Etudier la dynamique politique de la constitution du problème public des OGM au prisme de sa médiatisation télévisuelle, tel est l’objet de cette recherche. A rebours des théories sociologiques classiques des problèmes, dont le constructivisme est devenu l’indéniable référence, cette thèse aborde la question selon une approche pragmatiste. Elle montre que les problèmes se font moyennant des épreuves et des enquêtes qui font émerger des publics qui configurent le préjudice subi et rendent leur situation digne d’une préoccupation de l’Autorité politique. Considérer les problèmes comme une expérience, c’est référer leur origine à la survenue d’une nouveauté qui modifie le rapport au monde et exige une demande de sens. Tel que le montre cette thèse, la constitution du problème public des OGM est inséparable de la prise en compte de l’émergence spectaculaire dans les années 70 de ce que l’on considère comme l’un des plus grands événements scientifiques de l’histoire du monde, à savoir les manipulations génétiques. Le lien que tisse cette recherche entre événement et problème public est à la fois central et original pour comprendre comment au milieu des années 90, les OGM alimentaires sont, de manière assez singulière, constitués comme problème public par un ensemble d’acteurs sociaux parmi lesquels la télévision. Si les problèmes publics font émerger une arène sociale de dispute composée de multiples scènes publiques, la télévision fait partie de ces scènes qui accueillent et participent au procès de publicisation. En tant qu’opérateur de signification, le dispositif télévisuel joue un rôle fondamental dans l’individuation de l’événement scientifique et du problème public qu’il engendre. Par l’ensemble de ses opérations de médiation, ses cadrages et contre-cadrages, il participe avec les publics politiques et d’autres acteurs, à la problématisation et à la déproblématisation de la question. Cette dynamique collective est au cœur de l’hypothèse générale défendue par cette thèse, qui est que le problème représente un grand moment de transformation au cours duquel la société s’auto-réfléchit et s’auto-produit. / The aim of this research is to analyze the political dynamics of the formation of genetically modified organisms as a public problem through television mediation. In an effort to distance this work from classic sociological theory of public problems, best embodied by constructivism, this thesis follows a pragmatic approach. Such as theoretical standpoint enables us to demonstrate that problems are formed through processes of enquiry which lead to the formation of specific publics. These publics will reconfigure the perceived consequences of problems, and try to make a situation worthy of consideration by public authorities. To refer to problems as experiences is to consider their origin as an occurrence of novelty, which alters one’s relationship to the world, and establishes a demand for meaning. As it is shown in this work, the formation of GMOs as a public problem is inseparable from the awareness of the spectacular emergence of genetic manipulation in the 70’s, which can be considered as one of the major scientific events of the known world.The strong connection between events and public problems is both paramount and innovative, as it allows us to understand how in the mid 90’s GM food organisms are formed as public problems by a variety of social agents, among which the television. If public problems create an arena of dispute composed of many public scenes, the television acts as a public scene which harbors and engages in the publicization process. As a provider of problematization, it plays a key role in singling out the scientific event and the public problem it gives rise to, through framing, reframing, and various mediation operations which include political publics and agents. In this work, the collective dynamics at work are central to the hypothesis that a problem constitutes a key moment of transformation during which society engages in self-reflexive and self-productive processes.

L'instauration des frontières linguistiques en Belgique n'a en rien limité l'internationalisation et la francisation de la périphérie flamande de Bruxelles-Capitale. L'afflux d'une population nationale francophone, venue de la capitale belge, provoque un sentiment de minorisation au sein de la population néerlandophone habitant cette périphérie. Depuis le début des années 1990, les autorités municipales et régionales mettent en place des politiques linguistiques censées préserver la culture flamande des dix-neuf communes limitrophes de Bruxelles-Capitale. Un véritable dispositif territorial, officiellement baptisé le « Vlaamse Rand » (littéralement la « périphérie flamande »), analysé dans cette thèse, vise à « discipliner » les usages linguistiques des allophones au sein des espaces publics.Comment les francophones de la périphérie bruxelloise investissent-ils leur territoire de résidence, linguistiquement et politiquement ordonnancé par les autorités flamandes ?Cette thèse se concentre sur une étude psychosociologique de l'espace, en combinant les approches de la sociolinguistique et de la psychologie culturelle avec celles de la géographie humaine. Elle examine l'impact des stratégies linguistiques émanant de pouvoirs, officiels et officieux, sur les mobilités et les territorialités des francophones résidant en périphérie de Bruxelles-Capitale. Les résultats issus de questionnaires en ligne, d'observations participantes et surtout d'entretiens qualitatifs concourent à l’élaboration d’un cadre analytique permettant de déterminer, à différentes échelles spatiales, l'influence de l'usage des langues sur les comportements territoriaux tout autant que sur les perceptions du territoire de résidence. / The establishment of linguistic borders in Belgium has in no way limited the internationalization and francization of the Flemish Brussels-Capital’s periphery. An influx of a national French-speaking population, coming from the Belgian capital, causes a feeling of minorization among the Dutch-speaking population living in this periphery. Since the early 1990s, municipal and regional authorities have been implementing language policies, which are supposed to preserve the Flemish culture of the nineteen neighbouring municipalities of Brussels-Capital. A full-fledged territorial apparatus, officially called the "Vlaamse Rand" (literally the "Flemish periphery"), analysed in this thesis, aims to "discipline" the allophones’ language use within public spaces.How do the Francophone inhabitants of Brussels-Capital’s periphery settle in their territory of residence, linguistically and politically organized by the Flemish authorities ?This thesis focuses on a psycho-sociological study of space, combining the approaches of Sociolinguistics and Cultural Psychology with those of Human Geography. It examines the impact of both formal and informal language strategies on everyday geographic mobilities and territorialities of Francophone people living in Brussels-Capital’s periphery. The results from online questionnaires, participant observations and, above all, qualitative interviews contribute to the formulation of an analytical framework which enables to evaluate, at different spatial scales, the influence of the use of languages on territorial behaviours as well as on perceptions of the territory of residence.

