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This thesis puts forth the premise that the ideas of the Russian director Meyerhold correlate to the ideas of the Greek philosopher Plato. The writer shows that Meyerhold was a theatrical innovator in the sense that he gave Platonic thought a fresh reflection, expressing as he did his philosophic beliefs by means of the medium of the plastic arts and the stage; dialogue, scenic design, lighting techniques, etc., as opposed to the pure philosophic dialogues Plato used. Meyerhold's theatrical contributions arose from an attempt to resolve opposites, often by the creation of paradox, in order to provide the audience with at least a glimpse of a new world view. The writer uses the writings of Plato, and the writings and examples of the staged productions of Meyerhold to prove the aforementioned premise. Using Meyerhold's theory of uslovnyi theatre and Plato's Theory of Ideas, the writer shows that Meyerhold's work, his theatrical innovations, gave dramatic life to Platonic epistemology.

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Walter Benjamin (1892-1940), a twentieth-century Jewish-German intellectual, has recently achieved iconic status; however, during his lifetime, many scholars considered him to be a failure. This substantial shift in scholarly attitude invites questions concerning how intellectual figures are understood and constructed within academia. Cultural studies has renewed and enlarged the sphere of interest in Benjamin's work while, at the same time, canonizing and thus freezing it. This dissertation addresses the non-canonical side of the production of Walter Benjamin and, in so doing, shows what traditional scholarship has overlooked — the effect of the so-called "private" sphere on so-called "public" intellectuals. The dominant model for traditional scholarly studies remains both abstract and linear: it consists of tracing the influence of one (usually male) scholar upon another. This dissertation disrupts the tacit assumptions behind such an approach to knowledge by showing how intellectuals are produced both by and at the intersections o f the public and the private. The general scholarly acceptance of this false dichotomy, commonly referred to as the public/private split, has resulted in viewing scholars as though they exist in an abstract realm of ideas rather than in a concrete realm of lived reality. I draw on and add to the insights of feminist and cultural studies scholars who have attempted to show how people's interested contradictory locations, defined, as they are, by class, religion, ethnicity, gender, and so on, intersect with and affect their publicly constructed identities. To this end, my study provides a concrete example of how one particular intellectual, Walter Benjamin, has been (and continues to be) produced within specific historical, social, and cultural contexts.

La présente thèse décrit la transformation des pratiques de diagnostic et des champs d'expertise dans plusieurs professions paramédicales, en montrant en quoi ces transformations sont indissociables des stratégies d'avancement professionnel des acteurs. J'aborde l'évolution de huit groupes professionnels réunis en trois grappes : des professions à caractère psychosocial (psychologie, travail social), des professions de réadaptation physique (orthophonie, ergothérapie, physiothérapie) et des professions liées à l'appareillage (audiologie, audioprothésie, inhalothérapie). Cette histoire compte trois périodes. De 1940 à 1970, les professionnelles intègrent le secteur de la santé à l'invitation de médecins hospitaliers de diverses spécialités. Ces médecins ne réfèrent alors que des patients sur lesquels ils gardent une pleine autorité, limitant le pouvoir d'initiative des paramédicales qui font office d'auxiliaires. De 1970 à 1985, la multiplication des positions en santé stimule l'appropriation par les professionnelles de nouveaux objets d'intervention, qui ne leur confèrent cependant qu'une position souvent ambiguë. A partir de 1985, plusieurs professions rehaussent leur statut de manière plus marquée par l'adoption de diagnostics élargis dont l'usage favorise la rapide expansion des clientèles sanitaires. Les diagnostics et leurs usages se transforment ainsi dans un contexte où la recherche de positions d'autonomie s'accompagne d'un déplacement des champs d'expertise. L'obtention des positions convoitées dépend de l'aptitude à émettre des diagnostics qui rendent possible l'appropriation des cas. Cette évolution s'explique par l'émergence de nouvelles catégories issues du milieu scientifique, mais aussi par leur réception particulière en clinique, un même diagnostic pouvant faire l'objet d'usages variés selon les milieux. Enfin, l'État, en imposant au réseau de santé la forme d'un système différencié, exerce une pression involontaire en faveur de la multiplication des activités de soins. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Histoire, Santé, Paramédical, Profession, Réadaptation, Diagnostic, Physiothérapie, Ergothérapie, Orthophonie, Psychologie, Travail social, Audiologie, Inhalothérapie.

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This thesis begins by situating the work of Walter Benjamin in its historical complexity and examining the conceptual underpinnings of his phantasmagoria. Benjamin's Arcades Project is considered in light of his attempts to resituate primary structuring dichotomies in a fluid and dynamic configuration. These dichotomies include the political and the apolitical, the material and the immaterial, and the past and the present. The phantasmagoria-as-metaphor is then employed as a methodological framework for analyzing the ever-circulating images of John F. Kennedy. / This thesis is primarily concerned with the conceptual tools necessary to argue that an image is more "real" than its real-life counterpart, that is, real enough to carry resonances that extend beyond both its diminutive "artifice", and its original context. The relations between the immaterial image and its material referent are discussed as complementary and shifting, rather than oppositional and static. This thesis explores the possible and the actual convergence of the image and its material counterparts.

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