The advanced stage of capitalism that we now live in has brought many changes to the way that society consumes and produces. One of the biggest shifts to the modern economy was the use of visual culture to distract, pacify, and exert power over the masses; a cultural change French theorist Guy Debord named the Society of the Spectacle. As a result, Debord and the Situationist International developed a movement of resistance to reclaim the territories of everyday life being eroded by the spectacle through separation and alienation. Since the term was coined the use of visual culture has accelerated and become even more pervasive in the postmodern world which led Jean Baudrillard to claim that the real has been replaced by simulation and hyperreality. This thesis explores this cultural shift to determine whether the practices of resistance theorized by Debord and the Situationists are still relevant as the reach of postmodernism increases. Link to associated video file: https://vimeo.com/64727252

La présente recherche a comme sujet la gestion des risques au cœur de la prise de décision en protection de l’enfance. Elle a comme objectif une meilleure compréhension de la pratique à partir de la construction des logiques d’action déployées par les professionnels ainsi que la réflexion sur le sens qu’ils accordent à leurs actions. Le projet est porté par une posture constructiviste : les professionnels « construisent » la situation problématique de l’enfant à protéger tout comme ils construisent la solution envisagée. C’est à partir de la combinaison entre la réflexivité (Schön; Racine; Giddens) et la délibération éthique (Bossé, Morin et Dallaire) que des groupes de discussion impliquant des professionnels de professions et de statuts différents ont été réalisés au Centre jeunesse de l’Estrie. Ces groupes s’inscrivent dans une méthodologie qualitative laissant place aux discours des acteurs et sont accompagnés d’entretiens individuels comme stratégie complémentaire de cueillette de données. Les données ont été explorées à partir d’une analyse de contenu sous trois axes (Van der Maren) : une analyse horizontale (dégager les éléments pertinents à partir d’un cadre de délibération éthique), une analyse verticale (dégager les interactions et les inter-influences dans les groupes de discussion) et une analyse transversale (dégager des noyaux de sens et des logiques d’action à travers les discours). Les résultats permettent d’établir des séquences dans la prise de décision des professionnels à partir desquelles se construisent les logiques d’action. Trois logiques sont dégagées de l’analyse de contenu ⎯ collaborative, délibérative, légaliste ⎯ qui sont appuyées sur plusieurs dimensions regroupées à l’intérieur de trois axes d’intérêt : le rapport au mandat de protection, le rapport à la situation et le rapport au risque. Au-delà des logiques elles-mêmes, les résultats portent également à réfléchir des éléments de processus qui influencent la prise de décision. Ces éléments amènent à explorer et à questionner la posture professionnelle et la conviction, le dialogue et la présence d’espace de traduction ainsi que l’apport de la délibération collective. Au final, la recherche permet de réaffirmer la complexité de la pratique de protection de l’enfance mais elle conduit également à plaider en faveur d’une conscientisation de la pratique. Dégager des logiques d’action procure des clés de réflexivité pour les professionnels les menant à conscientiser leur prise de décision et ainsi accéder / The following research concerns the risk management in the matter of decision-making concerning child protection. The object is a better understanding of the practice through the construction of logics of action engaged by professionals as well as reflections on the meaning they attach to their actions. The research is supported by a constructivist posture: professionals “built up” the child problematic situation as well as they “built up” the situation. Base on combination of reflexivity (Schön; Racine; Giddens) and ethical deliberation (Bossé, Morin and Dallaire), focus groups took place involving professionals of different positions at the Youth Protection Center in the Eastern Township area. Those groups involved a qualitative methodology including actor’s speech and are accompanied by individuals interviews as a complementary data collection. The data were explored by content analysis in three axes (Van der Maren): a horizontal analysis (identify major’s elements with ethical deliberation frame work), a vertical analysis (identify interactions and influences in the focus groups) and a cross-sectorial analysis (identify nucleus of meaning and logic of action through speech). The results allow establishing sequences in decision making of professionals from which to build the logic of action. Three approaches have emerged from content analysis ⎯ collaborative, deliberative, legalistic ⎯ which are based upon several dimensions grouped into three areas of interest: the relation to the mandate of protection, compared to the situation and report at risk. Beyond the logic themselves, the results also reflect elements of process that influence decision making. These factors point to explore and question the professional posture and belief, dialogue and space translation and the contribution of collective deliberation. Ultimately, the research helps to reaffirm the complexity of the practice of child protection but it also leads to argue for an awareness of the practice. Identify logical action provides key reflexivity for professionals leading them to their awareness and decision-making and access to risk management fair and justified.

