Cette thèse s’intéresse au marché du crédit à Venise au XVIIIe siècle. Une partie importante de la recherche se concentre sur une offre de crédit spécifique au contexte vénitien, qui avait lieux dans les osterie (auberges) et les bastioni de la ville, des entrepôts où le vin était vendu à emporter. Le vin et l’argent étaient deux éléments intrinsèquement liés et trouvaient un point de contact dans l’activité des osti (aubergistes) et des bastioneri. Ces derniers offraient à leurs clients un service original de prêt sur gage. Ils assumaient le double rôle des fournisseurs de biens de consommation de base et de créanciers, devenant ainsi des figures incontournables dans le contexte urbain, en particulier pour les membres des couches les plus pauvres. L’un des éléments les plus intéressants est la manière dont les intérêts sur les prêts étaient perçus, puisque les créanciers tiraient profit du fait qu’un tiers de la valeur totale des crédits était payé en vin. La valeur faible des prêts confirme que ce service s’adressait principalement aux classes les plus fragiles de la société, c’est à dire les principaux protagonistes de ce que nous avons appelé l’économie ‘du mouchoir’. Il s’agissait surtout d’individus pauvres mais pas ‘très pauvres’, ceux qui n’avaient pas de grandes réserves d’argent et qui étaient vulnérables en raison de l’irrégularité de leurs revenus. Les objectifs de la recherche sont principalement au nombre de deux. Le premier consiste à analyser l’activité de crédit des bastioni et des osterie. Le second est de replacer cette organisation dans le contexte urbain, en analysant le marché dans son ensemble et en évaluant les caractéristiques et les variables qui pouvaient influencer la demande. Par conséquent, afin d’avoir une vision plus complète du marché, toutes les omposantes principales de l’offre ont été prises en considération. Outre les bastioni et les osterie mentionnés ci-dessus, les autres activités de prêts ont été analysés et comparés : l’activité des banques juives dans le Ghetto, mais aussi celle des monts-de-piété des villes de la terre ferme vénitienne, des notaires et des prêteurs privés. De cette façon il a été possible d’enquêter sur les relations existantes entre les différents circuits de crédit, et de démontrer qu’ils n’étaient pas en concurrence les uns avec les autres, mais qu’il s’agissait plutôt d’un marché segmenté. La recherche s’adresse aussi bien aux spécialistes de l’histoire vénitienne qu’aux historiens de l’économie dans d’autres contextes, en proposant une nouvelle méthodologie et un cas d’étude qui appellent à la comparaison dans d’autres villes à l’époque moderne. / This thesis analyses the credit market in Venice during the 18th century. An important part of this research focuses on a quite unique credit system, specific to the Venetian context, that was offer through the inns, or osterie, and the bastioni (warehouses where wine was sold) of the city. In 18th century Venice, wine and money were intrinsically linked through the activity of the innkeepers and the bastioneri (the managers of the bastioni), who originally offered their customers a pawnbroking service. They assumed the double roles of suppliers of basic goods and creditors, thereby becoming central economic figures in Venice’s urban context – especially for the members of the poorest classes. One of the most innovative elements of this research lies in the findings regarding the way that interest on loans was collected: creditors benefited from the fact that one-third of the total value of the transaction was paid in wine. The low average value of the loans confirms that this service was mainly aimed at the lower classes of society, the main actors in what has been defined as ‘the handkerchief economy’. Those who benefited the most from this kind of credit arrangement were essentially poor – but not too poor – people, who had only modest reserves of money, and were thus more vulnerable due to the paucity and irregularity of their income. The main objective of this research is twofold: (a) to analyze the credit activity of bastioni and osterie, and (b) to place it in the Venetian urban context. This study analyzed the Venetian credit market as a whole, and then assessed the characteristics and variables that could influence the demand for credit. Moreover, to develop a more complete view of this specific market, all the main components of the credit offer were taken into consideration. In addition to the already mentioned bastioni and osterie, the activities of Jewish bankers in the Ghetto, the monti di pietà situated on the Venetian mainland, as well as those of the notaries and the private lenders, were also analyzed and compared. In this way, it was possible to investigate the existing relationships between the different credit channels, and to determine that they were actually not in competition with one another; rather, it was discovered that they were, in fact, discretely positioned in a distinctly segmented market. This research is relevant to both specialists in Venetian history, and researchers concerned with economic history in other contexts; this study also proposes a new methodology, and a case study, useful for relative comparison by either constituency.

