[pt] Esta dissertação tem por objetivo investigar o aspecto transgressivo que caracteriza o pensamento da psicanalista francesa Nathalie Zaltzman ao revisitar a metapsicologia freudiana. Com a acepção de ultrapassar, violar, não cumprir, a transgressão revela-se uma ação psíquica vital para o sujeito, sobretudo quando esse se encontra em perigo de vida devido a circunstâncias opressoras e asfixiantes. Iniciamos nossa investigação por meio da articulação teórica do viés anarquista da pulsão de morte, manifestação em forma de luta e resistência contra forças que diminuem ou anulam a existência de um ser humano. A partir dessa perspectiva, percorremos proposições acerca da clínica. Destacamos a importância dada à ação de desligamento da pulsão de morte e a urgência da escuta, durante o tratamento, de suas manifestações. Expandindo a discussão com a abordagem do processo civilizatório, demonstramos como o trabalho de cultura poderia ser considerado o seu viés transgressor. Por meio desse, poder-se-ia lidar de maneira mais lúcida com a dimensão maléfica do humano, evitada a qualquer custo pela perspectiva civilizatória. Afirma-se a necessidade de fomentar vias que façam frente a posturas censoras e moralizantes. Essas impediriam o mal, dimensão inelutável e inerente à condição humana, de ocupar lugar nas representações psíquicas conscientes de cada indivíduo e no patrimônio simbólico da humanidade. Uma vez impedido, só lhe restaria abrir caminhos violentos de satisfação, reascendendo a barbárie. / [en] The present dissertation aims to investigate the transgressive aspect which characterizes the thoughts of the French psychoanalyst Nathalie Zaltzman in review of freudian metapsychology. With the sense of overtaking, violating, unaccomplishing, transgression is revealed as a vital psychic way out, specially when one s life is endangered due to oppressive and suffocating circumstances. We start our investigation with the theoretical articulation of the anarchist aspect of death drive, a manifestation characterized by the struggle and resistance against forces which dominate, diminish or nullify the human being existence. Based upon such perspective, we go along propositions about the clinic. We outline the importance given to the act of unattachment from death drive and the urgency of its listening, throughout the treatment, its manifestations. In order to take part in the discussion with the civilizing process, we demonstrate how culture work may be considered its transgressive way. By taking such approach for granted one could handle with a more lucid way in facing the maleficent dimension of the human, which is avoided by all costs in the civilizing perspective. It is argued the need to promote ways of confronting censorship and moralizing positions. Such act would prevent evil, ineluctable and insisting dimension of the human, from taking place in the conscious psychic representations of each single person and in the symbolic patrimony of humanity. Once there is an imposition, the only way left is to open violent paths of satisfaction, reigniting barbarism.

Ce travail de recherche prend sa source dans mes diverses expériences professionnelles, sur plus de dix ans, en tant que psychologue clinicienne et psychanalyste en formation, exerçant avec des enfants, des adolescents, leurs familles ainsi qu’avec des adultes. Il s’agit d’une clinique particulière puisqu’elle a été recueillie au Liban, un pays qui a une histoire difficile à cerner, ponctuée de guerres et parsemée de violences. Un pays qui est marqué par un système de résonance et d’écho entre les traumas individuels et les rapports aux traumas collectifs. Cette recherche porte plus précisément sur une population bien définie puisqu’elle est exclusivement constituée d’ex-enfants, puis ex-adolescents de la guerre de 1975 à 1991 ayant vécu dans l’ex-Beyrouth-Est, puis devenus désormais adultes. Elle est aussi caractérisée par le fait qu’une fois le travail de la cure est bien avancé, j’ai pu comprendre que j’avais durant mon enfance puis mon adolescence, partagé, des tranches de vie avec mes patients. Ces moments étaient des vécus de guerre traumatiques. En effet, mes patients adultes, les parents des petits en cure et moi-même, nous-nous sommes trouvés aux mêmes endroits, et nous avons vécu aux mêmes moments, seuls, loin des adultes, les mêmes événements de guerre. Il s’agit d’une réflexion qui englobe au final, quatre générations. Je m’interroge sur la qualité du lien qui existerait entre la question des particularités du travail d’élaboration de situations de traumatismes personnels et de traumatismes familiaux au sein de thérapies d’enfants. Mon interrogation porte également sur le type d’intéraction qu’il y aurait entre le trauma spécifique du parent ex-enfant de la guerre et celui du trauma collectif propre à un pays en guerre. Comment ceci se joue-t-il dans la cure et avec le thérapeute de l’enfant (génération 1) né après la guerre ? Je m’interroge, d’une part, sur les modalités défensives des parents (génération 2) et les particularités des traumatismes personnels internes qui survenaient en écho avec des traumatismes familiaux entremêlés et emboîtés aux traumatismes cumulatifs collectifs/sociaux. D’autre part, je me questionne à propos de la psyché parentale qui me semblait figée, envahie, prisonnière d’un « entre-deux intérieur/extérieur-non-humain, fantasme/réalité », aux