Depuis septembre 2014, les établissements d’enseignement supérieur belges francophones ont été amenés à définir des acquis d’apprentissage pour chacun de leurs programmes. Cette thèse étudie les processus qui ont conduit à cette obligation.Les acquis d’apprentissage sont appréhendés comme un concept pédagogique aux usages divers. Ils sont mobilisés par divers instruments européens : cadre européen des certifications pour l’éducation et la formation tout au long de la vie, cadre global des qualifications pour l’espace européen de l’enseignement supérieur, assurance qualité et labels ECTS et Supplément au diplôme. Les objectifs affichés de ces instruments sont de renforcer la transparence, la lisibilité, la comparabilité et la transférabilité des qualifications afin de favoriser la mobilité des étudiants et des travailleurs.Après avoir retracé la montée en puissance de la notion de compétence dans l’enseignement, cette thèse analyse la manière dont chaque instrument a été mis en œuvre en Belgique francophone. Elle propose également une sociohistoire de la pédagogie à l’université qui a participé à l’introduction des acquis d’apprentissage dans l’enseignement supérieur de la Belgique francophone.Les données récoltés sont des discours (traités pédagogiques, textes législatifs, documents institutionnels et internationaux, entretiens semi-directifs) dont certains ont été analysés avec l’aide du logiciel de textométrie TXM. Trois cadres théoriques sont assemblés. La sociologie de la traduction est mobilisée décrire les réseaux socio-techniques qui sont construits autour des instruments analysés, les controverses que ceux-ci ont suscitées en Belgique francophone et la place qu’occupent les acquis d’apprentissage au sein de ces réseaux. Le modèle des cités de Boltanski et Thévenot est utilisé pour interpréter la logique sur laquelle les discours se construisent. Il est fait appel au concept de « dispositif européen de l’enseignement supérieur » développé par Croché et Charlier à partir des travaux de Foucault pour interpréter la manière dont convergent les conduites des acteurs de l’enseignement universitaire belge francophone. / Since September 2014, the Belgian French-speaking higher education institutions must define learning outcomes for each of their programs. This thesis studies the processes which led to this obligation.The learning outcomes are understood as an educational concept with different uses. They mobilized by various European instruments: European qualification framework, Overarching framework of qualification in the European higher education area, quality assurance, ECTS and Diploma supplement labels. The objectives of these instruments are to enhance the transparency, the readability of the qualifications in order to support the mobility of the students and the workers.First, this research describes the expansion of the concept of competence in education. Secondly, it analyses the transposition of the European instruments in the French-speaking of Belgium. Thirdly, it presents a history of pedagogy in the three main universities.The data are discourses (educational texts, laws, institutional documents, international texts, interviews). Some of these discourses are analyzed with the TXM textometry software. Three theoretical frameworks are mobilized: actor-network theory and the concept of socio-technical networks (Callon & Latour), the Economies of worth and the idea of worlds of justification (Boltanski & Thevenot), and the concept European higher education apparatus (Croché, Charlier).

