À la fin du XIXe siècle, les pionniers du théâtre populaire cherchent à s'évader du dispositif dit "à l’italienne" et à se rapprocher physiquement des spectateurs, pensant ainsi démocratiser la rencontre théâtrale. Dans cette perspective, ils utilisent des dispositifs non frontaux, bouleversant une longue tradition. La thèse, qui examine ce phénomène, rappelle que ces artistes se sont inspirés d’anciennes pratiques et ont restauré des formes antiques, élisabéthaines et médiévales, en particulier l’arène, la scène ouverte et le théâtre en rond. L’étude s’arrête sur ce dernier dispositif, observe son succès dans l’imaginaire théâtral moderne et constate sa rapide et paradoxale disparition. L’exemple privilégié est celui du Théâtre en Rond de Paris, créé par André Villiers en 1954 et animé par lui entre 1954 et 1984. Pour comprendre à la fois l’attraction et le déclin de la scène centrale contemporaine, qui n’a connu qu’un développement mineur et a quasiment disparu dans les années 1980, la prise en compte de la dimension mythologique du cercle est importante, comme l’est aussi l’utopie sphérique. La thèse apporte enfin quelques éléments de réponse quant aux raisons qui poussent certains artistes, en ce début du XXIe siècle, à choisir à nouveau ce dispositif et à en inventer des variantes. / During the late 19th century, pioneers of popular theater sought to escape the "Italian- style" stage to become closer to the spectators with the aim of democratizing theatrical entertainment. For this purpose, they used non-frontal stages, and thus radically altered a long tradition. The present thesis, which examines this phenomenon, recalls that these artists were in fact inspired by ancient popular practices and reintroduced antique and medieval forms, such as the Elizabethan open stage and the Theater in the Round, before considering the success of the latter in the modern theatrical imagination and its rapid demise. The example chosen is The Theater in the Round of Paris, created by André Villiers in1954 and managed by him until 1984. In order to understand both the attraction and decline of the contemporary Arena stage—which saw only minor developments and almost completely disappeared in the 1980s—reflection of the mythological dimensions of the circle, and the utopic ideology linked to the sphere, is imperative. Finally, this thesis proposes new ideas and elements for questioning why certain artists at the beginning of the 21st century still use some variants of this particular stage.

Cette thèse explore et analyse l’œuvre théâtrale d’André Engel, metteur en scène français atypique. Depuis 1972, il travaille avec une équipe de création constituée des dramaturges Bernard Pautrat puis Dominique Muller, du décorateur Nicky Rieti et de l’éclairagiste André Diot. André Engel a d’abord créé ses spectacles dans des lieux inédits : haras, usine désaffectée, ancienne mairie, hangar, donnant naissance à des « Objets Théâtraux Non Identifiés » qui marquèrent le théâtre des années soixante-dix et quatre-vingt ; formes que la nécessité de travailler dans les salles fit évoluer. Attaché à la question du spectateur, André Engel a, tout au long de son œuvre, proposé un renouvellement de son statut. De la création « hors les murs » au théâtre en salle, du « détour » par l’opéra à la tentation du cinéma, l’œuvre d’André Engel, constituée en cycles, est une véritable aventure théâtrale, une machine au rhizome complexe qui sort des repères connus. Nourri de philosophie allemande, d’influences deleuziennes et de lectures situationnistes, André Engel est venu au théâtre pour changer le monde. Il crée des événements, des expérimentations, des situations, proposant de nouveaux espaces-temps dans un acte de résistance et de reconquête du monde qui s’associe à une poésie de l’errance, du voyage et de la dérive. Machine de guerre contre « la société du spectacle », le théâtre est, pour André Engel, le lieu et le moyen d’un combat contre le monde aliéné, pour la reconquête de l’authenticité du réel. / This thesis explores and analyzes the theatrical work of André Engel, an unconventional French stage director, working since 1972 with a team composed of dramatists Bernard Pautrat followed by Dominique Muller, designer Nicky Rieti and lighting designer André Diot, as a creative ensemble. André Engel staged his first performances in unusual places : a stud farm, a disused factory, a former town hall, a warehouse, giving birth to « Objets Théâtraux Non Identifiés » : landmarks in the theatre scene of the 70s and 80s. The need to work in conventional theatre brought with it in an evolution of his art. Throughout his work, André Engel proposes a new vision of the status of spectator. From « hors les murs » to more traditional venues, from incursions into opera to the temptations of cinema, these cycles in André Engel’s work are a true adventure in theatre, a machine with a complex rhizome which does not tread well-beaten paths. Nurtured by German philosophy, by the thought of Gilles Deleuze and influenced by readings of the Situationists, André Engel came to theatre in order to change the world. He creates events, experiments, situations, offering as an act of resistance, new dimensions in space and time : re-conquests of a world associated with the poetics of wandering, travelling, being adrift. As a machine for war against « la société du spectacle » as Guy Debord calls it, theatre for André Engel provides the perfect place and means for fighting against a world of alienation, for re-conquering the authenticity of the real.