À l’avant-garde de l’innovation scientifique actuelle, la recherche en nanotechnologies s’inscrit dans une promesse de conquête d’une nouvelle dimension : le Nanomonde. Défini par un critère de dimensionnalité incluant l’ensemble des objets entre 1 et 100 nanomètres et par l’application des lois de la physique quantique à l’analyse des phénomènes, ce nouveau territoire de la connaissance sert de vitrine sociale aux promesses de transformation radicale de notre compréhension de la réalité, à travers notamment la production d’objets « nanos » aux propriétés révolutionnaires, comme les nanotubes de carbone par exemple. Mais quelle est exactement la nature de cette dimension ? Comment est-elle définie, et qui, une fois les discours et les pratiques analysés, la contrôle et l’étudie ? À travers un terrain de recherche dans deux laboratoires de nanotechnologies et une série d’entretiens avec des chercheurs, j’ai analysé l’importance de l’instrumentation technique comme élément de structuration du Nanomonde, à la fois dans la pratique et dans les discours. À cet égard, le concept de pensée technique permet de rendre compte de la nature des aprioris à l’oeuvre dans le travail de recherche en nanotechnologies. En parcourant les différents travaux effectués en sciences humaines et sciences sociales sur les nanotechnologies, la place de l’instrumentation, si elle est évoquée comme un élément d’accessibilité pour rejoindre le Nanomonde, n’est que rarement considérée dans une perspective problématique. À travers l’analyse du discours réflexif des acteurs de la recherche sur leurs pratiques, il apparaît que l’instrumentation, bien plus que d’être un simple élément matériel du laboratoire, structure les relations inter-personnelles. Elle créée en effet un réseau d’interdépendance cognitive dans lequel chaque chercheur se situe en fonction de son expertise instrumentale, structurant les relations au sein des groupes de recherche. Ce partage cognitif, d’une façon d’établir des relations sociales, apparaît également comme un élément de détermination de la nature même des recherches et de la dimension particulière qu’est le Nanomonde. L’instrumentation est donc naturalisée comme une composante allant de soi de la « vie de laboratoire ». Pourtant, l’analyse des tentatives de contrôle du contexte de recherche et une discussion autour de l’efficacité du système technique déployé via l’instrumentation en nanotechnologies, souligne l’aspect auto-référentiel que prend le travail d’exploration du Nanomonde. Cet aspect de fermeture sur le système technique de l’instrumentation est mis en parallèle avec la façon dont les discours sur les nanotechnologies – à la fois internes et externes à la sphère scientifique – présentent les objets du Nanomonde et les recherches sur ces mêmes objets à travers leur aspect performatif qui ressortira particulièrement. En insistant sur les performances des produits de la recherche, les chercheurs et les promoteurs des nanotechnologies font du Nanomonde un espace de connaissance marchande, répondant à la logique propre au marché des idées néolibérales. Cependant, bien loin de correspondre à un enrichissement des expertises, ce modèle de marchandisation entraîne un appauvrissement de celles-ci, et une difficulté pour former les futurs chercheurs « nanos » de demain, chacun essayant de répondre à l’impératif technique de la performativité dans son discours et dans ses choix de recherches. L’analyse menée ici insiste donc sur l’idée que c’est selon un mode de pensée technique que le Nanomonde est exploré, conquis, et, finalement, exploité. / In the vanguard of the current scientific innovation, the research in nanotechnologies joins in a promise of conquest of a new dimension: the Nanoworld. Defined by a dimensionality criterion including all the objects between 1 and 100 nanometers and by the application of the laws of the quantum physics in the analysis of phenomenon, this new territory of knowledge is used as a social showcase for the promises of radical processing of our understanding of the reality, through in particular the production of "nano" objects displaying revolutionary properties, such as carbon nanotubes. But what exactly is the nature of this dimension? How is it defined, and who, once the speeches and practices have been analyzed, eventually controls it? Through a grounded research in two nanotechnologies laboratories and a series of interviews with researchers, I have analyzed the importance of technical instrumentation as a structuring element of the Nanoworld, both in practice and speeches. Furthermore, the concept of technical thought allows to report the nature of aprioris within the research work in nanotechnologies. By going through the various works made by humanities on nanotechnologies, the square of the instrumentation, if evocated as an element of accessibility to join the Nanoworld, is only rarely considered in a problematic perspective. Through the analysis of the reflexive speech of