liens forts et inapparents qui semblaient inexistants mais desquels ils ne pouvaient pas se libérer à l’âge adulte. Je me demande si les enfants (génération 1) nés après la guerre, ne seraient pas pour leurs parents (génération 2), réduits à un symptôme ; symptôme que ces derniers n’auraient pas eu la possibilité de porter durant leur vécu infantile. L’enfant (génération 1) ne serait-il pas le porteur du « clivé parental » ? Je me demande finalement si les parents (génération 2) pourraient avoir accrédité, lors de l’entretien qui fixe le cadre, le contrat muet ou pacte suivant : « nous savons/vous savez ce que nous avons/vous avez vécu dans notre/votre enfance : on le pose là et on n’en parle pas ». Même si ce pacte n’a pas été explicité verbalement, la transmission s’établissait d’une autre manière : au-delà du langage. C’est pour cette raison qu’en confiant leur enfant, ces parents (génération 2) parvenaient enfin et pour la première fois, à confier l’enfant en eux à une personne qui « saurait », qui « serait passée par là » et qui a « les mots pour l’exprimer ». Pour essayer de répondre à mes interrogations, je tente d’introduire et d’expliquer une modalité particulière de vivre le cadre analytique : il s’agirait d’une co-construction, avec le patient d’un cadre. Ce cadre serait comme une piste de danse propice à la mise en place d’une « chorégraphie de la cure » qui permettrait à l’analyste et son patient de « danser avec la cure ». Ceci sous-entend un mouvement de rythmicité, un rapproché, un va et viens nécessaire à l’évolution.... / This research is rooted in my various professional experiences over more than a decade as a clinical psychologist and psychoanalyst in training, dealing with children, adolescents, their families as well as adults. This relates to a particular type of clinical work since the data for this study was collected in Lebanon, a country that has an elusive history, punctuated by wars and scattered violence; a country that is characterized by a resonating and echoing system between individual trauma and collective traumas. This study refers more precisely to a well-defined population, consisting exclusively of former children and adolescents of the 1975-1991 Lebanese war having lived and grown up in the former East Beirut. The study is also characterized by the fact that, once the analytic cure was well advanced, I was able to understand that I experienced, during my childhood and my adolescence, similar shared moments with my patients pertaining to traumatic experiences resulting from the war. In fact, my adult patients, the parents of the children in psychotherapy as well as myself, found ourselves as children and adolescents in the same places, experiencing the same epoche, alone, and away from adults (our parents or teachers), the same violent and destructive war events. This is a reflection that pertains to four generations. I wonder as to the quality of the links that exist between the peculiarities of the elaborative work of personal traumatic experiences and family traumas within the context of child psychotherapy. My interrogations also relate to the possible type of interaction existing between the specific trauma of the parent who is an ex-child (and ex-adolescent) of the war and the collective trauma that is specific to a country at war. I question in part the nature of the defense modalities of parents (generation 2) And the particularities of inner personal traumas that occur as an echo to family’s trauma, intertwined and interlocked with cumulative and collective social trauma. Moreover, I question why the parental psyche seems frozen, as if invaded, a prisoner “in a “no man’s land”, an undefined territory internal/external- non-human, fantasy/reality”, I also wonder about the strong, hidden links that seemed to glue up the members of a family. Those links or particular ways to live the attachment seemed, at first, apparently nonexistent but paradoxically they were extremely present in the sessions. The adults seamed unable to free themselves from this chain. I wonder if the children (generation 1) born after the war, are not, in the parental psyche (generation 2) reduced to a symptom – a symptom that the parents (generation 2) could not have had the opportunity to carry during their own childhood. Therefore, the child (generation 1) would be the bearer of "parental splitting"? I finally question the setting and wonder if the parents (generation 2) may not have accredited during our first encounter the « psychoanalytic » framework with the following dumb contract or agreement: "we know/you know what we/you have lived in our/ your childhood: we leave it aside and we do not talk about it at all. " Although the pact has not been explained verbally, transmission seemed to have been established in a « non-verbal communication. It may be for this reason that, the parents (generation 2) felt sufficiently at ease to try and place, for the first time in their lives, the suffering “child in them” in what they might have felt as being the securing, healing and soothing arms of “someone” who can be there for them; “someone” who has known what they have encountered because he is not a total stranger to their childhood experiences, “someone” who has the words and the capacity to talk about these unpleasant things; someone who may be able to express the “unspeakable experiences” with simple words ....

