This dissertation examines the political regime during the single party rule in Turkey between the years of 1923-1950 in relation to the concept of tutelage. The main argument supported in this work is that tutelary tendencies, contrary to the assumptions of Kemalist historicization, do not serve as segue to democracy, but rather make consolidation of democracy difficult, even impossible. In support, this dissertation provides a close examination of the Kemalist nation building process beginning from the Ottoman modernization process extending to the demographic engineering projects of the Republic. The examination reveals that tutelary tendencies are a reflection of the savior mission undertaken by the elite during the Ottoman-Republican modernization process. The political elite, in their mission to save and build the nation, not only ignored the political and social fabric of the time, but they insisted on radical interventions to the demographic fabric of the society in order to transform it to the nation they envisioned. During the execution of the nation-building project increasingly more authoritarian measures were legitimized by declared target of democracy. The social resistance to the radical interventions was suppressed by more authoritarian measures that were perceived as the cost of achieving democracy. The elite perceived themselves uniquely fit for deciding what is in the best interest of the people. Whether the aim of democratization was reached or not was also decided by the tutelary elite. Not wanting to let go of the power, they continuously invented new prerequisites to democracy. This cycle resulted in the persistence of the authoritarian regime. In the final analysis, this dissertation reveals that the tutelary tendencies of the avant-garde elite are the biggest obstacle on the path to democracy.

La sécheresse est un stress majeur pour les plantes qui ont développé de nombreuses stratégies pour y faire face. La réponse la plus rapide à un stress hydrique est la fermeture des pores stomatiques qui limite les pertes d'eau par évapo-transpiration. La phytohormone acide abscissique (ABA) participe à cette réponse en modifiant la turgescence des cellules de garde. La protéine kinase OST1 d'Arabidopsis thaliana contrôle les étapes précoces de la transduction du signal ABA dans ces cellules. Au cours de cette thèse, nous avons cherché à comprendre les mécanismes de régulation de la kinase OST1. Nous avons d'abord montré que la protéine 10xHis-OST1 produite chez E.coli est active et s'autophosphoryle. Ceci nous a permis d'identifier des résidus phosphorylés, cibles potentielles de kinases ou phosphatases régulant l'activité de OST1 dans la plante. L'importance de ces résidus a d'abord été étudiée in vitro par l'analyse de l'activité de protéines recombinantes mutées sur les résidus phosphorylés. Puis nous avons étudié l'impact de ces mutations dans la plante en réalisant des tests de complémentation du mutant ost1 et des tests d'activité kinase après immunoprécipitation des différentes versions de la protéine OST1. La même stratégie appliquée à l'étude de versions tronquées de OST1 nous a permis d'analyser son domaine C-terminal. Nous avons ainsi identifié plusieurs éléments structuraux critiques pour l'activité de OST1 et sa fonction dans la plante. Enfin, notre analyse des différents allèles mutants ost1 suggère que OST1 régule les flux transpiratoires en réponse à un stress hydrique à deux niveaux distincts, dans les cellules de garde et les tissus vasculaires.

This study presents an attempt to understand the political and aesthetic relationship between two of Modernism’s most enigmatic authors, Wyndham Lewis and Ford Madox Ford by examining their novelistic practice in light of their writings on politics and social criticism. A close look at the use of ironic distance, a hallmark feature in our understanding of modernist fiction, in Tarr (1918) and The Good Soldier (1915) reveals both authors conscious effort to distance themselves from their novel’s subjects, Fredric Tarr and John Dowell respectively. In light of both novels’ satirical element, a scathing attack on bourgeois narcissism caused by the wealthier class’ persistent attempts to identify with hollow and self serving social roles through the sham-aristocratic prestige created by England’s pre-war commodity culture, and the fact that both Fredric Tarr and John Dowell are artist figures that somehow resemble their creators, this project reinterprets Ford and Lewis’ ironic distance as an instance of self-distanciation. From this we can infer that both Ford and Lewis were invested in the modernist idea of impersonality, not just as a artistic or literary technique, but as the artist’s only means of escaping the narcissistic and slothful trap of modern subjectivity, and that, along with the production of modernist art, they saw a continual self-effacement as the price of authenticity, therefore inspiring in them the conviction to live as “uncelebrated stylists.”

