perspective qui place la production documentaire par et pour le sujet exilé au centre de l'analyse et déplace une focale souvent orientée vers les politiques de l'asile, les acteurs humanitaires et/ou la solidarité internationale. Positionner cette question par rapport à la thématique des répressions d'Amérique latine permet de s'inscrire dans la temporalité du tiers-mondisme et des nouveaux mouvements sociaux en faveur des droits de l'homme des années 1970-1980 et de leurs ambivalences. Cette étude s'intéresse à une période où les régimes répressifs instaurent, dans les frontières des différents Etats d'Amérique latine, une loi du silence et de la terreur, combattant la production et la circulation d'informations sur les pratiques policières, les disparitions et la torture. L'exil devient à l'inverse un espace de ...

International audience ; Documenting mass repression and violence from the perspective of asylum is part of a perspective that places documentary production by and for the exiled subject at the center of the analysis and shifts the focus from asylum policies, humanitarian actors and/or international solidarity. Positioning this question in relation to the theme of Latin American repression allows us to inscribe ourselves in the temporality of Third Worldism and the new social movements in favor of human rights in the 1970s and 1980s and their ambivalences. This study focuses on a period in which repressive regimes established a law of silence and terror within the borders of the various Latin American states, combating the production and circulation of information on police practices, disappearances and torture. The exile becomes, on the contrary, a space of documentary production and circulation. This production becomes central in the repertoires of action of the exiles themselves, of European solidarity associations, of internationalist jurist groups, as well as of agents of national asylum administrations. ; Documenter, à partir de l'asile, les répressions et violences de masse s'inscrit dans une perspective qui place la production documentaire par et pour le sujet exilé au centre de l'analyse et déplace une focale souvent orientée vers les politiques de l'asile, les acteurs humanitaires et/ou la solidarité internationale. Positionner cette question par rapport à la thématique des répressions d'Amérique latine permet de s'inscrire dans la temporalité du tiers-mondisme et des nouveaux mouvements sociaux en faveur des droits de l'homme des années 1970-1980 et de leurs ambivalences. Cette étude s'intéresse à une période où les régimes répressifs instaurent, dans les frontières des différents Etats d'Amérique latine, une loi du silence et de la terreur, combattant la production et la circulation d'informations sur les pratiques policières, les disparitions et la torture. L'exil devient à l'inverse un espace de ...

In the immediate aftermath of the French liberation, theaters across the country began to project movies centered around the recent conflict. Between 1944 and 1950, World War II was the central theme of more than 302 films. However, these films came from different countries; they were not produced at the exact same time; they did not depict the conflict through the same angle; and more importantly, they did not cover the same class of war victims. Wide differences exist between a French chronicle of the Occupation and a U.S. war movie, a depiction of the homecoming of Italian prisoners and the story of soviet resistance or a narration of British citizens' everyday life during the war. At the time, the response of the French audience and critics to these diverse movie releases varied greatly too. By studying these movies and their reception at the time of their releases, the present study informs our understanding of the emergence of the French mythology surrounding this major conflict. In three chapters, I analyze the cinematographic depictions of various groups of war victims in movies of this era, as well as the audience and critics' response at the time. In the first chapter, I describe the theoretical underpinnings of the cinema history, as well as the narration of World War II as presented by these movies, using statistics specifically collected for this study. The two following chapters offer a series of representative case studies. I first focus on different groups of victims actively involved in the conflict: militaries on and off the front-lines, members of the resistance, and spies and assimilated individuals. I then study the non-fighting victims: civilians under the occupation, civilians living in the free zone, homecoming prisoners, members of the Jewish community and other victims of antisemitism, and finally, the children. ; Dès les premiers jours de la Libération, de nombreux films sur la Seconde Guerre mondiale vont être projetés dans les salles de cinéma françaises. Entre la fin de l'année 1944 ...