the research practitionners, it seems that the instrumentation, much more than being a simple material element of the laboratory, structures the interpersonal relations. It creates a network of cognitive interdependence where every researcher is situated according to his instrumental expertise. It structures the relations within the researchers’ group. This cognitive sharing is a way to establish social relationships, while being an element of determination of the nature of the researches on the Nanoworld. The instrumentation is thus naturalized as a granted component of "laboratory life". Yet, the analysis of the attempts of control of the research context and a discussion around the efficiency of the technical system of the instrumentation in nanotechnologies, the auto-reference aspect which takes the work of exploration of the Nanoworld becomes highlighted. This aspect of closure on the technical system of the instrumentation is parallel with the way the speeches on the nanotechnologies - both internal and external to the scientific sphere - present the objects of the Nanoworld and the researchs on these objects through their performative aspect. By insisting on the performances of the products of their research, scientists and developers of the nanotechnologies turn the Nanoworld into a dimension of merchandised knowledge, in the same logic as neoliberal market ideas. However, far from corresponding to an enrichment of the expertises, this model of merchandisation entails their impoverishment. Furthermore, a difficulty to train the "nanos" researchers of the future arised in the past few years. This double standard is obvious as a consequence of the technical imperative of the speech performativity and the choice of individual researchs. Thus, the analysis I conducted here insists on the idea that it is according to the technical way of thinking that the Nanoworld is investigated, conquered, and, finally, exploited. / Réalisé en cotutelle avec l'Université Paris 1 Panthéon-Sorbonne.

The aim of this study is to analyze the construction of research culture and collaboration within the research studio Tools for Creativity, one node in the larger Interactive Institute. This studio is an arena that in today’s society is associated with boundary crossing, dynamics and variability: An environment with high-tech equipment, a staff equipped with diverse skills, and a flexible approach with the ambition of developing innovative tools based on ICT to strengthen human creativity. The present thesis is divided into four main parts. In Part One, culture as analytical framework is presented. This is followed by a presentation of field work, data and field site, the studio Tools for Creativity, and its employees. This includes a discussion of the methods of participant observations and deep inter-views. In the theoretical framework overview, perspectives used in this thesis is presented, including the so-called “new research landscape” debate, a background to this thesis. The introduction concludes with a chapter whith a reflexivity discussion including the making of the research self during field work and in the written text. In Part Two, entitled “Technology”, the informants’ definition of technology in relation ICT and the prototypes produced is ana-lyzed. The concepts “enlightenment optimism” and “romantic uneasiness” are presented as theoretical entrances to the chapter. This is the background for an analysis of the future- and speed-oriented discourse that characterizes the informants’ perception of technology. The aim of using technology to support human creativity, challenge presence and facilitate multi-cultural communication is further discussed. This is juxtaposed with another aspect of technol-ogy, namely the informant’s critique of technology’s impact on mankind, humanity and society. Part Three, “Re-search”, deals with interpretations and negotiations of the concept of research and the researcher conducted by the informants at Tools for Creativity. First, the concept of “boundary object” is presented followed by its use order to analyze the construction of research and the researcher in a multi-disciplinary arena like the studio. An important part of the making of the researcher is the trading of skills in the attempt of legitimizing the individuals’ efforts at conducting research. Here, focus is the negotiation of research as an activity between individuals representing the sciences and the arts, as well as those with formal education and autodidacts. Attempts to manage a broader research concept are placed in relation to academic quality demands. In this analysis, the point of departure is Pierre Bourdieu’s concepts of symbolic capital. Here, gender is included as symbolic capital. Part Four is called “Reflections” and contains a discussion of the study and reflections concerning field work. This is followed by a summation of what happened to Tools for Creativity and Interactive Institute after finished field work.