Texte remanié de: Thèse--Anthropologie--Toulouse--EHESS, 2004. / Bibliogr. p. 281-299.

Thèse d'exercice : Médecine. Médecine générale : Paris 12 : 2006. / Titre provenant de l'écran-titre. Bibliogr. f. 49-50.

This dissertation identifies the diluting effects that network society has had on the avant-garde subcultures, by first building a framework through which to understand the social structure and spatial production of the historical avant-garde, and then comparing this with contemporary avant-garde movements. The avant-garde is a cultural tradition that originated in modern 18th century Europe and North America, that critically responds to hegemonic power structures and mainstream cultural assumptions. I use the term “avant-garde subcultures” because my research focuses on the entire social group of the avant-garde. Most scholarship on the avant-garde has overlooked the importance that social relations, in particular supportive actors, and collaborative spaces have served in the creativity of the avant-garde. During the past twenty years, as society has shifted into a dependence on networked interactive technologies, the boundaries which protect these avant-garde spaces and social relations were diluted. As a result, avant-garde subcultures have entered a phase of recursively repeating themselves and culturally stagnating. I begin by reviewing the historical avant-garde and subcultures, building an overarching theory that explains that avant-garde is a type of subculture. Using past scholarship that maps the conceptual lineage from early bohemians to 1970s punk rock, I synthesize a set of traits which all avant-garde subcultures exhibit, and which can be used to build their genealogy. I then extend this genealogy to contemporary art practitioners, to prove that the avant-garde tradition continues to this day. Next, I develop a philosophical understanding of the importance of space for hegemonic power structures, based largely on the work of Henri Lefebvre. I explain how avant-garde subcultures produce spaces of representation in the cafes, bars and night clubs they inhabit, which challenge hegemony by being different from normal values and aesthetics. I reference first-hand accounts of these spaces of representation, to show how they enable the collaboration and creative thinking that is most often associated with the avant-garde. The avant-garde protect these spaces through a set of cultural boundaries: fashion, slang, esoteric knowledge, accumulation, and physical space. Manuel Castell's concept of network society depicts how hegemonic power structures have become pervasive, and thus can overcome the boundaries of avant-garde subcultures. As a result, avant-garde subcultures have increasingly become retrogressive and fluid. Some avant-garde practitioners, such as tactical media, have evolved methods for addressing these problems. While these are effective in continuing the avant-garde tradition of introducing difference, there are no adequate methods for producing new spaces of representation. I examine Eyebeam, an arts and technology center, which has since 1997 provided a space for many contemporary practitioners. While unique in its circumstances, Eyebeam has adopted several processes which have enabled it to overcome the diluting effects of network society, thereby providing a potential model for building future spaces of representation.

This dissertation seeks to abolish the inherited cliché that the Modernist writers and artists rejected earlier art and literature, particularly that of the classical tradition. In fact, both literature and art of the early 20th century made widespread use of the inherited Greco-Roman tradition in a myriad of ways. Moreover, beginning after the First World War and maturing in the 1920s, a demonstrative Neoclassical “movement” appeared across different types of art and different nations. A neoclassical or classicizing style or form is inherently malleable, an empty signifier that can, through an artist or writer’s emphasis, point towards any number of meanings. This allowed a classical style to become widespread along with its seeming resiliency as the ordered, traditional bedrock of the West. In the 1930s, however, the fascist parties of Germany, France, and Italy began to appropriate the neoclassical as a state- or party-style because of the ease with which politics could be incorporated into a relatively vacant form. Their systematic use of the classical tradition in large part “tainted” classical subjects and styles, which allowed for the post-World War II institutionalization of the avant garde. I argue that texts which used the classical tradition could do so in four distinct manners—four types of classicism. Symbolic Classicism controls its classical material by using it only at the level of hollow icon which pregnantly gestures towards antiquity. Traditional Classicism, like an adaptation of a classical narrative particularly in drama, becomes completely dependent on its borrowings. Formal Classicism borrows an inherited, vacant form which can then be injected with Modernity. Finally, Synthetic Classicism necessitates a careful balancing of the classical material, not reducing it to symbolic meaning, but producing a novel narrative or mirroring-effect, that controls its various elements designed into a modern theme or objective. / text