Submitted by Ana Caroline Costa (ana_caroline212@hotmail.com) on 2018-12-05T19:14:43Z No. of bitstreams: 2 Dissertação - Daniela Priscila de Oliveira Veronezi - 2018.pdf: 3593493 bytes, checksum: 150b366859049150181ad8692b38005a (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2018-12-06T09:43:23Z (GMT) No. of bitstreams: 2 Dissertação - Daniela Priscila de Oliveira Veronezi - 2018.pdf: 3593493 bytes, checksum: 150b366859049150181ad8692b38005a (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2018-12-06T09:43:23Z (GMT). No. of bitstreams: 2 Dissertação - Daniela Priscila de Oliveira Veronezi - 2018.pdf: 3593493 bytes, checksum: 150b366859049150181ad8692b38005a (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2018-11-29 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / The present research aims to delineate the existing imbrications in the binomial communication and culture, in order to understand the social inclusion dispositif from the analysis of the film "Colegas", 2012, and the socio-historical context of its production, based on the notion of a dispositif employed by Foucault (2015) and operationalized by Deleuze (1996). As a product of Brazilian cinema, "Colegas" has in its cast more than 60 people with Down syndrome, including the protagonists. The work starts from the Foucaultian theoretical- methodological framework, mainly of the notion of dispositif, which encompasses both discursive and non-discursive practices. In addition to the Foucaultian studies, Deleuze (1996) sought the operationalization of the dispositif, which acts from the visibility curves and the enunciation curves, lines of force and lines of subjectivation. As a procedure, the dispositif constitutes, in essence, the method of discourse analysis employed in this scientific investigation. According to Vanoye and Goliot-Lété (2006), the film analysis was also used for the scrutiny of the data. Together, these methods result in the so-called hybrid of filmic discourse analysis. For the social inclusion dispositif of people with Down syndrome to be studied from a cinematographic product, the socio-historical context of the production of "Colegas" was used as parameters of analysis, which Aumont et al. (2014) calls it "anticlassical out of field", and also the film itself. The reception space, on the other hand, was not the object of study of this research. As a result, this investigation allowed the understanding of the way in which the manifest meanings in the film "Colegas" dialogue with the circulating discourses in the contemporary society on the inclusion of the people with Down syndrome. / A presente pesquisa busca delinear as imbricações existentes no binômio comunicação e cultura, com o objetivo de compreender o dispositivo de inclusão social a partir da análise do filme “Colegas”, de 2012, e do contexto sócio-histórico de sua produção, embasado na noção de dispositivo empregada por Foucault (2015) e operacionalizada por Deleuze (1996). Como produto do cinema brasileiro, “Colegas” conta em seu elenco com mais de 60 pessoas com síndrome de Down, incluindo os protagonistas. O trabalho parte do arcabouço teórico-metodológico foucaultiano, principalmente da noção de dispositivo, que abrange tanto práticas discursivas quanto não discursivas. Aliado aos estudos foucaultianos, buscou-se em Deleuze (1996) a operacionalização do dispositivo, que atua a partir das curvas de visibilidade e das curvas de enunciação, das linhas de força e das linhas de subjetivação. Enquanto procedimento, o dispositivo constitui, em essência, o método de análise do discurso empregado nesta investigação científica. Em consonância com as particularidades dos estudos relativos ao cinema, também foi aplicada, para o escrutínio dos dados, a análise fílmica, com base em Vanoye e Goliot-Lété (2006). Em conjunto, esses métodos resultam no híbrido denominado de análise do discurso fílmico. Para que o dispositivo de inclusão social das pessoas com síndrome de Down seja estudado a partir de um produto cinematográfico, foram utilizados como parâmetros de análise o contexto sócio-histórico da produção de “Colegas”, que Aumont et al. (2014) denomina de “fora de campo anticlássico”, e também o filme em si. O espaço de recepção, por sua vez, não foi objeto de estudo desta pesquisa. Como resultado, esta investigação permitiu o entendimento do modo como os sentidos manifestos no filme “Colegas” dialogam com os discursos circulantes na sociedade contemporânea sobre a inclusão das pessoas com síndrome de Down.