The inter-subjective and dialogical nature of narrative therapy, as commonly practiced, remains unarticulated. Further, there currently exists no rigorous empirical research investigating the process or outcome of narrative therapy. The research aim, to investigate the process and outcome of narrative therapy, comprised theoretical and empirical objectives. The first objective was to articulate a theoretical synthesis of narrative theory, research and practice. The process of narrative reflexivity was identified as a theoretical construct linking narrative theory with narrative research and practice. The second objective was to substantiate this synthesis empirically by examining narrative therapy processes, specifically narrative reflexivity and the therapeutic alliance, and their relation to therapy outcomes. The third objective was to support the proposed synthesis of theory, research and practice and provide quantitative evidence for the utility of narrative therapy, by evaluating depressive symptom and inter-personal relatedness outcomes through analyses of statistical significance, clinical significance and benchmarking. Founded in theories of self, language and narrative (James, 1890; Bruner, 1986; Gergen, 1991; Hollway, 2006; Vygotsky, 1934/ 1987), narrative therapy was conceptualized as involving dialogical and intra-personal processes. Narrative therapists generally apply a story metaphor and commonly focus on the inter-personal field (White, 2007). This thesis recognised the storied and inter-personal nature of narrative therapy, but proposed this does not represent narrative therapy in its entirety. The notion of story connotes monological processes, inconsistent with the conversations of narrative practice, and neglect of intra-personal dimensions is inconsistent with narrative notions of inter-subjectivity. This thesis proposed an integration of dialogical narrative theory (Cooper, 2003; Hermans & Kempen, 1993; Lysaker & Lysaker, 2006) and narrative research (Angus, Levitt, & Hardtke, 1999) provides a model for understanding narrative therapy (White, 2007) as involving the inter-subjective and dialogical process of narrative reflexivity. During the process of narrative reflexivity, a person engages in dialogue with his or her own self and others as extensions of self, interpreting experience from diverse perspectives in the context of personal aspects, such as beliefs, values and intentions that give meaning to experience, to achieve a rich narrative and a sense of well-being. To support this theoretical synthesis, a process-outcome trial evaluated eight-sessions of narrative therapy for 47 adults with major depressive disorder. Dependent process variables were narrative reflexivity (assessed at Sessions 1 and 8) and therapeutic alliance (assessed at Sessions 1, 3 and 8). Primary dependent outcome variables were depressive symptoms and inter-personal relatedness. Primary analyses assessed therapy outcome at pre-therapy, post-therapy and three-month follow-up and utilized a benchmarking strategy to the evaluate pre-therapy to post-therapy and post-therapy to follow-up gains, effect size and pre-therapy to post-therapy clinical significance. Results indicated that when a sub-sample of clients were categorised into five least-improved and five most-improved groups (according to depressive symptom change), there was a differential change in the percentage of reflexive sequences in the discourse of clients at the end of therapy depending on outcome. Improvement in the quality of the working alliance was associated with improvements in depressive symptoms and inter-personal relatedness, with working alliance improvement from Session 1 to 8 sharing 19% of the variance in depressive symptom improvement and 17% of the variance in inter-personal relatedness improvement from pre-therapy to post-therapy. The clinical trial provided empirical support for the utility of narrative therapy in improving depressive symptoms and inter-personal relatedness from pre-therapy to post-therapy: the magnitude of change indicating large effect sizes (d = 1.10 to 1.36) for depressive symptoms and medium effect sizes (d = .52 to .62) for inter-personal relatedness. Therapy was effective in reducing depressive symptoms in clients with moderate and severe pre-therapy depressive symptom severity. Improvements in depressive symptoms, but not inter-personal relatedness, were maintained three-months following therapy. The reduction in depressive symptoms and the proportion of clients who achieved clinically significant improvement (53%) in depressive symptoms at post-therapy were comparable to improvements from standard psychotherapies, reported in benchmark research. This research has implications for assisting our understanding of narrative approaches, refining strategies that will facilitate recovery from psychological disorder and providing clinicians with a broader evidence base for narrative practice. Despite limitations of a repeated-measures research design, use of a standardised intervention protocol, coupled with outcome evaluation of clinical significance enhanced internal validity. Future research could examine narrative therapy in a larger sample, with different disorders, and with an alternative therapy or control group. Coding a greater number of therapy transcripts for evaluating associations of narrative reflexivity with working alliance and outcomes could enhance understanding of narrative reflexivity. Thesis strengths included a strong theoretical foundation underpinning the research design and arguments, examination of therapy process in the context of outcome, and a parsimonious evaluation of narrative therapy outcomes.