L’œuvre d’André Frénaud (1907-1993) se ressent profondément des convulsions de l’histoire contemporaine – essor des régimes totalitaires en Europe, Seconde Guerre mondiale, découverte des camps de la mort –, qui paraissent remettre en cause la possibilité même d’une signification de l’histoire et de l’action humaine. La pensée anthropologique exprimée dans les poèmes défend la capacité de l’homme à discerner et à faire le bien, sans rien ignorer de ses pulsions mauvaises ni de son manque à être. Les poèmes déploient une pensée du sujet originale, nourrie de philosophie heideggérienne, de mystique et surtout de l’analyse avec André Green et de la lecture de Dostoïevski : les tréfonds du moi abritent un grouillement de pulsions antagonistes. Frénaud, après Kojève, place l’homme et l’Histoire sous le signe de la négativité. L’éthique frénaldienne maintient conjointement la conscience de « notre inhabileté fatale » et la nécessité d’agir. L’existence de Frénaud atteste la même exigence : ainsi s’expliquent le ton des poèmes engagés, qui causa de vifs débats avec Aragon et Guillevic, et son attitude dans la cité, mêlée d’engagement et de retrait, comme au Comité national des écrivains (CNE) ou à la Comunità Europea degli scrittori (COMES), aux côtés de Sartre, Ponge et Tardieu. Enfin, les poèmes mettent en question les frontières et l’unité de la condition humaine. Un anthropomorphisme généralisé et une veine épique et mythique originale assurent l’unité du questionnement. Mais la condition humaine n’a pas la cohérence du concept : elle s’offre à la méditation du lecteur sous la forme d’une multitude de figures singulières qui invitent à un véritable exercice spirituel. / André Frénaud’s anthropology is profoundly impregnated with the upheavals of modern history, from the rise of totalitarian régimes throughout Europe to WWII and the discovery of death camps, all of which seem to question the remote possiblity of giving any meaning to History and human action. The anthropological thought expressed in his poems defends man’s ability to identify what is good and act accordingly, without ever overlooking any of his bad drives or his failure to truly be. His poems display an original conception of the self, inspired by Heidegger’s philosophy, mysticism, and above all by psychoanalysis with André Green and the reading of Dostoyevsky. Indeed, the depths of the self are teeming with antagonistic drives. After Kojeve, Frénaud places mankind and History under the sign of negativity. Frénaud’s ethics support both the awareness of « our fatal inability » and the need to act. Frénaud’s life proves the same dedication, and the tone of his committed poems – which caused heated debates with Aragon and Guillevic – can thus be explained, as well as his public presence, a mix of commitment and reserve, e.g. at the Comité national des Écrivains (CNE) or at Comunità Europea degli scrittori (COMES) with Sartre, Ponge, and Tardieu. Finally, his poems question the limits and unity of the human condition, while a pervasive anthropomorphism and an original streak, both epic and mythical, hold the questioning together. The human condition, however, is not as coherent as the concept. It becomes available to the reader’s meditation in the form of a multitude of characters which lead one to a spiritual exercise.