A la charnière du XIXe et du XXe siècle, l’Espagne vit une révolution cultuelle et culturelle sans précédent. La question du sacré permet de cristalliser les enjeux de cette crise. Une approche résolument transversale révèle en effet le sacré comme clef de voûte des troubles qui agitent les Espagnols. La remise en cause continue de la place de l’Église dans la société, alimentée par l’affrontement sous-jacent entre cléricaux et anticléricaux, est fondamentale dans la douloureuse quête idiosyncratique qui ébranle la nation. Les artistes, témoins et acteurs de leur époque, se font l’écho de cette tension politique et sociale. Dans un premier temps, l’analyse du motif du sacré, livré par des romans et des tableaux, met en évidence non seulement la manifestation d’une sécularisation en marche, mais également la prégnance d’une culture religieuse durablement fixée. Dans un second temps, la polymorphie intrinsèque de ce sacré pré-moderne est abordée par une typologie qui en précise l’expression, de la plus manifeste à la moins tangible, cette dilution du sacré étant caractéristique de la Modernité. Enfin, au-delà de l’étude du motif iconographique et romanesque, une analyse du processus du sacré met en lumière combien les artistes de cette période sondent et interrogent la sacralité présente dans leurs œuvres, et combien celle-ci, ondoyante et industrieuse, échappe à leur contrôle, creusant les prémices d’une religion de l’art. / During the transitional period between the 19th and the 20th century, Spain experienced an unprecedented revolution, both religious and cultural. The issue of the sacred enabled to crystallize what is at stake during this crisis. A thoroughly cross-conceptual approach shows the sacred as a keystone for the mayhem that Spanish people underwent. The role of the church in Spanish society kept being questioned, due to the underlying conflict between those who supported the church and the others who were opposed to it. This questioning was fundamental in the difficult idiosyncratic quest which shook the nation. Artists, who were both witnesses and actors of their time, unveiled and showed this political and social tension. Firstly, the analysis of the pattern of the sacred through novels and paintings underlines the evidence of the secularization that took place. Likewise, it discloses the pregnancy of a religious culture established on a permanent basis in Spanish society. Secondly, the intrinsic polymorphous aspect of this pre-modern sacred is revealed by a typology which develops the representation of the sacred, from the most obvious to the least tangible one. This dilution of the sacred is characteristic of Modernity. Finally, beyond the study of the iconographic and novelistic pattern, an analysis of the process of the sacred enhances how the artists of this era took soundings and questioned sacrality in their works of art. It also shows how sacrality, constantly changing, could not be mastered by the artists, digging the roots of a cult for art.

The focus of this study is the two autobiographical novels Den högsta kasten (1997) and Djävulsformeln (2000) by Swedish author Carina Rydberg. Both novels generated lively public debate regarding how they ought to be read and understood, what genre they belonged to, and the ontological status of the narrating “I”. The aim is to investigate why the protagonist, Carina, is perceived as unintelligible by many readers and explore how she can be understood in relation to what constitutes an intelligible identity from a literary and cultural perspective. The novels, as well as their protagonist, are approached from the perspective of genre theory, the argument being that Carina’s unintelligibility is directly dependent on what genre she is read in relation to. In the first part of the thesis the ambiguities of autobiographical texts are discussed, and the narrative and protagonist are analyzed in relation to the autobiographical genre. In the second part of the thesis the consequences of reading the texts as examples of the Gothic with emphasis on monstrosity, the uncanny and sexual transgression are examined. The two readings demonstrate how interpretations of text and character are highly influenced by the reader's expectations connected to genre. Rydberg’s transgression of the norms of genre, gender, and identity leaves the reader with a contradictory set of genre-specific expectations, which in turn makes it difficult to understand and accept the protagonist. The main theme of both novels is Carina’s unsuccessful attempts to reconcile what she sees as two separate, essentially incompatible identities: woman and author. The final chapter includes a comparative study in which Rydberg’s novels are linked to works by other Swedish female writers, both past and contemporary, to demonstrate that the conflict of woman versus author is a common problem for female writers. The thesis closes with a discussion about the possibility of placing Rydberg in a specifically female literary tradition and demonstrate how a feminist analysis can make the unintelligible intelligible.