This research project is concerned with workers’ narratives, specifically those who have been employed in paid work below the national minimum wage in New Zealand. As a graphic designer who has direct experience of exploitation through employment, I am interested in researching the subjective experience of underpaid workers in New Zealand. In doing this I have sought to creatively synthesize experiences into artworks that provide a deeper insight into the impact of underpaid work. Through this investigation I have attempted to contribute to a broader discussion of underpaid work than what is currently provided, through the analysis of statistical data. In undertaking this project I have also been concerned with investigating new potentials in serigraphy (a graphic medium traditionally associated with working-class politics). I have inquired into how it might be used to create a visual ‘voice’ for contemporary workers’ narratives. Accordingly, this project has employed audio recordings of three personal stories. The research has led to the production of a series of serigraphic prints that artistically interpret the journeys and experiences of the participants. These images sit in discourse with looped audio excerpts of their recorded interviews. In this approach, narratives of marginalisation that have often been muted through their presentation as written records, have been re-conceptualised as an artists' images, with which the recordings are in discussion.

This research project is concerned with workers’ narratives, specifically those who have been employed in paid work below the national minimum wage in New Zealand. As a graphic designer who has direct experience of exploitation through employment, I am interested in researching the subjective experience of underpaid workers in New Zealand. In doing this I have sought to creatively synthesize experiences into artworks that provide a deeper insight into the impact of underpaid work. Through this investigation I have attempted to contribute to a broader discussion of underpaid work than what is currently provided, through the analysis of statistical data. In undertaking this project I have also been concerned with investigating new potentials in serigraphy (a graphic medium traditionally associated with working-class politics). I have inquired into how it might be used to create a visual ‘voice’ for contemporary workers’ narratives. Accordingly, this project has employed audio recordings of three personal stories. The research has led to the production of a series of serigraphic prints that artistically interpret the journeys and experiences of the participants. These images sit in discourse with looped audio excerpts of their recorded interviews. In this approach, narratives of marginalisation that have often been muted through their presentation as written records, have been re-conceptualised as an artists' images, with which the recordings are in discussion.

Cette thèse a pour objet le palo monte, culte initiatique d’origine bantoue que l’on pratique aujourd’hui sur tout le territoire cubain. Ses adeptes, les paleros, se lient rituellement à certains esprits des morts, les nfumbis, afin de bénéficier de leurs pouvoirs extraordinaires. Religion peu prescriptive, le palo monte laisse à ses adeptes une grande latitude en matière d’innovation rituelle et d’improvisation. En l’absence de corpus mythologique, de textes sacrés, de liturgie fixe et de toute autorité institutionnalisée, chaque groupe initiatique définit sa méthodologie religieuse de façon autonome. L’objectif de cette thèse est d’expliciter comment des pratiques religieuses se créent, se légitiment et se transmettent dans un contexte de variabilité extrême. Je porte d’abord une attention particulière à la matérialité du culte et tout particulièrement aux interactions quotidiennes entre les paleros et leur nganga, chaudron qui condense la présence du mort : objet-sujet omniscient, la nganga médiatise un réseau relationnel complexe qui permet l’émergence en continu des pratiques du palo monte. Je m’intéresse ensuite aux rites paleros en tant que performances au cours desquelles les prêtres forgent leur réputation en créant une sorte de cosmologie personnalisée. Tout en proposant une analyse interactionnelle de ces rituels, je montre comment certains aspects de la personnalité des adeptes interviennent dans la définition de la forme rituelle de chaque groupe. Enfin, je montre comment les actes réflexifs des paleros, omniprésents sous la forme de critiques, de justifications, de confrontations, etc. sont constitutifs de la transmission et du renouvellement des pratiques. / This thesis is on palo monte, a Cuban initiatory religion of Bantu origin, widespread over all Cuban territory. Its worshippers, the paleros, establish ritual bonds with determined spirits of the dead, called nfumbis, in order to receive their supernatural powers. Imposing a small number of prescriptions, palo monte enables its devotees to operate a wide range of ritual innovations and improvisations. Indeed, the inexistence of a mythological corpus, a sacred text or a strict liturgy, and more generally of any kind of institutionalized authority, allows every initiatory group to define its religious methodology in an autonomous way. The aim of this research is to explain how these religious practises are created, legitimized and transmitted in a context which allows for extreme variability. In this perspective, the analysis focuses primarily on palo monte’s materiality and more specifically to the daily interactions between the paleros and their nganga, a cauldron condensing the presence of a dead man. I argue that the nganga, as an omniscient object-subject, mediates a complex relational network and enables a constant reinvention of palo monte’s ritual practises. I focus thus on palero rituals as performances through which priests make a name for themselves by creating a kind of customized cosmology. By putting forward an interactional analysis of these/their rituals, I show how determined aspects of the adepts’ personalities intercede in the definition of each groups’ ritual patterns. Finally, I point out how paleros’ reflexive acts – in the form of pervasive critique, vindication, debates, etc. – are constitutive of their practices’ transmission and renewal.

