L’étude de l’espace et notamment l’espace domestique, présente plusieurs intérêts et tend depuis plusieurs années à devenir un concept clé dans les recherches en sciences humaines qui se concentrent de plus en plus à étudier l'homme dans ses actions, ses organisations, ses rapports, ses traces... A la fin du siècle dernier, considéré comme celui des grands changements ayant bouleversé l’environnement et le fonctionnement des êtres humains, et au début d’un nouveau millénaire qui continue à être travaillé par les mêmes mutations, il nous appartient en tant que chercheur de nous interroger sur l’impact de ces bouleversements sur la structure familiale sociale et spatiale pour déterminer ce qui a changé et ce qui a résisté au changement. En prenant l’image cinématographique comme médium, nous tentons de montrer le sens des mouvements socio-spatiaux et identitaires, et ce à travers l’analyse des modes d’occupation et d’appropriation de l’espace domestique et de ses alentours au miroir de la filmographie de Nouri Bouzid (1986-2006). / The study of space, in particular the domestic-space, presents several interests and tends for a long time to become a key concept in human science researches, which concentrate more and more to study the individual in his shares, organizations, relationships… At the end of the last century, considered as century of big changes having upset the environment and the functioning of the human beings, and with the beginning of a new millennium which continues to be worked by the same mutations, it belongs to us as researcher to wonder about the impact of those changes on the social and spatial family structure to determinate what changed and what resisted for change. Taking the cinematographic image as a medium, we try to show the sense of socio-spatial and identity movements, through the analysis of the modes of occupation and appropriation of domestic space and its surroundings, in the mirror of Nouri Bouzid filmography (1986-2006).

Reproduction de : Thèse de doctorat : Sciences de l'éducation : Paris 8 : 2006. / Les errata insérées dans la thèse imprimée ont été intégrées au texte de la version électronique ce qui explique les différences de pagination entre les deux versions. Titre provenant de l'écran-titre. Bibliogr. f. 420-450.

Architecture is the embodiment and concretization of the structures of freedom, domination, capitalism, democracy, and other institutions that have an effect on people (West, 1997). Among these institutions is the construct of race. Race is a classification system derived from the color of human skin, with economic and symbolic value attached relative to skin color on a continuum from “dark” to “light”. This system was invented by Europeans in order to justify their enslavement of Africans. Within the Euro-American race construct, Black and other “colored” bodies are “raced”, whereas White bodies are the default, the norm, and considered “raceless” (Kendi, 2016). Forms, spaces and places are also assigned racial classifications. The racialization “Black” and “White” forms, spaces and places are recognized explicitly by people called Black and indirectly by people who need to believe that they are White, even as they choose to obscure or ignore that recognition (Lipsitz, 2007); to enforce racelessness is, to abhor Toni Morrison, itself a racial act (Savelson, 1997). This racialization of space can be seen in the designation of Congo Square as “Beauregard Square” in 1893, honoring the memory of a Confederate general who fought for the continuation of the practice of slavery in the very year of the Plessy v. Ferguson decision’s enshrinement of the farcical doctrine of “separate but equal”. The site was a social and commercial gathering space for indigenous people before the founding of New Orleans (Walker, 2004) and became one of the foremost sites of African cultural expression in the Americas. Attempts to destroy the Blackness of the space continued with the erection of a Beaux-Arts style Municipal Auditorium used for White supremacist rallies on the site; and the fencing off of the square to hinder its free use by the people called Black who inhabit the Treme neighborhood today (Crutcher, 2010). Such characterizations have profound effects on the lives of the people who inhabit, occupy and move through that space, enforcing White privilege and White supremacy while continually degrading the economic and social value of Black life. The denial of access and opportunity enabled by the racialized characterization of space leads to death, economic, social and literal, for people called Black in America, death as visible in household wealth statistics as in videos of police murder (Ellison, 1952; Patterson 1982; Rankine, 2014). Whitney M. Young, Jr, in his speech to the 1968 convention of the AIA, castigated the profession for its “thunderous silence and callous indifference to the cause of civil rights”. I repeat Young’s charge and add that the White-dominated discipline of architecture fails to consider or willfully ignores the capacity of the built environment to perpetuate systems of White privilege and White supremacy, thus implicating the discipline as an accessory in the deaths above enumerated. In the face of this implication, architecture faces a crisis of moral and political legitimacy (West, 1997). Through conversation with scholars, activists, artists, architects, educators and students, the author aims to raise consciousness of architecture and education’s roles in perpetuating White privilege and White supremacy. The author aims to speculate on what a built environment encouraging opposition to and dismantling of these systems - an actively antiracist built environment - might look like. The vehicle for this thesis is the Freedom School of Design, a public high school for architecture and design in New Orleans, Louisiana following the tenets of “freedom education” employed by civil rights workers in Mississippi in the summer of 1964. The FSD will include a design- build residential component for a limited number of students and a variety of outdoor spaces of varying degrees of publicness and privacy, activity and passivity. The FSD will respond to the architectural object of the Robert E. Lee monument and to other manifestations of White supremacy in the built environment of its context. The design of its forms an spaces will balance the consideration of architecture’s ability to reinforce or dismantle political systems within a matrix of practicality and symbolism. / 0 / SPK / archives@tulane.edu