Au cours des années soixante et soixante-dix, des mouvements de contestation sociale, politique et culturelle voient le jour dans différents pays occidentaux. Les nombreuses similitudes que présentent ces mouvements, en dépit de leur éloignement géographique, conduisent à s’interroger sur la circulation de pratiques et d’idées contre-culturelles. La présente étude apporte une pierre à cet édifice en construction à travers l’analyse de la partie graphique de la revue « satirique et neurasthénique » El Papus, qui voit le jour le 20 octobre 1973. Le parti pris dans cette étude est de considérer que la contre-culture ne se manifeste pas uniquement dans sa dimension underground et que des formes d’expression empruntent les circuits de production et de diffusion classiques. Pour atteindre l’objectif assigné dans ce travail, le concept de « contre-culture » sera le point de départ de notre réflexion. Nous retracerons dans la première partie le contexte de diffusion de la contre-culture en Espagne et proposerons des pistes de réflexion pour comprendre comment les collaborateurs de El Papus se sont familiarisés avec de nouvelles idées et esthétiques venues de l’étranger, et tout particulièrement de France et des États-Unis. L’analyse que nous proposons dans la deuxième partie reposera sur un double objectif : montrer dans quelle mesure El Papus présente les caractéristiques esthétiques de la contre-culture (transgression, laideur et « mauvais goût »), et mettre en lumière la façon dont les collaborateurs de la revue se sont appropriés trois sources d’inspiration esthétique : la revue satirique française Hara-Kiri, le magazine américain Mad, et la bande dessinée underground américaine également. / During the Sixties and the Seventies several social, political and cultural movements appear in different Western countries. The many similarities that these movements shared in spite of the geographical distance among them lead to wonder about the flows and exchanges of countercultural ideas and practices. This study adds its bit by means of the analysis of the « satirical and neurasthenic » magazine El Papus, which is born the 20th October 1973. The stance in this study is to consider that counterculture does not manifest only in its underground dimension and that some expression forms use classical production and distribution circuits. In order to attain the aim assigned to this work the concept of « counterculture » will be the starting point of our analysis. In the first part, we will explore the context of counterculture circulation in Spain and will propose clues to understand how El Papus cartoonists had access to the new ideas and aesthetic features coming from abroad, particularly from France and the United States. The analysis that we propose in the second part will have a double aim: to show how El Papus presents the aesthetic features belonging to counterculture (transgression, ugliness and « bad taste ») and demonstrate how the magazine cartoonists had three sources of aesthetic inspiration: the French satirical magazine Hara-Kiri, the American magazine Mad and also the American underground comic strip scene. / Durante los años sesenta y setenta en diferentes países occidentales aparecen movimientos de contestación social, política y cultural. Las numerosas similitudes entre ellos, a pesar de la distancia geográfica que los separaba, suscitan reflexiones sobre la circulación de prácticas e ideas contraculturales. El presente estudio es una contribución a este edificio en construcción a través del análisis de la parte gráfica de la revista « satírica y neurasténica » El Papus, que aparece por primera vez el 20 de octubre de 1973. Este estudio considera que la contracultura no se manifiesta únicamente en su dimensión underground y que ciertas formas de expresión circulan a través de vías de producción y de difusión clásicas. El concepto de « contracultura » será el punto de partida de nuestro estudio. En la primera parte expondremos el contexto de difusión de la contracultura en España y propondremos pistas de reflexión para entender cómo los colaboradores de la revista llegaron a conocer las nuevas ideas y estéticas provenientes del extranjero, en particular de Francia y Estados Unidos. El análisis de la segunda parte tendrá un doble objetivo: mostrar en qué medida El Papus presenta las características estéticas de la contracultura (transgresión, fealdad y « mal gusto ») y poner de relieve de qué manera los colaboradores de la revista se apropiaron de tres fuentes de inspiración estética: la revista satírica francesa Hara-Kiri, la americana Mad y también el cómic underground americano.

Le principal but de cette thèse a été d'analyser les représentations de genre et d’enseignant introduites par les dessins animés “Billy et Mandy, Aventuriers de L'audelà" (The Grym Adventures of Billy & Mandy) et "Les Razmoket" (Rugrats), en mettant accent particulièrment sur leur rapport avec l’humour. La perspective adoptée est celle des Études Culturelles post-structuralistes avec des contributions venant d'autres domaines d'études telles que la Communication et la Psychanalyse Lacanienne. Pour y arriver, on a sélectionné, transcrit et analysé des épisodes de ces dessins animés exhibés entre 1991 et 2010 par les chaînes de télévision CartooNetwork et Nickelodeon. Les réflexions développées cherchent à observer dans le récit des dessins animés les représentations du/des personnages, en particulier celles des enfants, en les reliant aux concepts de genre, pouvoir, transgression, école et d'autres. En abordant ces questions, on a vérifié que l'utilisation de l'humour est un recours textuel puissant, un artifice employé par les dessins animés dans la fabrication de stéréotypes qui produisent le sujet-enfant. En ce qui concerne les questions de genre, le mouvement fondamental de ce travail a été de donner de la visibilité aux relations de pouvoir qui s’y forment, certains par le biais de la transgression, d'autres par la voie de l'affaiblissement. En ce qui concerne les représentations de l'école et des enseignants, il a été possible de