Afin d’améliorer la teneur en glucides non structuraux (GNS) chez la luzerne, deux essais ont été implantés en 2006 et 2008 pour évaluer trois populations (GNS teneur moyenne, élevée ou faible) selon deux moments de fauche, soit en matinée (9h00) et en fin de journée (15h00). Il s’agissait d’évaluer la réponse à la sélection, l’interaction entre les populations et le moment de fauche et de vérifier l’incidence de la sélection sur la valeur nutritive et le rendement. Les résultats obtenus démontrent une différence significative à la hausse pour la population GNS+ attribuable principalement à la différence de concentration en amidon. Aucune interaction population par moment de fauche n’a été observée. L’augmentation de la digestibilité est en partie due à l’augmentation des GNS. Aucune différence de rendement n’a été observée. Le moment de fauche a été plus important que la sélection sur les teneurs en GNS peu importe les coupes.

La région de Charlevoix, dans le sud-est du Québec, est caractérisée par un paysage spectaculaire formé par la jonction des Hautes-Laurentides, de l’astroblème de Charlevoix et de l'estuaire du Saint-Laurent. Cette étude, basée sur deux campagnes de terrain et sur l'interprétation de photos aériennes numériques de haute résolution 3D et de données LiDAR, documente un géosystème glaciaire dominé par le développement de lacs proglaciaires lors de la déglaciation en raison d'une topographie très irrégulière et de la présence de grands systèmes morainiques. Les résultats fournissent une chronologie relative pour le développement et le drainage d’une série de lacs proglaciaires pendant chaque étape de la déglaciation. Dans la région, les Hautes-Laurentides sont caractérisées par un haut plateau (700 - 1174 m) et des vallées profondément encaissées (Malbaie, Sainte-Anne, à Mars). L’astroblème de Charlevoix est caractérisé par un graben circulaire (vallées du Gouffre et Malbaie) et une remontée centrale (mont des Éboulements et collines de Saint-Hilarion). Quatre systèmes morainiques sont observés dans la région: les systèmes Rochette et Brûlée-Sainte-Anne, probablement développés pendant la Dryas ancien (~ 14 cal. ka BP.), et les systèmes de Mars-Batiscan et de Saint-Narcisse, datant du Dryas récent (12,9 - 11,7 cal. ka BP). La présence de deltas, de rythmites, de dépôts littoraux, de terrasses lacustres, de brèches de drainage et de dépôts de drainage a été utilisée pour identifier 91 lacs proglaciaires. Cinq systèmes de lacs proglaciaires ont été identifiés sur la base de leur emplacement, leur chemin de drainage, leur type de barrages, leur complexe morainique associé et leur stratigraphie: 1- Système des lacs se drainant la vallée du Saint-Laurent : des lacs étant contenus par le courant glaciaire du Saint-Laurent ou par les moraines de Rochette; 2- Système des vallées latérales de l’astroblème : des lacs se drainant dans le graben de l’astroblème, contenus par les langues glaciaires du Gouffre et Malbaie; 3- Système du secteur de Sainte-Aimée-des-lacs : des lacs situés dans le graben de l’astroblème, contenus par des crêtes morainiques associées au complexe de Saint-Narcisse; 4- Système du Secteur Sainte-Anne : des lacs se drainant par les vallées des rivières Sainte-Anne et Montmorency, contenus par les moraines du complexe de Brûlé-Sainte-Anne ou par des glaciers de vallées; 5- Système des Laurentides Nord : des lacs se drainant vers le nord (Saguenay, rivière Noire), contenus d’abord par l’Inlandsis laurentidien et ensuite par les moraines des complexes de Saint-Narcisse et de Mars-Batiscan. / The Charlevoix region, in southeastern Québec, is characterized by a dramatic landscape formed by the junction of the Laurentian Highlands, the Charlevoix Astrobleme and the St. Lawrence Estuary. This study, based on two extensive field campaigns and the interpretation of high-resolution 3D digital air photos and LiDAR data, documents a glacial landsystem dominated by the development of proglacial lakes during deglaciation due to a very irregular topography and the presence of major moraine systems. Our results provide a relative chronology for the development and drainage of series of proglacial lakes formed during each successive stage of deglaciation. In the region, the Laurentian Highlands are characterized by a high plateau (700-1174 m) and deeply incised river valleys (Malbaie, Saint-Anne, à Mars). The Charlevoix Astrobleme is characterized by a circular graben (Malbaie and du Gouffre river valleys) and a central uplift (Mount of Éboulements and Saint-Hilarion hills). Four moraine systems are observed in the region: the Rochette and Brûlée-Sainte-Anne systems, probably developed during the Older Dryas (~ 14 cal. ka BP), and the Saint-Narcisse and Mars-Batiscan systems dating from the Younger Dryas (12.9 to 11.7 cal. ka BP). Deltas, rythmites, coastal deposits, lacustrine terraces, breaches and drainage deposits were used to identify 91 proglacial lakes. Five types of proglacial lakes were identified based on their location, drainage path, type of dams, associated moraine complex and stratigraphy: 1- Lakes draining towards the St. Lawrence valley : constrained by glacial ice in the St. Lawrence Estuary or by the Rochette moraine, and draining later into the Goldthwait Sea; 2- Astrobleme side valley lakes : constrained by du Gouffre and Malbaie glacial tongues and draining into the graben of the astrobleme; 3- Sainte-Aimée-des-Lacs lakes : constrained by moraine ridges associated with Saint-Narcisse moraine systems; 4- Sainte-Anne Sector lakes : constrained by Brûlé-Sainte-Anne moraines or by valley glaciers lakes and draining through the Sainte-Anne and Montmorency river valleys; 5- Northern Laurentian lakes: constrained first by the Laurentide Ice Sheet and then by the moraines of the Saint-Narcisse and Mars-Batiscan moraine systems and draining northward towards Lake St-Jean and Saguenay River.