In the immediate aftermath of the French liberation, theaters across the country began to project movies centered around the recent conflict. Between 1944 and 1950, World War II was the central theme of more than 302 films. However, these films came from different countries; they were not produced at the exact same time; they did not depict the conflict through the same angle; and more importantly, they did not cover the same class of war victims. Wide differences exist between a French chronicle of the Occupation and a U.S. war movie, a depiction of the homecoming of Italian prisoners and the story of soviet resistance or a narration of British citizens' everyday life during the war. At the time, the response of the French audience and critics to these diverse movie releases varied greatly too. By studying these movies and their reception at the time of their releases, the present study informs our understanding of the emergence of the French mythology surrounding this major conflict. In three chapters, I analyze the cinematographic depictions of various groups of war victims in movies of this era, as well as the audience and critics' response at the time. In the first chapter, I describe the theoretical underpinnings of the cinema history, as well as the narration of World War II as presented by these movies, using statistics specifically collected for this study. The two following chapters offer a series of representative case studies. I first focus on different groups of victims actively involved in the conflict: militaries on and off the front-lines, members of the resistance, and spies and assimilated individuals. I then study the non-fighting victims: civilians under the occupation, civilians living in the free zone, homecoming prisoners, members of the Jewish community and other victims of antisemitism, and finally, the children. ; Dès les premiers jours de la Libération, de nombreux films sur la Seconde Guerre mondiale vont être projetés dans les salles de cinéma françaises. Entre la fin de l'année 1944 ...

We intent to elaborate a new definition of the "engagement littéraire" concept, confronting it to two specific periods (in the aftermath of World War II and at the end of the Twentieth century, after the fall of the Berlin Wall) and based on a corpus of French and Italian novelists: A. Camus, J.-P. Sartre, I. Calvino and E. Vittorini for the first covered period; P. Modiano, O.Rolin, A. Volodine, E. De Luca and A. Tabucchi for the second one. We are proposing a new definition of "engagement littéraire" since we are considering it in a new light which is tightly connected with the so-called notion of regime of historicity, introduced by François Hartog. Our hypothesis is that the novelist's engagement does not rely on a political content or a demonstrative style, but consists mainly in the way the novel itself reflects and puts into question its own situation in History and its connection with History. Therefore, the "roman engagé", which should not be mistaken with the thesis novel, should be associated with the modem regime of historicity, itself based on the conception of a linear and progressive History that turns toward the future. Moreover, contemporary novels should be inscribed within a new temporal regime, called "présentiste", in which the present and the sense of a debt to the past (of remembrance) and to the future (of a patrimony to preserve and to pass on) predominate. In both cases, the novels collected in our corpus lead to a problematization of the regimes of historicity, more than to a simple reproduction of them. ; Nous proposons de redéfinir la notion d'engagement littéraire en la mettant à l'épreuve de deux périodes historiques distinctes - les années suivant la fin de la Seconde Guerre mondiale et la fin du 20ème siècle, après la chute du mur de Berlin - et en prenant appui sur un corpus de romans d'auteurs français et italiens: A. Camus, J.-P. Sartre, I. Calvino, V. Pratolini, E. Vittorini pour la première période; P. Modiano, O. Rolin, A. Volodine, E. De Luca et A. Tabucchi pour la ...

We intent to elaborate a new definition of the "engagement littéraire" concept, confronting it to two specific periods (in the aftermath of World War II and at the end of the Twentieth century, after the fall of the Berlin Wall) and based on a corpus of French and Italian novelists: A. Camus, J.-P. Sartre, I. Calvino and E. Vittorini for the first covered period; P. Modiano, O.Rolin, A. Volodine, E. De Luca and A. Tabucchi for the second one. We are proposing a new definition of "engagement littéraire" since we are considering it in a new light which is tightly connected with the so-called notion of regime of historicity, introduced by François Hartog. Our hypothesis is that the novelist's engagement does not rely on a political content or a demonstrative style, but consists mainly in the way the novel itself reflects and puts into question its own situation in History and its connection with History. Therefore, the "roman engagé", which should not be mistaken with the thesis novel, should be associated with the modem regime of historicity, itself based on the conception of a linear and progressive History that turns toward the future. Moreover, contemporary novels should be inscribed within a new temporal regime, called "présentiste", in which the present and the sense of a debt to the past (of remembrance) and to the future (of a patrimony to preserve and to pass on) predominate. In both cases, the novels collected in our corpus lead to a problematization of the regimes of historicity, more than to a simple reproduction of them. ; Nous proposons de redéfinir la notion d'engagement littéraire en la mettant à l'épreuve de deux périodes historiques distinctes - les années suivant la fin de la Seconde Guerre mondiale et la fin du 20ème siècle, après la chute du mur de Berlin - et en prenant appui sur un corpus de romans d'auteurs français et italiens: A. Camus, J.-P. Sartre, I. Calvino, V. Pratolini, E. Vittorini pour la première période; P. Modiano, O. Rolin, A. Volodine, E. De Luca et A. Tabucchi pour la seconde. Il s'agit bien d'une redéfinition dans la mesure où nous envisageons l'engagement littéraire sous un angle nouveau, en rapport étroit avec la notion de « régime d'historicité », empruntée à François Hartog. Notre hypothèse est que l'engagement de l'écrivain se manifeste non pas dans le contenu politique de l'oeuvre ou son caractère assertif et démonstratif, mais principalement dans la manière dont le texte réfléchit, au sens fort et polysémique du terme, son inscription dans et son rapport à l'histoire. Dans cette perspective, le roman engagé, qu'il convient de distinguer du roman à thèse, serait à penser en lien étroit avec le régime moderne d'historicité, fondé sur la conception d'une histoire linéaire, progressive, orientée vers l'avenir. Les romans contemporains, eux, s'inscriraient dans le régime « présentiste », dominé par le présent et traversé par le sentiment d'une double dette à l'égard du passé (devoir de mémoire) et du futur (un héritage à préserver et à transmettre). Dans les deux cas, c'est moins à une reconduction qu'à une problématisation des régimes d'historicité que se livrent les oeuvres étudiées, qui s'attachent à en révéler les failles ou les excès.