Orientador: Luzia Margareth Rago / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-08-11T06:22:14Z (GMT). No. of bitstreams: 1 Tvardovskas_LuanaSaturnino_M.pdf: 8176144 bytes, checksum: 9014fdffc3242f435f32003452a23778 (MD5) Previous issue date: 2008 / Resumo: Focalizando as poéticas visuais das artistas Márcia X., Fernanda Magalhães e Rosângela Rennó, essa pesquisa aborda as relações estabelecidas entre a produção artística contemporânea e a crítica cultural feminista. Evidencia a permanência do ¿dispositivo da sexualidade¿ na contemporaneidade, na perspectiva aberta por Foucault, ao que procura contrapor as formas da resistência feminista encontradas em instalações, performances e objetos artisticamente construídos a partir de um olhar diferenciado, que visam provocar e polemizar com as verdades instituídas, em especial em relação ao corpo feminino, à sexualidade e à subjetividade / Abstract: This research explores the interconnections between artistic production and feminist cultural criticism, focusing on Brazilian artists Marcia X., Fernanda Magalhães and Rosângela Rennó¿s works of art. It shows the continuity of ¿the dispositif of sexuality¿ in contemporary world, considered through Foucault¿s concepts, and it points at the feminist forms of resistance as they appear in installations, performances and artistic objects construed by a diferenciated regard, that aims at polemizing with natural truths as they are imposed in relation to female body, sexuality and subjectivity / Mestrado / Historia Cultural / Mestre em História

Submitted by Erika Demachki (erikademachki@gmail.com) on 2016-09-12T16:26:18Z No. of bitstreams: 2 Dissertação - Natália Beatriz Viana Teixeira - 2014.pdf: 4643049 bytes, checksum: d059f552aeb8aa7dfff25ae7c2580050 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2016-09-15T12:50:11Z (GMT) No. of bitstreams: 2 Dissertação - Natália Beatriz Viana Teixeira - 2014.pdf: 4643049 bytes, checksum: d059f552aeb8aa7dfff25ae7c2580050 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2016-09-15T12:50:11Z (GMT). No. of bitstreams: 2 Dissertação - Natália Beatriz Viana Teixeira - 2014.pdf: 4643049 bytes, checksum: d059f552aeb8aa7dfff25ae7c2580050 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2014-07-04 / In this research I review the discourses of legitimation of CFP Resolution No. 1/99 (Res 1/99), and I seek answer in part: how a discursive practice that made real this policy worked out among other practices discursive, legal and political order? To do this, I analyze discourses present in the relationship between favorable and contrary statements to their institution, from the texts (1) of the res itself. 1/99; (2) Public Civil Action 2011.51.01.018794-3 filed by Judicial Session of Rio de Janeiro – MPF; (3) the PDC 234/11; (4) the CFP institutional site of news about the res. 1/99; (5) Selection of news CFP contrary to the Resolution No. 1/99 on the internet; and (6) Images of street manifestations, cartoons and memes available on the internet related to the negative reactions to the PDC 234/11. We employ a search method inspired by Foucault's archeology and genealogy; and describe happenings previous to the Res 1/99, that support their emergency related to the emergence of homosexuality as a pathology and their displacement to normality. I analyze the co-dependence between state, science and profession mutually legitimate in modern societies; I point limits of Res 1/99 as a strategy of resistance before the heteronormative regime; and, finally, outline how the identity polarization between gays and evangelicals demarcates and reifies victimization strategies, homogenization and integration that characterize the present intensification of social tension and intolerance. / Nesta pesquisa analiso os discursos de legitimação da Resolução CFP nº 1/99 (Res. 1/99), e busco responder parcialmente como a prática discursiva que positivou esta norma funcionou entre outras práticas de ordem discursiva, jurídica e política. Para isso, parto de discursos presentes na relação entre enunciados favoráveis e contrárias à sua instituição, a partir dos textos (1) da própria res. 1/99; (2) da Ação Civil Pública 2011.51.01.018794-3 movida pela Sessão Judiciária do Rio de Janeiro do MPF; (3) do PDC 234/11; (4) das notícias no site institucional do CFP sobre a res. 1/99; (5) de seleção de notícias contrárias à Resolução CFP nº 1/99 na internet; e (6) de imagens de manifestações de rua, charges e memes disponíveis na internet relacionadas às reações contrárias ao PDC 234/11. Emprego um método de pesquisa inspirado na arqueologia e genealogia foucaultiana; e descrevo acontecimentos antecedentes à Res. 1/99, que embasam sua emergência, relacionados à emergência da homossexualidade como patologia e seu deslocamento à normalidade. Analiso a co-dependência entre Estado, ciência e profissão que se legitimam mutuamente nas sociedades modernas; aponto limites da Res. 1/99 enquanto estratégia de resistência diante do regime heteronormativo; e, por fim, esboço como a polarização identitária entre gays e evangélicos demarca e reifica estratégias de vitimização, homogeneização e integração que caracterizam o atual acirramento da tensão e intolerância social.