Ce travail doctoral porte sur l’appropriation d’un outil de gestion de l’activité temporelle et de contrôle, « le tachygraphe numérique », par les conducteurs d’une société privée de transport de voyageur. Cet outil conçu et imposé par l’Union Européenne pour renforcer la sécurité routière n’a fait, à notre connaissance, l’objet d’aucune recherche antérieure. Une approche théorique plurielle de l’appropriation, ses facteurs et les typologies d’utilisateurs est adoptée. Elle se base sur la multiplicité des recherches conduites sur la thématique de l’appropriation des outils de gestion et des technologies. Soixante-quatorze entretiens avec des salariés et responsables ont été conduits dans un contexte d’immersion durant trois ans au sein de cette société de transport. Un processus inductif a été privilégié. Cette recherche permet d’une part de montrer que : 1. Il y a appropriation du tachygraphe numérique par l’entreprise et ses conducteurs. 2. Plusieurs facteurs influent sur l’appropriation du tachygraphe numérique par les conducteurs : les facteurs liés aux caractéristiques de l’outil (simplicité, complexité, efficacité, compatibilité, nécessité), les facteurs individuels (expérience professionnelle, situation familiale, efficacité personnelle, image de soi) et les facteurs contextuels (autorités de contrôle extérieur, contrôle interne, les collègues). 3. Il existe quatre attitudes des salariés face à l’outil : rejet, application, adaptation / détournement, déplacement. D’autre part, l’introduction d’une technologie de contrôle de l’activité temporelle dans une entreprise n’est pas neutre. Petit à petit ce sont les relations entre les responsables et les conducteurs ainsi que la conception qu’ont les conducteurs de leur métier qui sont bouleversées. L’appropriation d’une telle technologie modifie non seulement les pratiques et les relations mais c’est sans doute la notion même d’appropriation qui apparaît sous un jour plus complexe / This work concentrates on a device that manages and controls working times for the drivers of a private transportation company (Coaches N): the digital tachymeter. To our knowledge, this tool, designed and enforced by the European Union in order to enhance traffic security, has never been investigated so far. A plural theoretical approach of the question of its appropriation, of its factors and of the users’ typologies is adopted. This approach is based on the numerous previous studies on management tools and technology appropriation. Seventy four interviews with employees and managers were conducted during a three year involvement inside the company. An inductive logic was adopted. Our research shows one the one hand that: 1. An effective appropriation of the digital tachymeter from the company and its drivers is evidenced. 2. Several factors impact this appropriation by the drivers: factors related to the device properties (ease of use, complexity, efficiency, compatibility, obligation), individual factors (professional experience, family status, personal efficiency, self-image), and contextual factors (external control authority, internal control processes, colleagues’ attitude). 3. Four attitudes towards the device are shown: rejection, use, adaptation/hijack, displacement. One the other hand, the adoption of a technology that controls working times in a company is nothing but neutral. Step by step, the relationship between managers and drivers, as well as drivers’ conception of their profession, are shaken. The adoption of such a technology not only alters the practices and relations, but the very notion of appropriation appears in an even more complex fashion

This thesis examines the popularity of plays from the ancien régime in the theatre of the French Revolution. In spite of an influx of new plays, works dating from the seventeenth and eighteenth centuries were amongst the most frequently performed of the decade. Appropriation resulted in these tragedies and comedies becoming ‘Revolutionary’ and often overtly political in nature. In this thesis, I will establish how and why relatively obscure, neglected plays became both popular and Revolutionary at this time. I shall draw on eighteenth-century definitions of appropriation to guide my analysis of their success and adaptation, whilst the theoretical framework of pre-history and afterlives (as well as modern scholarship on exemplarity and the politicisation of the stage) will shape my research. To ensure that I investigate a representative selection of appropriated plays, I will look at five very different works, including two tragedies and three comedies, which pre-date the Revolution by at least thirty years. Voltaire’s Brutus enjoyed successive Revolutionary afterlives from 1789-1799, whereas Lemierre’s Guillaume Tell was only truly successful as political propaganda during the Terror. Meanwhile, Molière’s Misanthrope was subjected to censorship and Revolutionary alterations, but could not rival the extraordinary success of one of his lesser known comedies, Le Dépit amoureux, which suddenly became one of the most popular plays in the theatrical repertoire. Finally, Regnard’s Les Folies amoureuses became popular in the highly politicised theatre of the Revolution in spite of the fact that the comedy had no obvious connection to politics or republicanism. The power of appropriation was such that any play could become Revolutionary, as both audiences and the government used appropriation as a method of displaying their power, attacking their enemy, and supporting the progress of the French Revolution.