vérifier certaines ruptures avec la figure “sacré” de l’enseignant (affectueuse, dévouée et maternelle). Cependant, les représentations d'école et d'éducation ne diffèrent pas du modèle traditionnel de l'école moderne, qui englobe le classement, l'organisation du temps et des espaces, en établissant des contenus et des évaluations fondées sur des concepts. Dans d'autres espaces éducatifs analysés dans les épisodes en question, il existe clairement des relations de pouvoir, de gouvernance et de contrôle. En résumé, on a avons observé que dans les discours des dessins étudiés destinés aux enfants, on peut observer les stéréotypes qui agissent dans la production de subjectivités féminines et masculines en tant que des pédagogies culturelles. / Esta tese tem como principal objetivo analisar as representações de gênero e de professor/a trazidas pelos desenhos animados ”As Terríveis Aventuras de Billy & Mandy” (The Grym Adventures of Billy & Mandy) e “Os Anjinhos” (Rugrats), considerando, em especial, a sua conexão com o humor. A perspectiva adotada foi a dos Estudos Culturais pós–estruturalistas, contando com aportes de outros campos de estudo como o da comunicação e psicanálise lacaniana. Para a consecução do objetivo, foram selecionados, transcritos e analisados episódios dos referidos DAs exibidos entre 1991 e 2010 pelos canais por assinatura CartooNetwork e Nickelodeon. As reflexões desenvolvidas buscaram olhar, na narrativa dos desenhos animados, as representações dos/as personagens, especialmente as/os infantis, articulando-as aos conceitos de gênero, poder, transgressão, escola, entre outros. Na abordagem dessas questões, foi enfatizado o uso do humor como recurso textual potente, artifício do qual se valem os desenhos animados na fabricação de estereótipos que produzem o sujeito infantil. Em relação a questões de gênero, o movimento fundamental desse trabalho foi dar visibilidade às relações de poder que ali estão sendo constituídas, algumas, pela via da transgressão, outras pela via da fragilização. Em relação às representações de escola e docência foi possível verificar algumas rupturas com a figura “consagrada” de professora (afetiva, dedicada e maternal). Entretanto, as representações de escola e de ensino não diferem do modelo tradicional da escola moderna, englobando seriação, organização de tempos e espaços, priorizando conteúdos e avaliações por conceitos. Nos outros espaços educativos analisados nos episódios recortados, há claras relações de poder, governamento e controle. Em síntese, observou-se que, nos discursos dos referidos desenhos, direcionados para o público infantil, é possível visualizar estereótipos que agem na produção de subjetividades femininas e masculinas, as quais atuam enquanto pedagogias culturais. / This thesis aims at analysing gender and male and female teacher representations by animated television series “The Grim Adventures of Billy & Mandy” and “Rugrats”, especially considering their association with humour. We have used the poststructuralist Cultural Studies perspective with the help from other study fields such as communication and Lacanian psychoanalysis. For this objective we have selected, transcribed and analysed episodes of the films presented between 1991 and 2010 in channels CartooNetwork and Nickelodeon. Reflections have sought to examine representations of characters, especially children’s, linking them to concepts of gender, power, transgression, school, and others linked to them. When treating these questions, we have stressed on the use of humour as a potential textual tool, a device animated television series use to create stereotypes producing the infant-subject. Concerning gender, the key movement of this work was towards visibility for power relations shaped there, some by transgression, some by frailty. Concerning school and teacher representations, we have found some ruptures with the ‘established’ female teacher figure (affectionate, devoted and motherly). However, school and education representations are not different from the traditional model of the modern school, including serialisation, time and space organisation, stressing on content and grade evaluation. In other educational spaces we have analysed in particular episodes, there are clear relations of power, government and control. In sum, we have observed that, in discourses in the particular child-directed animated series, it is possible to view stereotypes producing male and female subjectivities, which act as cultural pedagogies.

Le principal but de cette thèse a été d'analyser les représentations de genre et d’enseignant introduites par les dessins animés “Billy et Mandy, Aventuriers de L'audelà" (The Grym Adventures of Billy & Mandy) et "Les Razmoket" (Rugrats), en mettant accent particulièrment sur leur rapport avec l’humour. La perspective adoptée est celle des Études Culturelles post-structuralistes avec des contributions venant d'autres domaines d'études telles que la Communication et la Psychanalyse Lacanienne. Pour y arriver, on a sélectionné, transcrit et analysé des épisodes de ces dessins animés exhibés entre 1991 et 2010 par les chaînes de télévision CartooNetwork et Nickelodeon. Les réflexions développées cherchent à observer dans le récit des dessins animés les représentations du/des personnages, en particulier celles des enfants, en les reliant aux concepts de genre, pouvoir, transgression, école et d'autres. En abordant ces questions, on a vérifié que l'utilisation de l'humour est un recours textuel puissant, un artifice employé par les dessins animés dans la fabrication de stéréotypes qui produisent le sujet-enfant. En ce qui concerne les questions de genre, le mouvement fondamental de ce travail a été de donner de la visibilité aux relations de pouvoir qui s’y forment, certains par le biais de la transgression, d'autres par la voie de l'affaiblissement. En ce qui concerne les représentations de l'école et des enseignants, il a été possible de vérifier certaines ruptures avec la figure “sacré” de l’enseignant (affectueuse, dévouée et maternelle). Cependant, les représentations