Submitted by Luanna Matias (lua_matias@yahoo.com.br) on 2015-03-31T14:21:42Z No. of bitstreams: 2 Tese - Júlio César dos Santos - 2014.pdf: 6480611 bytes, checksum: 9712da5679128e8f2511f0431501fcce (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Approved for entry into archive by Luanna Matias (lua_matias@yahoo.com.br) on 2015-03-31T14:51:13Z (GMT) No. of bitstreams: 2 Tese - Júlio César dos Santos - 2014.pdf: 6480611 bytes, checksum: 9712da5679128e8f2511f0431501fcce (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Made available in DSpace on 2015-03-31T14:51:13Z (GMT). No. of bitstreams: 2 Tese - Júlio César dos Santos - 2014.pdf: 6480611 bytes, checksum: 9712da5679128e8f2511f0431501fcce (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Previous issue date: 2014-12-04 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This thesis presents an analysis of the film's creative process "... if I were a flower ..." directed by Marta Cezaria de Oliveira, a black feminist movement militant woman in Goiás, with the understanding the fundamentals of cinema as technopoetic device and cinematic representations of black female identity as human condition symbolic. The film directed by this black woman, in her first film production, evidence how much her political, religious, hardworking and black woman condition infers an aesthetic and visual poetic marked by the idea of art as collective action. The Marta’s film presents a multifaceted identity mosaic formed by different black women views represented there, with whom Martha establishes an intersubjective political dialogue, dialogue that takes place in the territory of femininity and blackness, producing symbolic identity, among other of a flower metaphor and projection of themselves perceptions. Marta holds more than a documentary film, produces a manifest, an ideological political instrument leads to a poetic guided by the main objective of the black women movement what is to produce states of race and gender consciousness and empowerment, considering at the same time the collective and the subjectivity in their political relations. This thesis shows questions that challenge the black women stereotypes, in their own visions, that asks the "being for others", assuming a position of political subject, historical, cultural and subjectively, and the "being for itself" - field in which black women interpellate contemporary society to its foundations in antiracism feminist struggle. Finally, it is shown that the Marta’s black woman condition leads her to produce a "black film" in line with what is proposed by the black movement and the awareness of this condition, without considering the black woman as a victim or heroin, but a subject of hers own history. Representing black women through this film, Marta Cezaria de Oliveira interferes in the process of identity construction of black women and to take ownership of these images alters their subject positions for themselves and others, causing disruptions in their fundamental human condition as therefore, transforming and breaking what seemed predestined them by hegemonic white masculinist culture. / Ce travail analyse le processus de création du film « ...se eu fosse uma flor… » [...si j’étais une fleur…] de Marta Cezaria de Oliveira, une militante du mouvement noir féministe de l’état brésilien de Goiás. Le cinéma y est envisagé comme un dispositif technopoétique et les représentations cinématographiques de la femme noire comme des symboliques identitaires de sa condition humaine. À partir de cette première production cinématographique de la réalisatrice, l’objectif est de montrer combien sa condition de femme noire, politicienne, religieuse et travailleuse donne lieu à une esthétique et à une poétique visuelle différenciée. Il s’agit également de voir de quelle manière elle conçoit l’identité des femmes noires avec lesquelles elle noue des liens, et comment elle projette cette conception dans les symboliques produits cinématographiquement. S’agit-il davantage d’un documentaire ou, en fonction de son engagement, de quelque chose qui est plus qu’un objet ? Comment cette femme noire dispose-t-elle de ce dispositif, de ce langage et de ces représentations qu’elle produit pour comprendre et modifier, si elle le voulait, sa condition existentielle ? En somme, pourquoi avoir choisi cette réalisatrice et son processus de création ? La recherche met l’accent sur les stéréotypes de la femme noire qui, vue par elle-même, questionne l’« être pour l’autre » et l’« être pour soi » – un terrain où les femmes noires interpellent la société contemporaine dans ses fondements dans le cadre de la lutte féministe contre le racisme. Quelles sont les relations établies entre les représentations cinématographiques de la femme noire par Marta C. de Oliveira et ses processus de construction identitaire ? En s’appropriant ce que le cinéma fait des femmes noires et d’elle-même, quelles sont les implications ? Pour tenter de répondre à ces questions, nous avons fait le choix d’une méthodologie impure, exploratoire, performative, à l’image du processus de construction d’identités. / Esta tese apresenta a análise do processo de criação do filme “... se eu fosse uma flor...”, realizado por Marta Cezaria de Oliveira, uma mulher negra militante do movimento negro feminista goiano, tendo como fundamentos a compreensão do cinema como um dispositivo tecnopoético e as representações cinematográficas da mulher negra como simbólicos identitários de sua condição humana. O filme realizado por esta mulher negra, em sua primeira produção cinematográfica, evidencia o quanto da sua condição de mulher negra, política, religiosa e trabalhadora infere uma estética e uma poética visual marcada pela ideia da arte como ação coletiva. O filme de Marta apresenta um mosaico identitário multifacetado formado por diferentes pontos de vista das mulheres negras ali representadas, com as quais Marta estabelece um diálogo político intersubjetivo, diálogo que se processa no território do feminino e da negritude, produzindo simbólicos de identidade, entre outros de uma flor, metáfora e projeção das percepções de si mesmas. Marta realiza mais que um filme documentário, produz que um manifesto, um instrumento político ideológico conduz a uma poética orientada pelo objetivo principal do movimento de mulheres negras que é de produzir estados de consciência de gênero e raça e empoderamento, considerando a um só tempo o coletivo, a subjetividade, e suas relações políticas. Nesta tese são apresentadas indagações que questionam os estereótipos da mulher negra que, vista por si mesma, põe em questão o “ser para o outro”, assumindo uma posição de sujeita política, histórica, cultural e subjetiva, o “ser para si” – campo no qual as mulheres negras interpelam a sociedade contemporânea em seus fundamentos na luta feminista antirracismo. Ao final, fica demonstrado que a condição de mulher negra de Marta a leva a produzir um “cinema negro”, em consonância com o que é proposto pelo movimento negro quanto à tomada de consciência desta condição, sem considerar a mulher negra uma vítima ou uma heroína, mas uma sujeita de sua própria história. Ao representar a mulher negra através do cinema, Marta Cezária de Oliveira interfere diretamente no processo de construção identitária das mulheres negras e ao apropriar-se dessas imagens altera suas posições de sujeita para si e para os outros, provocando rupturas fundamentais na sua condição humana como tal, transformando-a e rompendo com o que lhes parecia predestinado pela cultura branca machista hegemônica.