Cette thèse interroge les récentes pratiques d'aménagement du territoire qui font appel à des stratégies participatives dans la ville de Berlin, terrain d'expérimentations et d'observations. Ce phénomène apparaît à un moment de l'histoire de l'urbanisme où la participation croise le pragmatisme de la standardisation pour s'orienter vers une troisième voie du logement. Dans la ville laboratoire du vide, les Baugruppen se répartissent sporadiquement en marge des politiques urbaines et ne sont plus les éléments constitutifs d'éco-quartiers. Affiliées aux coopératives de logements du XIXe siècle et aux projets participatifs depuis les années 1960, ces constructions suscitent néanmoins une réception ambivalente qui est en rupture avec la ville locative en pleine mutation. L'analyse de la morphologie, typologie et dispositifs architecturaux des Baugruppen fait émerger deux tendances dans leur évolution. Ils favorisent d'abord une marchandisation du logement traditionnel vers laquelle la société évolue dans la ville-globale. Ensuite, la création de standards spécifiques, qui invitent à une dérive architecturale, produit un urbanisme interne par les interactions naissant entre espaces et usagers. Par une radicalisation de la construction et une rationalisation de la participation, ces expériences proposent un nouveau rôle pour les architectes qui réalisent alors des architectures de processus. Générant des micocommunautés, ce nouvel habitat met en avant une nouvelle version de socialisation dans la fabrique de logement. La recherche d'optimisation dans un système non hiérarchique propose un scénario horizontal au sein duquel l'appropriation de l'espace est planifiée. / This thesis is dedicated to new ways of developing urban territory through contemporary practices of participation based on the peculiar identity of Berlin. This phenomenon is a method of urban planning in which participation meets standardization to achieve a third means of conceiving collective-housing. In a city considered a laboratory of emptiness, these projects, which spread sporadically throughout an urban wasteland, are subsantially different from what we are used to seeing in the context of eco-neighborhoods. If the experiments model themselves upon a participative filiation, they provoke ambivalent reception because they embrace a long tradition of low percentage of property ownership in a city that is quickly and constantly being reconfigured. The examination of morphology, typology and architectural system of Baugruppen in Berlin highlights two major tendencies. First, they contribute to the marketing of housing, exploiting the notion of Baugruppe as a label and responding to a production of mass customization in an emerging global-city. Second, the creation of specific standards, as architecural dérive lead to collisions between users and space. Through the radicalization of the construction and the rationalization of participation, Baugruppen experiences open a new role for the architects. Performing an architecture of process and seeking optimization in a non-hierarchical system, these projects suggest a horizontal scenario. They offer a new version of socialization in housing development by generating micro-communities and planning an appropriation of space in open-buildings structure for the management of shared scene and the flexibility of living space.

Reproduction de : Mémoire d'orthophonie : Médecine : Nantes : 2009. / Bibliogr.

archives@tulane.edu / 1 / David Cheney

archives@tulane.edu / 1 / David Cheney

The purpose of this study was to analyze recent appropriations of works of art in advertising. Why was art infused into magazine advertisements, how were the works of art tampered with to achieve commercial goals, how well did they function together with the ad copy? What did these advertisements want? What did the artwork contribute to the commercial message? These were some of the questions asked in the study that involved a closer look at four appropriations: one based on a battle painting by the Swedish 1900th century artist Carl Wahlbom, with a commercial message printed on top;  one a collage including an 18th century portrait of Marie Antoinettte by Elisabeth Vigée-Lebrun; one advertisement was influenced by Dutch 1700th century still lifes, and, finally, one paraphrased Velázquez’s famous painting Las Meninas from 1655. Companies behind the advertisements featured a Swedish trade journal, a fashion exhibition in Paris, a shop for kitchen utensils in Stockholm, and an up-scale department store in Madrid.The ads, in different ways based on works of art, were evaluated as reasonably successful commercial messages. These ads, however, hardly qualified as works of art in their own right – if that was the intention. A critical observer would tend to see the ads as ways of borrowing cultural capital from the world of art.One observation made as a result of the study was the need for insights into possible interpretations of the original work of art not to have the commercial message misunderstood.