La présente thèse vise à apporter des éclaircissements sur la réapparition du souci défensif, sa matérialisation et son évolution en Anatolie occidentale et centrale au début du premier millénaire av. J.-C. (Xe-VIe s.). Le territoire soumis à l’examen comprend la Phrygie, la boucle de l’Halys, la Carie, la Lydie, l’Ionie, l’Eolide et la Troade. Cette étude s’intéresse en premier lieu aux différentes méthodes de fortification utilisées au cours de cette période. Par l’examen des principales caractéristiques architecturales des murs de défense (techniques de construction, dispositifs défensifs), cette étude cherche à déterminer de quelle manière ces nouvelles constructions s’inscrivent dans la tradition architecturale anatolienne et dans quelle mesure leurs concepteurs contribuèrent à l’évolution de celle-ci en adoptant et en transformant les méthodes de fortification qui en sont issues. La construction d’un rempart, parce qu’elle impliquait de nombreux acteurs, était un fait de société majeur. Par leur conception, les techniques utilisées pour leur construction, leur emprise dans le paysage, les murailles sont des monuments chargés de symboles et des témoins privilégiés de l’histoire des sociétés qui les ont construites et perfectionnées. Au-delà des considérations archéologiques, cette étude s’attache donc aussi à replacer la construction de fortifications dans le contexte militaire mouvementé de l’Anatolie préclassique et tente également d’évaluer l’impact d’un tel projet de construction dans l’histoire politique et sociale des populations anatoliennes de l’âge du fer. / This thesis aims to shed light on the reappearance of defensive concern, its materialization and its evolution in Western and Central Anatolia in the Early First Millennium BC. (10th-6th c.). The area under consideration includes Phrygia, the Halys bend, Caria, Lydia, Ionia, Aeolis and the Troad. This study focuses primarily on the various fortification methods used during this period. By examining the main architectural features of defensive walls (building techniques, defensive components), this study seeks to determine how these new constructions inherited from the Anatolian architectural tradition and how their designers contributed to make it evolve by adopting and transforming some of its principles. The construction of a wall, because it involved many actors, was also major social phenomenon. Iron Age fortifications sometimes bear witness to the history of the various populations who built and perfected them. Hence, beyond archaeological considerations, this study also aims to place the construction of fortifications in the military context of the tumultuous pre-classical Anatolia. It also attempts to evaluate the impact of such a construction project on the sociopolitical history of Anatolian Iron Age populations: Greeks, Lydians, Phrygians and Carians.