Tendo em vista as formas de interação entre os sujeitos e os audiovisuais ficcionais interativos, esta pesquisa teve como objetivo geral a elaboração de diretrizes para a criação de roteiro cinematográfico ficcional multilinear interativo com base na potencialização da experiência estética do espectador. Com o avanço dos aparatos tecnológicos e as inovadoras possibilidades, o iCinema (cinema interativo) ganha maior força e conquista os espectadores quanto à imersão e à participação no processo de decisão da trajetória da história. A partir disso, foram traçados alguns objetivos específicos teóricos: estudar a experiência estética gerada na recepção da narrativa cinematográfica; compreender o fluxo motivacional e o papel dos dispositivos na construção da mise-én-scène; verificar as etapas da construção de um roteiro cinematográfico clássico e a possibilidade de construção multilinear; e explorar métodos multimetodológicos para a pesquisa. Com relação aos objetivos específicos práticos, buscou-se: co-produzir um roteiro de curta-metragem cinematográfico ficcional interativo; realizar um estudo de recepção com profissionais da área audiovisual a partir do roteiro criado; entender a relação dos espectadores com narrativas multilineares e interativas; entender os dispositivos cinematográficos com vistas a potencializá-los na criação do roteiro; e criar diretrizes para a elaboração de roteiros interativos. O crescimento das possibilidades criadas pelos filmes pode ser percebido na ampliação das narrativas fílmicas e nos diversos movimentos propiciados por esta mídia, gerando múltiplas sensações e a intensificação das emoções. Neste contexto, buscou-se responder à seguinte pergunta de pesquisa: como construir uma narrativa cinematográfica ficcional multilinear a partir de dispositivos cinematográficos contemporâneos, fazendo com que o espectador vivencie uma experiência extraordinária? Para responder aos objetivos da pesquisa traçou-se um plano multimetodológico (BAUER, GASKELL, 2008), compreendendo abordagens qualitativa, quantitativa, pesquisas bibliográficas, documentais e empíricas (MERRIAM, 1998; MERKLE, 2000). A abordagem junto aos espectadores teve a participação de 24 pessoas, homens e mulheres, entre 20 e 39 anos, fluentes em internet e novas mídias. O roteiro de curta-metragem cinematográfico multilinear interativo foi criado por Raul Inácio Busarello e Patricia Bieging. O estudo de recepção (JACKS; ESCOSTEGUY, 2005) teve a participação de sete especialistas em produção audiovisual. Verificou-se que a multilinearidade das estruturas colabora com o iCinema e convida o espectador, que espera ser surpreendido, a assumir papéis importantes para o desenvolvimento da narrativa. Evidenciou-se que o gerenciamento da interatividade é o ponto chave do iCinema e um desafio para os roteiristas e para os produtores. Estas desafiadoras experiências permitem maior interação e, até mesmo, imersão e profunda vivência dos sujeitos frente à narrativa. Possibilita, inclusive, a interferência em seu fluxo narrativo, fazendo com que a obra seja reformulada de acordo com as escolhas do espectador. Em resposta à pergunta de pesquisa foram elaborados quatro grupos de diretrizes, que se subdividem, visando à criação de roteiros cinematográficos multilineares interativos, sendo: 1) foco nas estratégias de potencialização da experiência do espectador, subdividido em: criação da narrativa, captura da atenção, realismo da narrativa, personagens e self-experience; 2) dispositivos estratégicos e gerenciamento interativo; 3) gerenciamento das ramificações, subdividido em: manutenção do fluxo, teasers e inatividade do espectador; 4) condução do fluxo narrativo. / Considering the forms of interaction between subjects and interactive fictional audiovisual means, this study aimed at elaborating guidelines to create an interactive multilinear fictional movie script based on boosting spectators\' aesthetic experience. With the advances in technologies and the innovative possibilities they ensue, iCinema has been gaining momentum and conquering spectators as to its immersion and participation in decision-making processes for the plot. From this scenario, specific theoretical objectives were also outlined: to study the aesthetic experience generated from the reception of a movie narrative; to understand motivational flow and the role of devices in building the mise-én-scène; to verify the stages in a classic movie script writing and possibilities for multilinear writing; and to explore multi-methodological methods for the study. Specific practical objectives included: to co-produce an interactive fictional short film script; to study its reception with audiovisual professionals; to understand the relation between spectators and interactive multilinear narratives; to understand the cinema devices and boost their functions in script writing; and to create guidelines to write interactive scripts. The increasing possibilities created by film can be perceived by the broadening of film narratives, and by several movements