This dissertation investigates how the project of abstraction, initiated in interwar Europe, was reconstructed, continued, and transformed in mid-twentieth-century South America. Through an examination of the work and thought of three key artists (Tomás Maldonado of Argentina, Alejandro Otero of Venezuela, and Lygia Clark of Brazil), it posits historical continuity and universality as both central problems of mid-century South American projects of abstraction and potential avenues toward a new understanding of their historical specificity. I identify three key features of interwar abstraction that were consciously continued in the work of Maldonado, Otero, and Clark: the adoption of abstraction not as a style, but as a progressive teleology with a linear history and singular goal; the ambition to reach the end of painting as an autonomous activity and integrate abstraction into the built environment; and the belief in the power of abstraction to forge new subjects and collectivities. In all three cases, the encounter of a universalistic project with particular socio-historical realities had resonances unanticipated by their European predecessors. Whereas abstraction in interwar Europe was intimately tied to struggles against bourgeois subjectivity and for a new form of egalitarian collectivity, artists in mid-century South America were rather faced with accelerated, state-driven developmentalism and the emergence of populist politics. Against this background, I demonstrate how each artist envisioned abstraction as a tool to contribute to or disrupt newly emerging forms of collectivity, contrasting Maldonado's insistence on an international, class-based collective, Otero's efforts to forge a modern national community, and Clark's advocating for a contingent intersubjectivity as a way of resisting top-down projects of collectivity. Finally, I investigate how the engagement with ideas of continuity and universality, as exemplified by these three artists, intersected with broader conceptions of historical progress and development circulating in Latin America between the Second World War and the Cuban Revolution. The rise and fall of abstraction in South America during this period, I conclude, was closely linked to the dream of catching up with "universal history" and its eventual abandonment. / History of Art and Architecture

This dissertation analyzes the prose works of the “Nova Novorum,” a fiction series created and published by José Ortega y Gasset between 1926 and 1929. This collection included six works by four authors, five of which will be discussed in this dissertation. Pedro Salinas’ Víspera del gozo (1926) inaugurated the series. Benjamín Jarnés published two works: El profesor inútil (1926) and Paula y Paulita (1929). Antonio Espina is also responsible for two works: Pájaro pinto (1927) and Luna de copas (1929). The dissertation is divided into five sections. The first chapter introduces the topic of avant-garde prose during the 1920s in Spain, and the concept of ekphrasis as a methodological approach. Prose authors of the avant-garde were prolific during the first third of the twentieth century in Spain. They produced a new aesthetic sensibility with their experimental narrations. All of the works analyzed are examined through the lens of ekphrasis, which is the verbal representation of visual representation. Chapter Two discusses three relational aspects of ekphrasis: word and image, time and space, and the hermeneutics of ekphrasis. The first section examines the difference between narration and description. The second explores the relationship between time and space and the implications of the fact that a visual object is normally associated with space, while a verbal representation is associated with time. This section examines how authors incorporate spatial techniques into their narrations in ways that are commonly employed by painters. The third section of Chapter Two examines iconology and the hermeneutics of ekphrasis and how the authors use the trope of mimesis not to imitate nature but rather to distort reality. Chapters Three, Four and Five closely examine the images described by each author. This study draws on understanding of ekphrasis from literary studies and art history as well as theories of the literary avant-garde that stems both from Europe and from Spain in particular. Ortega y Gasset’s ideas about the novel and the avant-garde informed the basic assumptions of the authors of the “Nova Novorum,” who often used ekphrasis as a means of avoiding narrative progress. In many cases of ekphrasis found in the “Nova Novorum” collection, the representations of art are deployed in the same way in which the authors utilize metaphor, as a means of digressing from the narrative. These ekphrastic moments allow each author to withdraw from or slow down the narration, providing the author with the opportunity to focus on the use of language itself.