d'école et d'éducation ne diffèrent pas du modèle traditionnel de l'école moderne, qui englobe le classement, l'organisation du temps et des espaces, en établissant des contenus et des évaluations fondées sur des concepts. Dans d'autres espaces éducatifs analysés dans les épisodes en question, il existe clairement des relations de pouvoir, de gouvernance et de contrôle. En résumé, on a avons observé que dans les discours des dessins étudiés destinés aux enfants, on peut observer les stéréotypes qui agissent dans la production de subjectivités féminines et masculines en tant que des pédagogies culturelles. / Esta tese tem como principal objetivo analisar as representações de gênero e de professor/a trazidas pelos desenhos animados ”As Terríveis Aventuras de Billy & Mandy” (The Grym Adventures of Billy & Mandy) e “Os Anjinhos” (Rugrats), considerando, em especial, a sua conexão com o humor. A perspectiva adotada foi a dos Estudos Culturais pós–estruturalistas, contando com aportes de outros campos de estudo como o da comunicação e psicanálise lacaniana. Para a consecução do objetivo, foram selecionados, transcritos e analisados episódios dos referidos DAs exibidos entre 1991 e 2010 pelos canais por assinatura CartooNetwork e Nickelodeon. As reflexões desenvolvidas buscaram olhar, na narrativa dos desenhos animados, as representações dos/as personagens, especialmente as/os infantis, articulando-as aos conceitos de gênero, poder, transgressão, escola, entre outros. Na abordagem dessas questões, foi enfatizado o uso do humor como recurso textual potente, artifício do qual se valem os desenhos animados na fabricação de estereótipos que produzem o sujeito infantil. Em relação a questões de gênero, o movimento fundamental desse trabalho foi dar visibilidade às relações de poder que ali estão sendo constituídas, algumas, pela via da transgressão, outras pela via da fragilização. Em relação às representações de escola e docência foi possível verificar algumas rupturas com a figura “consagrada” de professora (afetiva, dedicada e maternal). Entretanto, as representações de escola e de ensino não diferem do modelo tradicional da escola moderna, englobando seriação, organização de tempos e espaços, priorizando conteúdos e avaliações por conceitos. Nos outros espaços educativos analisados nos episódios recortados, há claras relações de poder, governamento e controle. Em síntese, observou-se que, nos discursos dos referidos desenhos, direcionados para o público infantil, é possível visualizar estereótipos que agem na produção de subjetividades femininas e masculinas, as quais atuam enquanto pedagogias culturais. / This thesis aims at analysing gender and male and female teacher representations by animated television series “The Grim Adventures of Billy & Mandy” and “Rugrats”, especially considering their association with humour. We have used the poststructuralist Cultural Studies perspective with the help from other study fields such as communication and Lacanian psychoanalysis. For this objective we have selected, transcribed and analysed episodes of the films presented between 1991 and 2010 in channels CartooNetwork and Nickelodeon. Reflections have sought to examine representations of characters, especially children’s, linking them to concepts of gender, power, transgression, school, and others linked to them. When treating these questions, we have stressed on the use of humour as a potential textual tool, a device animated television series use to create stereotypes producing the infant-subject. Concerning gender, the key movement of this work was towards visibility for power relations shaped there, some by transgression, some by frailty. Concerning school and teacher representations, we have found some ruptures with the ‘established’ female teacher figure (affectionate, devoted and motherly). However, school and education representations are not different from the traditional model of the modern school, including serialisation, time and space organisation, stressing on content and grade evaluation. In other educational spaces we have analysed in particular episodes, there are clear relations of power, government and control. In sum, we have observed that, in discourses in the particular child-directed animated series, it is possible to view stereotypes producing male and female subjectivities, which act as cultural pedagogies.

Le principal but de cette thèse a été d'analyser les représentations de genre et d’enseignant introduites par les dessins animés “Billy et Mandy, Aventuriers de L'audelà" (The Grym Adventures of Billy & Mandy) et "Les Razmoket" (Rugrats), en mettant accent particulièrment sur leur rapport avec l’humour. La perspective adoptée est celle des Études Culturelles post-structuralistes avec des contributions venant d'autres domaines d'études telles que la Communication et la Psychanalyse Lacanienne. Pour y arriver, on a sélectionné, transcrit et analysé des épisodes de ces dessins animés exhibés entre 1991 et 2010 par les chaînes de télévision CartooNetwork et Nickelodeon. Les réflexions développées cherchent à observer dans le récit des dessins animés les représentations du/des personnages, en particulier celles des enfants, en les reliant aux concepts de genre, pouvoir, transgression, école et d'autres. En abordant ces questions, on a vérifié que l'utilisation de l'humour est un recours textuel puissant, un artifice employé par les dessins animés dans la fabrication de stéréotypes qui produisent le sujet-enfant. En ce qui concerne les questions de genre, le mouvement fondamental de ce travail a été de donner de la visibilité aux relations de pouvoir qui s’y forment, certains par le biais de la transgression, d'autres par la voie de l'affaiblissement. En ce qui concerne les représentations de l'école et des enseignants, il a été possible de vérifier certaines ruptures avec la figure “sacré” de l’enseignant (affectueuse, dévouée et maternelle). Cependant, les représentations d'école et d'éducation ne diffèrent pas du modèle traditionnel de l'école moderne, qui englobe le classement, l'organisation du temps et