Cette thèse de doctorat a pour objet d'étude la chanson d'auteur italienne de 1958 à l'orée du XXI° siècle. Une période si étendue correspond à la volonté de ne pas enfermer le sujet, ni dans des bornes chronologiques étroites, ni dans une définition close de la chanson d'auteur. Cette étude s'intéresse également aux liens entre la chanson italienne et le contexte sociétal et politique. La 1° partie analyse les principaux phénomènes artistiques justifiant, à la fin des années 50, l'affirmation d'un tournant « d'auteur » dans la chanson italienne, jusque-là figée dans un mélisme hérité de l'opéra, tout en tenant compte des éléments conjoncturels et des hasards de l'Histoire. La 2° partie est vouée à l'étude de la langue, de la poétique et de l'esthétique de cette chanson. Une large part est faite à la question dialectale, démontrant que cette question ne se réduit pas au folklore. La 3° partie étudie la chanson par le prisme de l'Histoire : de façon rétrospective mais aussi comme un reflet des temps en prise directe. La 4° et dernière partie aborde notre contemporanéité et la chanson d'auteur sous des formes nouvelles : rock, nouvelle école cantautoriale, rap.Ce cheminement nous mène à toute une série de pistes de réflexions : la réécriture, l'aspect performatif, la légitimité culturelle d'un genre artistique et, à l'ère d'internet, les nouvelles formes et modalités de réception de l'art mais également la révolution que le web provoque dans la création. La chanson compte une place importante dans la société et dans la culture des XXème et XXIème siècles. Elle a donc besoin d'être envisagée plus que jamais, et peut nous aider à comprendre à quelle époque on vit. / This doctoral thesis explores the Italian art song genre from 1958 until the dawn of the twenty-first century; the broad scope of investigation was chosen so that the subject would not be overly circumscribed either temporally or notionally. The thesis also examines the relationship between the Italian art song and its social and political contexts. The first part, taking into account those influences as well as the effect of the random events of History, analyses the main artistic phenomena at the end of the '50 that led to an "artistic" turning point for the Italian popular song, hitherto locked into an opera derived melismatic mode. The second part investigates the language, the poetics and the aesthetics of the art song genre addressing at length dialect, demonstrating that this question cannot be explained merely in terms of folklore. The third part develops the art song seen through the lens of History, both retrospectively and as a reflexion of the current events of the day. The fourth and last part discusses the new forms of art song that have developed within a contemporary context: rock, the new cantautoriale school and rap. The rewriting, the performance act itself are discussed; the cultural legitimacy of an artistic genre and new forms and ways of experiencing art, as well as revolutionary modes of creation with the advent of the Internet are explored. The song was granted an important place in the society and culture of the second half of the twentieth century and the beginning of the twenty-first; today, imbued with the troubles of a new period, it invites our questions and research more than ever to help us understand the age we live in.

Durant les dernières années d’une vie consacrée aux voyages et à la géographie, André Thevet (1516-1592) entreprit la réalisation d’un ouvrage de grande ampleur, le Grand Insulaire et Pilotage, véritable tableau cartographique et descriptif du monde, notamment du Nouveau Monde, riche d’indications pour la navigation, qui resta incomplet. Les troubles politiques et religieux qui avaient lieu alors en France et leurs conséquences dans le domaine éditorial ont souvent été avancés pour expliquer l’échec de ce projet. Mais l’inachèvement du Grand Insulaire est également tributaire de la méthode même de travail de Thevet, comme des procédés de composition retenus. L’étude critique des témoins manuscrits conservés du point de vue codicologique et linguistique, ainsi que l’analyse de ses sources permet de vérifier cette hypothèse et de saisir toute la singularité d’une œuvre si importante pour la connaissance des Indiens Tupi du Brésil au xvie siècle. / During the last years of his life dedicated to traveling and Geography, André Thevet (1516-1592) engaged himself into the making of an extensive work named Le Grand Insulaire et Pilotage, which is a genuine cartographic description of the world, specially the New World. This document, which is considerably rich in useful indications for the navigation, would remain unfinished. The reason for this is often laid upon the political and religious disturbances which then took place in France and their consequences on the publishing field. However, the fact that Thevet has not finished Grand Insulaire is also due to his work method, as we can verify in his composition procedures; The critical study of the preserved manuscripts as well as the analysis of his sources, based on a codicological and linguistic point of view, allow us to verifiy this hypothesis and to understand all the singularity of such an important work for the knowledge of the Tupi Indians of Brazil in the sixteenth century.