Research on the experience of international students often suffers from conflation, in that it uses culture (or nationality as a proxy for culture) as a categorising agent, thereby granting causal powers to cultural differences, and contributing to a deficit model of international students. In this research, I will argue that, while culture and structure both provide new sets of constraints and opportunities for international students, participants are active agents in shaping their own experiences, as they think, reflect and act in response to their situational context. Drawing on Archer’s concept of reflexivity, this thesis demonstrates that because international students are often not immediately able to exercise agency through conversation (thought and talk), they find a need to reflect on their experiences and develop a course of action based on greater autonomy (that is, they become more independent). However, while some students make the transition to independence relatively smoothly, for others, it is not so easy, and some participants may find it difficult to convert thoughts into effective action (or displaced reflexivity). Participants in the international student experience confront a situational context marked by four specific features: first, a lack of a sympathetic interlocutor (that is, they find themselves on their own); second, contextual incongruity (commonly conceptualised as culture shock); third, shared experiences, which leads to congruity; and fourth, troublesome events, which blocks agential action. This research provides empirical evidence of specific generative mechanisms which contribute to the shaping of agency in the international student experience.

Approche esthétique de l’œuvre cinématographique de Brian De Palma. La problématique s’articule entre esthétique du montage et violence de l’image. En premier lieu, le texte interroge le mode de découpage privilégié par Brian De Palma en soulignant l'importance du plan-séquence et du split screen. L'usage du plan-séquence est, notamment, rapporté à la question du défaut de vision, phénomène considéré comme central. Un second moment de cette thèse est consacré à l'étude des personnages. Des personnages anti-héros, marginaux. L'accent est particulièrement mis sur le corps féminin. Regard et voyeurisme revient à la question du découpage privilégié par Brian De Palma. Comment Brian De Palma utilise-t-il le regard pour accéder à la violence ? Qu’est-ce que regarder chez Brian De Palma ? Comment les éléments voyeuristes depalmiens se construisent-ils à partir du langage cinématographique ? Le cinéma de Brian De Palma s’annonce aussi savant et complexe, entre classicisme et modernisme. Comment Brian De Palma travaille-t-il l’œuvre hitchcockienne pour offrir une conception nouvelle ? Comment violenter l’image pour extraire son invisible ? / An esthetically pleasing approach to Brian De Palma's cinematographic work. The issue revolves around editing aesthetics and image violence. First, the text questions the cutting mode favored by Brian De Palme, stressing the importance of sequence-shot and split screen. The use of sequence-shot is in particular brought by the issue of lack of vision, a phenomenon considered as central. A second point of this thesis is devoted to the study of the characters. Anti-hero characters, drop outs. Emphasis is particularly placed on the female body. And voyeuristic gaze returns to the issue of cutting by Brian De Palma. How does Brian De Palma use eyes to see violence ? What is the meaning of « looking » to Brian De Palm a? How are De Palma's voyeuristic elements constructed from film language ? Brian De Palma's film also promises to be clever and complex, between classicism and modernism. How does Brian De Palma use Hitchcock's work in order to offer a new design? How assaulting the image to get its unseen part ?