A presente tese analisa a emergência da modernidade musical brasileira entre os anos 1889 e 1914. Analisa os discursos que a historiografia panorâmica tradicional brasileira construiu sobre a música de concerto daquele período, e analisa os discursos produzidos na própria época. Verifica que as iniciativas de atualização técnica e estilística da música de concerto respondiam a uma política oficial de modernização das artes, que tinha a Europa como modelo de civilização. Verifica também que a cultura das elites republicanas utilizava a prática da música de concerto como um mecanismo de distinção social. Conclui que as interações entre as concepções elitistas sobre música, as teorias raciais, o evolucionismo, e o cosmopolitismo legitimavam práticas culturais excludentes, reafirmando hierarquias sociais. Tais interações resultaram no aprofundamento do abismo entre a música de concerto e o público, na afirmação de hierarquias entre gêneros musicais, na valorização da noção de autonomia da obra musical e na manutenção dos vínculos com a música europeia, impedindo o surgimento de movimentos de vanguarda musical contra hegemônicos no Brasil no início do século XX. / This thesis analyzes the emergence of Brazilian musical modernity between the years 1889 and 1914. It analyzes the discourses that the Brazilian traditional panoramic historiography has elaborated about art music of that period, and analyzes the discourses produced at the time. It notes that the initiatives for the technical and stylistic art music\'s updating have risen in response to an official politics of modernization of fine arts, which had Europe as a model of civilization. It also notes that the culture of the Republican elites has used the practice of art music as a mechanism of social distinction. It concludes that the interactions between elitist conceptions about music, racial theories, evolutionism, and cosmopolitanism have legitimized exclusionary cultural practices, reaffirming social hierarchies. These interactions have resulted in a deepening gap between art music and the public, in the affirmation of hierarchies between musical genres, in the valorization of autonomy\'s notion of the musical work and in the maintenance of links with European music, preventing the emergence of vanguard movements counter-hegemonic in Brazil in the early twentieth Century.

A presente tese analisa os aspectos econômicos do financiamento e gestão da cultura brasileira no período 1890 a 1922 nas cidades do Rio de Janeiro e São Paulo. A argumentação baseia-se em amplo levantamento de dados quantitativos extraídos de fontes documentais primárias custodiadas por arquivos históricos brasileiros e internacionais, relativas à dinâmica de iniciativas, espaços e instituições de distintos suportes artísticos música, teatro, cinema e artes plásticas. Mais do que um simples arrolamento de dados, empreende-se aqui um esforço sintético, centrando atenções na identificação de macrofuncionalidades econômicas no universo da cultura em suas mais diferentes manifestações. Em diálogo com grandes nomes da teoria cultural internacional como Pierre Bourdieu e Theodor Adorno, o foco da pesquisa é a identificação e compreensão da ação de duas forças sociais estruturantes: a massificação e a distinção. Coligados, antagônicos e mutuamente influentes, serão esses os dois vieses centrais para a estruturação dos circuitos culturais brasileiros. As duas forças se farão presentes nas mais diversas atividades culturais do período. A resultante dessa complexa interação é um mosaico socioeconômico onde triunfa a distinção, o elitismo e a instrumentalização da cultura para finalidades excludentes. / This thesis analyzes the economic aspects of the financing and management of the Brazilian culture in the period 1890-1922 in the cities of Rio de Janeiro and São Paulo. The argument is based on extensive survey of quantitative data extracted from primary sources from both Brazilian and international historical archives connected to the dynamics of initiatives, spaces and institutions of distinct artistic media music, theater, cinema and plastic arts. More than a simple gathering of data, the project here is to undertake a synthetic effort, focusing on the identification of economic macrofunctionalities in the world of culture in its different manifestations. In dialogue with the great names of the international cultural theory such as Pierre Bourdieu and Theodor Adorno, the research centers attentions in the identification and understanding of the action of two structuring social forces: massification and distinction. Related, diverging and mutually influential, these are the two central biases for the structuring of the Brazilian cultural circuits. The two forces will be present in various cultural activities of the period. The result of this complex interaction is a mosaic where socioeconomic distinction, elitism and the instrumentalization of culture for exclusionary purposes triumphs.

Cette thèse porte sur la problématique des rapports entre la mémoire écrite et la construction d'une identité urbaine spécifique à travers l'histoire des hommes et des textes qui ont passé cette mémoire durant les 350 premières années d'existence du port et de la ville du Havre (1517-1861).

A presente tese analisa a emergência da modernidade musical brasileira entre os anos 1889 e 1914. Analisa os discursos que a historiografia panorâmica tradicional brasileira construiu sobre a música de concerto daquele período, e analisa os discursos produzidos na própria época. Verifica que as iniciativas de atualização técnica e estilística da música de concerto respondiam a uma política oficial de modernização das artes, que tinha a Europa como modelo de civilização. Verifica também que a cultura das elites republicanas utilizava a prática da música de concerto como um mecanismo de distinção social. Conclui que as interações entre as concepções elitistas sobre música, as teorias raciais, o evolucionismo, e o cosmopolitismo legitimavam práticas culturais excludentes, reafirmando hierarquias sociais. Tais interações resultaram no aprofundamento do abismo entre a música de concerto e o público, na afirmação de hierarquias entre gêneros musicais, na valorização da noção de autonomia da obra musical e na manutenção dos vínculos com a música europeia, impedindo o surgimento de movimentos de vanguarda musical contra hegemônicos no Brasil no início do século XX. / This thesis analyzes the emergence of Brazilian musical modernity between the years 1889 and 1914. It analyzes the discourses that the Brazilian traditional panoramic historiography has elaborated about art music of that period, and analyzes the discourses produced at the time. It notes that the initiatives for the technical and stylistic art music\'s updating have risen in response to an official politics of modernization of fine arts, which had Europe as a model of civilization. It also notes that the culture of the Republican elites has used the practice of art music as a mechanism of social distinction. It concludes that the interactions between elitist conceptions about music, racial theories, evolutionism, and cosmopolitanism have legitimized exclusionary cultural practices, reaffirming social hierarchies. These interactions have resulted in a deepening gap between art music and the public, in the affirmation of hierarchies between musical genres, in the valorization of autonomy\'s notion of the musical work and in the maintenance of links with European music, preventing the emergence of vanguard movements counter-hegemonic in Brazil in the early twentieth Century.