enabled by such medium, thus generating a multitude of sensations and intensified emotions. In this context, the research question guiding this study was: how can one build a multilinear fictional filmic narrative from contemporary cinema devices in order that spectators have an extraordinary experience? In order to fulfill the objectives of this study, a comprehensive multi-method plan (BAUER, GASKELL, 2008) was devised to approach qualitative, quantitative, bibliographic, documental, and empirical aspects of research (MERRIAM, 1998; MERKLE, 2000). Spectator approach involved 24 participants, men and women with ages between 20-39 that were literate in new media and the Internet. The interactive multilinear short film script was written by Raul Inácio Busarello and Patricia Bieging. The reception study (JACKS; ESCOSTEGUY, 2005) was performed with 7 audiovisual production specialists. It was possible to verify that structural multilinearity collaborates with iCinema and invites spectators, who expect surprises, to take on important roles to develop the plot. It was evident that managing interactivity is the key point in iCinema, and it poses a challenge for screenwriters and producers alike. These challenging experiences allow for greater interaction, and even immersion and profound dedication of subjects to the narrative. It even allows for interference in narrative flow, enabling reformulation of the film according to spectator choices. In response to the research question, 4 groups of guidelines were elaborated and subdivided for the creation of interactive multilinear screenplays, namely: 1) focus on spectator experience boost strategies: narrative creation, attention capture, narrative realism, characters, and self-experience; 2) strategic devices and interactive management; 3) branch management: flow maintenance, teasers, and spectator inactivity; and 4) narrative flow and pacing.

La thèse porte sur les migrations de travailleurs indonésiens vers Kuala Lumpur, en Malaysia, et Singapour, à partir d’une approche qui s’efforce de combiner les principes de l’analyse pragmatiste et la prise en charge des effets de structure, en vue de décrire la formation de transnationalismes dans la région et d’interroger la nature des espaces sociaux qui s’agrègent autour de ces parcours migratoires. En développant une approche socio-anthropologique mise en œuvre au cours de vingt mois de terrain il s’est agi de saisir la migration au plus proche des expériences vécues, sans renoncer à décrire des contextes sociaux, politiques, culturels et historiques qui permettent de les situer dans leurs spécificités mais aussi dans la perspective de dynamiques politiques et économiques globales. Alors que ces migrations se développent et s’institutionnalisent, le choix d’une ethnographie multi-site, dispersée dans les trois pays, a permis de construire un point de vue mobile et décentré, au plus près des expériences situées. Dans cette perspective, la thèse s’efforce de montrer l’émergence de transnationalismes et d’espaces transnationaux à l’intersection entre la production d’un travail globalisé et les politiques nationales, où s’inscrivent des processus de subjectivation inédits. Alors que les socialités se désenclavent sous l’effet des migrations, les espaces vécus se transnationalisent en sorte que saisir ces nouvelles dynamiques sociales, c’est désormais aussi décrire des manières d’habiter le transnational. / The thesis deals with the migration of Indonesian workers to Kuala Lumpur (Malaysia) and Singapore. The argument draws on a theoretical approach which attempts to blend the contribution of pragmatism with the analysis of structure effects in order to describe the formation of transnationalisms in the region and to scrutinize the nature of the social spaces which are assembled along these migration trails. By constructing a socio-antrhopological approach, operationalized during a twenty-months fieldwork, we aimed to capture migration as close as possible from lived experiences, yet without giving up the description of the broader social, political, cultural and historical contexts which allow to remain sensitive to their specificities while locating them in the context of global political and economic dynamics. While these migrations are both developing and being increasingly institutionalized, the choice of a multi-sited ethnography, distributed in the three countries, allowed to build a shifting and de-centered point of view, and to remain always as close as possible to situated experiences. In this perspective, the thesis tries to show the emergence of transnationalisms and transnational social spaces at the intersection between the production of a globalized labor and national politics – space politics -, where new subjectivation processes are being shaped. While socialities are increasingly disembbedded from local contexts, lived spaces are also increasingly transnationalized, so that capturing these new social dynamics now supposes to describe new ways of inhabiting the transnational.