des espaces, en établissant des contenus et des évaluations fondées sur des concepts. Dans d'autres espaces éducatifs analysés dans les épisodes en question, il existe clairement des relations de pouvoir, de gouvernance et de contrôle. En résumé, on a avons observé que dans les discours des dessins étudiés destinés aux enfants, on peut observer les stéréotypes qui agissent dans la production de subjectivités féminines et masculines en tant que des pédagogies culturelles. / Esta tese tem como principal objetivo analisar as representações de gênero e de professor/a trazidas pelos desenhos animados ”As Terríveis Aventuras de Billy & Mandy” (The Grym Adventures of Billy & Mandy) e “Os Anjinhos” (Rugrats), considerando, em especial, a sua conexão com o humor. A perspectiva adotada foi a dos Estudos Culturais pós–estruturalistas, contando com aportes de outros campos de estudo como o da comunicação e psicanálise lacaniana. Para a consecução do objetivo, foram selecionados, transcritos e analisados episódios dos referidos DAs exibidos entre 1991 e 2010 pelos canais por assinatura CartooNetwork e Nickelodeon. As reflexões desenvolvidas buscaram olhar, na narrativa dos desenhos animados, as representações dos/as personagens, especialmente as/os infantis, articulando-as aos conceitos de gênero, poder, transgressão, escola, entre outros. Na abordagem dessas questões, foi enfatizado o uso do humor como recurso textual potente, artifício do qual se valem os desenhos animados na fabricação de estereótipos que produzem o sujeito infantil. Em relação a questões de gênero, o movimento fundamental desse trabalho foi dar visibilidade às relações de poder que ali estão sendo constituídas, algumas, pela via da transgressão, outras pela via da fragilização. Em relação às representações de escola e docência foi possível verificar algumas rupturas com a figura “consagrada” de professora (afetiva, dedicada e maternal). Entretanto, as representações de escola e de ensino não diferem do modelo tradicional da escola moderna, englobando seriação, organização de tempos e espaços, priorizando conteúdos e avaliações por conceitos. Nos outros espaços educativos analisados nos episódios recortados, há claras relações de poder, governamento e controle. Em síntese, observou-se que, nos discursos dos referidos desenhos, direcionados para o público infantil, é possível visualizar estereótipos que agem na produção de subjetividades femininas e masculinas, as quais atuam enquanto pedagogias culturais. / This thesis aims at analysing gender and male and female teacher representations by animated television series “The Grim Adventures of Billy & Mandy” and “Rugrats”, especially considering their association with humour. We have used the poststructuralist Cultural Studies perspective with the help from other study fields such as communication and Lacanian psychoanalysis. For this objective we have selected, transcribed and analysed episodes of the films presented between 1991 and 2010 in channels CartooNetwork and Nickelodeon. Reflections have sought to examine representations of characters, especially children’s, linking them to concepts of gender, power, transgression, school, and others linked to them. When treating these questions, we have stressed on the use of humour as a potential textual tool, a device animated television series use to create stereotypes producing the infant-subject. Concerning gender, the key movement of this work was towards visibility for power relations shaped there, some by transgression, some by frailty. Concerning school and teacher representations, we have found some ruptures with the ‘established’ female teacher figure (affectionate, devoted and motherly). However, school and education representations are not different from the traditional model of the modern school, including serialisation, time and space organisation, stressing on content and grade evaluation. In other educational spaces we have analysed in particular episodes, there are clear relations of power, government and control. In sum, we have observed that, in discourses in the particular child-directed animated series, it is possible to view stereotypes producing male and female subjectivities, which act as cultural pedagogies.

Laurence Prempain consacre sa thèse de doctorat d’histoire aux Polonais-es et Juif-ve-s polonais-es venu-e-s vivre à Lyon (France) entre 1935 et 1945. Dans une première partie, elle présente le cadre géographique (Lyon) ainsi que sa méthodologie (approche par le genre, choix de la microhistoire, le silence comme source) et sa volonté de donner à entendre leurs voix afin de les placer au coeur de sa démarche. Pour cela, suite au dépouillement de quelque 600 dossiers administratifs constitués par le bureau de contrôle des étrangers (préfecture du Rhône), les lettres qu’ils-elles ont écrites ont été collectées pour ce qu’elles mettent au jour de la lutte de leurs auteur-e-s pour vivre et survivre. L’historienne part du postulat que les Polonais-es et Juif-ve-s polonais-es venu-e-s en France composent une population hétérogène n’ayant en commun qu’un rattachement à une citoyenneté, mais qu’ils-elles n’en demeurent pas moins des réfugié-e-s économiques, politiques ou de guerre. Ainsi, un temps considéré-e-s comme les bienvenu-e-s, les ressortissant-e-s polonais-es sont tous-tes, à un moment de leur parcours de vie, considéré-e-s comme indésirables. Aussi, la deuxième partie est consacrée à l’exploration des procédés auxquels la Troisième République, puis le régime de Vichy ont recours : expulsions, refoulements, exclusions, internements sinon déportation. Par ailleurs, l’auteure s’intéresse aux sorties de guerre et démontre l’existence d’une dimension genrée de l’épuration, comme expression d’une tentative de réappropriation de l’autorité. L’attention est également portée sur l’organisation du rapatriement des étranger-ère-s déporté-e-s raciaux et politiques. Enfin, dans une troisième partie, elle affirme que loin de subir, ces hommes et femmes agissent et développent des stratégies évolutives. Au travers des lettres qu’ils-elles ont écrites, de