A presente tese analisa os aspectos econômicos do financiamento e gestão da cultura brasileira no período 1890 a 1922 nas cidades do Rio de Janeiro e São Paulo. A argumentação baseia-se em amplo levantamento de dados quantitativos extraídos de fontes documentais primárias custodiadas por arquivos históricos brasileiros e internacionais, relativas à dinâmica de iniciativas, espaços e instituições de distintos suportes artísticos música, teatro, cinema e artes plásticas. Mais do que um simples arrolamento de dados, empreende-se aqui um esforço sintético, centrando atenções na identificação de macrofuncionalidades econômicas no universo da cultura em suas mais diferentes manifestações. Em diálogo com grandes nomes da teoria cultural internacional como Pierre Bourdieu e Theodor Adorno, o foco da pesquisa é a identificação e compreensão da ação de duas forças sociais estruturantes: a massificação e a distinção. Coligados, antagônicos e mutuamente influentes, serão esses os dois vieses centrais para a estruturação dos circuitos culturais brasileiros. As duas forças se farão presentes nas mais diversas atividades culturais do período. A resultante dessa complexa interação é um mosaico socioeconômico onde triunfa a distinção, o elitismo e a instrumentalização da cultura para finalidades excludentes. / This thesis analyzes the economic aspects of the financing and management of the Brazilian culture in the period 1890-1922 in the cities of Rio de Janeiro and São Paulo. The argument is based on extensive survey of quantitative data extracted from primary sources from both Brazilian and international historical archives connected to the dynamics of initiatives, spaces and institutions of distinct artistic media music, theater, cinema and plastic arts. More than a simple gathering of data, the project here is to undertake a synthetic effort, focusing on the identification of economic macrofunctionalities in the world of culture in its different manifestations. In dialogue with the great names of the international cultural theory such as Pierre Bourdieu and Theodor Adorno, the research centers attentions in the identification and understanding of the action of two structuring social forces: massification and distinction. Related, diverging and mutually influential, these are the two central biases for the structuring of the Brazilian cultural circuits. The two forces will be present in various cultural activities of the period. The result of this complex interaction is a mosaic where socioeconomic distinction, elitism and the instrumentalization of culture for exclusionary purposes triumphs.

Cette étude aborde la manière dont l’Orient-Express a été décrit, perçu et imaginé, et s’efforce de mesurer l’écart entre les représentations communes et ce qui se dégage d’un corpus de textes très divers à travers trois grands axes de réflexion : les évocations des itinéraires de l’Orient-Express, les discours tenus sur le train et ses voyageurs, les thématisations et récupérations littéraires dont il a fait l’objet. L’idée directrice du propos est de montrer comment l’Orient-Express, rêve programmé par de très efficaces campagnes publicitaires et suscité par un imaginaire géographique, historique et littéraire puissant, n’a pu pleinement convaincre les voyageurs, mais aussi les écrivains et les lecteurs qui, semble-t-il, ne cessent de déplorer la disparition d’un train et d’un voyage qui n’ont peut-être jamais existé ou qui ne sont jamais vraiment ceux qu’ils imaginaient. / The purpose of this study is to see how the Orient Express was perceived, described and fantasized, and to measure the gap between common representations and what appears in quite different texts through three major lines : the evocations of the routes of the Orient Express, the discourses on the train and its passengers, the thematizations and literary recuperations. It aims at showing how the Orient Express, a dream programmed by very effective advertising campaigns and sustained by powerful geographical, historical and literary images, could not fully convince travelers, but also writers and readers who, apparently, do not cease to mourn the disappearance of a train and a travel that have perhaps never existed or that are never actually those they dreamt of.