Cette thèse porte sur un dispositif de traitement clinique de la précarité : le Carrefour Santé Mentale Précarité du Centre Psychothérapique de l’Ain. Ce dispositif, créé dans le cadre des politiques publiques d’accès à la prévention et aux soins (article 71 de la loi du 29 juillet 1998 d’orientation relative à la lutte contre les exclusions), met en réseau des professionnels de la santé mentale (travailleurs sociaux, infirmiers, psychiatres, psychologues, cadres infirmiers) qui partagent le même souci de se tenir au chevet d’individus présentant un mal-être psychique en lien avec une impossibilité, récente ou plus ancienne, de s’affirmer sujet de leur propre vie. A partir de l’analyse des pratiques - d’accueil, de prise en charge, d’accompagnement, d’orientation - de ces cliniciens de la précarité ainsi que de l’analyse des modalités de cadrage de ces pratiques - organisation des activités, corpus doctrinaux de référence, modalités d’évaluation des pratiques professionnelles -, il s’agit de comprendre, d’une part, comment se reconfigurent les dispositifs de protection issus des nouvelles politiques de l’Etat social actif concernant la lutte contre l’exclusion sociale et, d’autre part, comment se transforment les processus d’individuation qui sous-tendent ces pratiques et dispositifs.La thèse met en évidence l’émergence de collectifs d’intervention qui, par un travail de reconnaissance du parcours de vulnérabilité des personnes en situation de précarité, engagent une pratique spécifique de soin qui relève du care. A partir de la clinique psychosociale de la perte des attachements de la personne, l’enjeu consiste à maintenir et/ou réparer la sociabilité des personnes en situation de précarité. Les cliniciens de la précarité développent une pratique que nous pourrions qualifier d’écologique dans le sens où ce qui constitue l’adresse du lien à étayer n’est déterminé que par l’individu lui-même en lien avec tout ce qui le relie au monde. Son corps, sa subjectivité et l’ensemble des êtres et objets présents dans son environnement (famille, culture, travail, droits, santé, argent, etc.) forment les principaux supports de l’intervention. Pour connaître ce par quoi la personne en souffrance tient et se tient dans la société, les cliniciens se mobilisent en réseau, partagent la connaissance qu’ils ont de la personne et, ce faisant, se font collectivement ethnographes de ses attachements, quitte à mobiliser dans cette ethnographie personnalisée tous les corpus doctrinaux ressources et toutes les épistémologies (sociologie, anthropologie, psychologie, médecine, santé publique, économie, philosophie, etc.) leur permettant de mieux situer/comprendre ces attachements. A travers cette clinique en réseau, les cliniciens tentent de maintenir une forme collective de solidarité thérapeutique où les bénéficiaires de l’intervention ne sont plus tant considérés comme autonomes et abstraits qu’interdépendants et concrets. La description analytique détaillée de cette nouvelle forme de traitement clinique nous permet de montrer comment les politiques de santé mentale au front de l’exclusion ne peuvent plus être interprétées seulement en termes de prestations sociales et d’offres de soin qu’il s’agirait de redistribuer en contrepartie de l’activation des individus, mais plutôt comment elles correspondent aussi, du fait de l’engagement de certains cliniciens, à de nouvelles manières de penser et d’assurer le maintien de ces individus en reconnaissant à la fois leurs droits et les multiples formes d’attachements qui les relient au monde. / This thesis concerns an instrument for the clinical treatment of social vulnerability known as the “Mental Health and Social Vulnerability Crossover Tool”. Based at the Ain Psychiatric Hospital, this instrument, set up under the framework of government policy on access to prevention and health care services (article 71 of the French law dated 29 July 1998 on guidelines for social exclusion management), is composed of a network of mental health professionals (social workers, nurses, psychiatrists, psychologists, health managers) who share the same desire to support individuals with psychological suffering resulting from a recent, or more distant, inability to assert themselves as subjects of their own life. An analysis of the practices (reception, assistance, support, counseling, referral) adopted by these clinicians as well as an analysis of how their practices are formalized (organization of activities, reference bodies of doctrine, methods for assessing professional practices) will be used to examine two issues: how both protection systems resulting from the enabling State’s new policies to fight social exclusion, and the underlying individuation processes are transformed.This thesis highlights the emergence of collectives of action who work to recognize the paths of people in social vulnerable situations, employing a very specific clinical practice which falls into the realm of care. The aim was to maintain and/or recover the sociability of persons in socially vulnerable situations based on the psychosocial approach of the loss of attachments. Clinicians have developed what can be qualified as ecological practice, in that the benefit of the link to be reinforced is determined by the individual themselves, in relation to all the supports which connect them to the world. Their body, its subjectivity and all the beings and objects present in their environment (family, culture, work, rights, health, money, etc.) form the basis for this intervention. In order to find out what binds the person in difficulty to and gives them a place in society, the clinicians work as a network, sharing their knowledge of the person and, in doing so, act as ethnographers of the person's attachments, using all the reference bodies of doctrine and epistemologies (sociology, anthropology, psychology, medicine, public health, economy, philosophy etc.) to better situate/understand these attachments. This clinical practice in a network helps clinicians to preserve a form of collective therapeutic solidarity in which the beneficiaries of the intervention are no longer considered as independent and abstract but rather interdependent and concrete.A detailed analytical description of this new form of clinical treatment will allow us to show how mental health policies at the forefront of the fight against exclusion cannot be interpreted purely in terms of social services and care provision, redistributed in exchange for the activation of individuals. They must also be considered in terms of how they also correspond - thanks to the work of convinced clinicians - to new ways of thinking and to ensuring the preservation of these individuals, both by recognizing their rights and the multiple attachments that connect them to the world.