ce qui est dit mais aussi passé sous silence, elle établit que ces stratégies semblent relever de ce qu’elle choisit de nommer esquive et transgression. L’une s’accommode des limites quand l’autre s’y oppose délibérément. Esquive et transgression se complètent. Il est montré qu’à l’arbitraire sans cesse croissant du régime de Vichy, répondent des stratégies de plus en plus transgressives, dont relèvent notamment le passage de frontière, l’entrée en clandestinité et en résistance. Le passage d’une forme de stratégie à l’autre dépend de l’individu, du contexte, de ses habiti, de son parcours et de son identité. L’historienne conclut qu’en 2016, la crise des réfugié-e-s qui secoue l’Europe résonne des mêmes voix, de celles et ceux qui cherchent à protéger leurs vies et à vivre dans la dignité / Laurence Prempain dedicates her PhD (History) to the study of the Poles and Polish Jews who came to live in Lyon (France) between 1935 and 1945. In the first part, she presents the geographical framework (Lyon), her methodology (Gender approach, microhistory and silence as a source) and her will to understand their voices and place them to the heart of her work. For that purpose, upon the examination of approximately 600 administrative files amassed by the « bureau des étrangers » (préfecture du Rhône), the letters they wrote have been then systematically collected to shed light on their authors’ struggle to live and survive. The historian starts from the postulate that Poles and Polish Jews in France make up a heterogeneous population, only sharing a common citizenship, nonetheless they remain economic, political and war refugees. Thus, once considered welcomed, all Polish nationals are , at their life, considered as unwanted, « indésirables ». Therefore, the second part investigates the processes used by the Third Republic and then the Vichy Regime to get rid of them: expulsions, driving back, exclusions, internments or deportation. Moreover, the author raises the question of the war ends and demonstrates that purges have a gendered dimension, which can be seen as an attempt of reappropriation of the authority. She also focuses on the foreign deportees repatriation’s organisation. Finally, in a third part, she asserts that far from being subjected, these men and women have acted and developped evolutive strategies. Through the letters they wrote, through what is said and what is silenced, she establishes that those strategies are a matter of what she names sidestep and transgression. The first one adapts itself with the limits while the other is deliberately opposed to it. Sidestep and transgression complete each other. It is also showed that to the arbitrary of the richy regime respond strategies more and more transgressive, such as clandestinity, cross borders and resistance. The moving from a strategy to another one, depends on the person, the context, the habits, the life course and the identity. The historian concludes that in 2016, the refugees crisis that shakes Europe resonates of the same voices, of those who are looking for protecting their lives and to living in dignity..

Le dernier tiers du XIXème siècle ne constitue pas un moment pamphlétaire parmi d’autres. Non seulement il survient dans une période de démocratisation inédite qui confère au fait pamphlétaire un statut nouveau en lui permettant d’investir l’espace public officiel, mais il est aussi marqué par l’invention de la figure du pamphlétaire et l’émergence de personnalités reconnues comme telles et accédant parfois à une visibilité de premier plan. En dépit de leurs différences de cultures politiques, ces personnalités contribuent à organiser tout un jeu et tout un monde du pamphlet au croisement de la littérature, du journalisme et de la politique. A travers leur violent répertoire discursif, elles contestent l’ordre politique en cours d’édification et le procès de civilisation des mœurs politiques.Partant de l’hypothèse que ces pamphlétaires ont pu être des médiateurs importants du politique, notre recherche a pour objet d’interroger leur contribution aux processus de politisation. Elle entend examiner, dans une perspective socio-historique, dans quelle mesure ils ont pu représenter, dans cette période d’enracinement de la République et de stabilisation de la démocratie, un cheminement de la politique hors des sentiers battus, en favorisant une forme symbolique de participation non conventionnelle au jeu politique et en incarnant une forme transitoire de la rationalisation des passions politiques, entre l’émeute révolutionnaire et la patience démocratique. / The last third of the 19th century was not just any pamphleteering time amongst others. It occurred in a formerly unheard-of period of democratization, which conferred the pamphleteering reality a new status, thus enabling it to carve its way into the official public space. Besides, it was also marked by the invention of the pamphleteer's figure and the emergence of personalities acknowledged as such, some of whom boasting first rate visibility. For all their differing political cultures, these figures helped organize a whole set and world of the pamphlet, at the intersection of literature, journalism and politics. Through their violent discursive repertoire, these pamphleteers question the political order that was then being elaborated, as well as the then on-going process of civilization of political mores.Our research thus aims to examine pamphleteers' contribution to the process of politicization, on the assumption that these could be said to have acted as important mediators of politics. Our work is intended to grasp, within a socio-historical perspective, to what extent – during that period when the Republic was getting increasingly entrenched and democracy more stable – pamphleteers might be said to have represented an evolution of politics off the beaten path, thus favoring a symbolic form of unconventional participation in politics and ultimately embodying a transitional form of rationalization as regards political passions, hovering between revolutionary riots and democratic patience.