The teaching of foreign languages is linked to geopolitical interests. In French Higher Education, Russian language is first introduced at the end of the 19th century, following a strategical alliance between France and Russia, which comes to an end with the Russian Revolution in 1917. In the Interwar Period, the opening of new positions in Russian language in French universities comes to a halt, while the interest for Eastern Europe partially shifts towards Czechoslovakia, Poland and Yugoslavia. Russian as academics is at a peak after the Second World War, when the USSR appears as a major power. However, in universities, Slavic, then Russian studies, are organized like English or German Studies, that is to say following an academia focusing on classical literature. As a result, academics could seem disconnected from a growing demand towards Russian language as a skill. However, after the death of Stalin, French Ministries of Education and of Foreign Affairs struggle to strengthen diplomatic relations, enabling Russian language students to travel to the USSR, where they can practice a modern language. From then on, Russian language is known by two means: French teachers, who where trained outside Russia or USSR, assisted by native Russian speakers who fled the Soviet Union and often speak a conservative Russian, and through these diplomatic relations, which bring Soviet teachers. A new generation of French teachers is progressively trained after the Second World War, through the French concourse of agregation: these new teachers are mostly trained in classical literature, but some of them also studied for a few months in a Soviet university. From the 1960s, Russian academic field evolves – along with other foreign languages studies – to consider more and more Russian as a modern language, beyond the language of a classical literature: language is studied for itself – to future teachers, but also to scientists and for business purposes – and as a language of culture as a whole (history, art, social sciences, ...

The teaching of foreign languages is linked to geopolitical interests. In French Higher Education, Russian language is first introduced at the end of the 19th century, following a strategical alliance between France and Russia, which comes to an end with the Russian Revolution in 1917. In the Interwar Period, the opening of new positions in Russian language in French universities comes to a halt, while the interest for Eastern Europe partially shifts towards Czechoslovakia, Poland and Yugoslavia. Russian as academics is at a peak after the Second World War, when the USSR appears as a major power. However, in universities, Slavic, then Russian studies, are organized like English or German Studies, that is to say following an academia focusing on classical literature. As a result, academics could seem disconnected from a growing demand towards Russian language as a skill. However, after the death of Stalin, French Ministries of Education and of Foreign Affairs struggle to strengthen diplomatic relations, enabling Russian language students to travel to the USSR, where they can practice a modern language. From then on, Russian language is known by two means: French teachers, who where trained outside Russia or USSR, assisted by native Russian speakers who fled the Soviet Union and often speak a conservative Russian, and through these diplomatic relations, which bring Soviet teachers. A new generation of French teachers is progressively trained after the Second World War, through the French concourse of agregation: these new teachers are mostly trained in classical literature, but some of them also studied for a few months in a Soviet university. From the 1960s, Russian academic field evolves – along with other foreign languages studies – to consider more and more Russian as a modern language, beyond the language of a classical literature: language is studied for itself – to future teachers, but also to scientists and for business purposes – and as a language of culture as a whole (history, art, social sciences, ...