Dans la théorie psychanalytique, le père représente un intérêt majeur par le rôle qu'il tient dans la structuration du psychisme. Freud et ses successeurs ont permis de déterminer la fonction psychique spécifique qui lui est assignée. Le père est celui qui médiatise la relation entre la mère et l'enfant et autorise les relations entre les générations. C'est ce que Lacan a appelé la fonction paternelle. Les mutations structurales apportées par cette fonction ne sont pas tant attribuables au père qu'au triangle oedipien. La fonction du père est donc essentiellement symbolique. Les avancées scientifiques et idéologiques de notre société moderne ont entraîné une révolution des familles. La clinique actuelle s'interroge sur la fonction paternelle au sein des nouvelles familles et des nouveaux modes de vie. II semble que la fonction varie selon le milieu ethnoculturel par exemple ou encore se modifie compte tenu des phénomènes d'adoptions, des nouveaux modes de reproductions et de la recomposition des familles (Levet, 2006; Tort, 2005; Castelain Meunier, 2003; Delaisi de Parseval, 2000; Hurstel, 2000; Théry, 1987). Les bouleversements des rôles au sein de la famille inquiètent divers acteurs dans nos communautés et ont incité plusieurs chercheurs à porter leur intérêt sur l'engagement paternel post-rupture par exemple. Ces recherches s'élaborent à partir de l'approche écologique ou des modèles de l'adaptation au stress et au changement familial. Cependant, peu de chercheurs se sont intéressés, d'un point de vue psychanalytique, à l'expérience subjective des pères suite à la séparation et à la perte partielle de la garde de leur enfant. La présente recherche s'est intéressée à trois de ces pères québécois. Au plan théorique, la recherche s'est inspirée principalement des écrits de Freud, de Totem et Tabou en particulier, et des travaux de P.L. Assoun, J, Dor, P. Legendre, M. Hanus et F. Hurstel sur la fonction symbolique du père et sur le travail du deuil. De plus, un regard est porté sur le sens donné à la fonction paternelle dans le cadre d'une société en changement sur le plan de la famille et des relations conjugales. Des entrevues individuelles semi-dirigées ont été menées à deux reprises auprès de trois pères qui ont perdu la garde de leur enfant suite à une séparation. Les pères avaient toutefois du temps de garde octroyé par la Cour. Nous avons choisi une méthodologie de recherche qualitative qui s'inspire, au niveau de la collecte des données, de l'analyse par théorisation ancrée de Paillé (1994). L'analyse de contenu s'est inspirée de l'analyse thématique de Paillé et Mucchielli (2003). Ce type d'analyse fait intervenir des procédés de réduction des données. L'analyse des récits a donné lieu à un arbre thématique de treize thèmes descriptifs qui sont rattachés à ces cinq rubriques: le couple, la paternité, les crises, le système judiciaire et la garde des enfants. Ces données, de très faible inférence, reflètent l'histoire des sujets. Ensuite, une analyse dynamique permet d'identifier des thèmes interprétatifs plus conceptualisants qui renvoient aux blessures du passé, aux défenses inconscientes et aux phénomènes qui caractérisent l'expérience actuelle des pères. Des abandons et des pertes dans l'enfance difficile des sujets viennent expliquer une sur-idéalisation du père des sujets qui est décrit comme un « tout ». Cette édification du père est interprétée comme une forteresse narcissique visant à protéger les sujets du désaveu du « bon père » de la part de la conjointe et du système judiciaire dans ce contexte de crise. Nous proposons que le refus du deuil actuel du père idéalisé auquel le père s'identifie a pu occasionner une hyper-agitation dans la lutte. Cette lutte devient une tentative du maintien de la défense et peut mener à une forme de distorsion du processus de paternalisation et des rôles père-enfant au sein de la relation. Nous situons le vécu de ces pères dans le registre d'un deuil impossible à faire au risque d'une désorganisation psychique du Moi. L'identification importante au parent tout-puissant a maintenu l'identité fragilisée dans l'enfance et est réactualisée dans cette problématique familiale. Pour ces pères, l'épouse et les magistrats viennent détruire cette théorie infantile et déstabilisent leur identité. Un essai d'interprétation clinique conclut l'analyse dynamique. Une écoute particulière du silence sur la place des enfants dans les récits des sujets sert d'indicateur pour une réflexion sur la souffrance de ces hommes et sur la clinique. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Père, Perte, Garde d'enfant, Travail du deuil, Fonction paternelle.