Garantir tratamento e disposição final adequada para os resíduos sólidos urbanos é um desafio para as administrações municipais, principalmente porque a geração de resíduos tem aumentado à taxa maior do que a de aumento da população e as grandes áreas para construção de aterros sanitários são escassas nas grandes cidades. Assim, desde o final da década de 1980, no Brasil, alguns municípios têm implementado programas de coleta seletiva de resíduos sólidos urbanos em parceria com organizações de catadores, que desviam resíduos da disposição em aterros sanitários, aumentando sua vida útil. Torna-se importante olhar para os programas de coleta seletiva como parte de políticas públicas, enfatizando sua continuidade administrativa e seus objetivos. Nesse sentido, buscou-se estudar o programa de coleta seletiva de Santo André SP, entre os anos de 1998 e 2011. O objetivo é estudar como se deram a elaboração e a implementação do programa de coleta seletiva do município de Santo André, em 1998, e como vem sendo feito seu monitoramento e avaliação nos anos posteriores, até o ano de 2011. Para isso foi utilizada a abordagem de policy cycle, que considera a política pública como um ciclo deliberativo, constituído por vários estágios, formando um processo dinâmico e de aprendizagem. Foi realizada pesquisa bibliográfica e documental, bem como entrevistas qualitativas semi-estruturadas com: representantes do Serviço Municipal de Saneamento Ambiental de Santo André (Semasa); os coordenadores administrativos das duas cooperativas parceiras do programa (Coopcicla e Coop Cidade Limpa) e uma amostra randômica de seis cooperados de cada uma das cooperativas parceiras do programa. Após as entrevistas, houve aplicação de questionários a todos os catadores da Coopcicla e Coop Cidade Limpa, totalizando 79 cooperados. Além disso, foram realizadas visitas técnicas com registros escritos e fotográficos aos equipamentos públicos: estação de coleta, usina de triagem e reciclagem de papel, centrais de triagem de materiais recicláveis, usina de reciclagem de madeira. Foi possível constatar que o programa de coleta seletiva foi elaborado com objetivo de atender toda a população urbana do município; em seguida, foi implementado, colocando-se em prática as ações planejadas, mas até o momento não há ações de monitoramento e avaliação do programa, que poderiam produzir aprendizagem administrativa. Em relação às cooperativas, a parceria com o Semasa é instável, o número de catadores vem diminuindo e não há ações para enfrentar coletas paralelas de materiais recicláveis. Por outro lado, as cooperativas garantem aos catadores renda maior que em suas ocupações anteriores, estabilidade e inclusão. Como conclusão, não pode ser considerado satisfatório que um programa municipal de coleta seletiva que existe há mais de 10 anos, dispõe de coleta porta a porta em 100% de sua área urbana, pontos de entrega voluntária, estações de coleta seletiva consiga desviar menos de 3% dos resíduos sólidos urbanos do aterro sanitário. Nesse sentido, faz-se necessário mudar o paradigma: ter coleta seletiva não significa só oferecer o serviço; é necessário coletar seletivamente, com a participação dos munícipes. / Guaranteeing treatment and appropriate disposal to municipal solid waste is a challenge to municipal administrations, mainly because waste generation has increased more than population and big areas to landfills are few in big cities. Thus, since last 1980, in Brazil, a few cities have implemented municipal programs of selective waste collection in partnership with waste pickers organizations, that remove waste from landfills, increasing your lifetime. It is important to look at programs of selective waste collection as part of policy, emphasizing your administrative continuity and objectives. Therein it was sought to study Santo Andrés program of selective waste collection, between 1998 and 2011. The objective is to study how were formulation and implementation of Santo Andrés program of selective waste collection, in 1998, and how it has been making your monitoring and evaluation in the following years, until 1998. For this reason it was used policy cycle approach, that considers policy as a deliberative cycle, formed by several steps, constituting a dynamic and learning process. It was made bibliographical and documental research, such as qualitative semi-structured interviews with: managers of Serviço Municipal de Saneamento Ambiental de Santo André (Semasa); managers of two partner cooperatives of program (Coopcicla and Coop Cidade Limpa) and a random sample of six members of each cooperative. After the interviews, it was made questionnaire application to all waste pickers of Coopcicla and Coop Cidade Limpa, totalizing 79 members. In addiction, it was made technical visits with written and photographic records to public equipment: collect station, paper selection and recycling plant, recyclables selection centers, wood recycling plant. It was possible to notice that program of selective waste collection was formulated with the objective to cover all urban population; it was implemented, putting planned actions into practice, but there are not monitoring and evaluation, that would produce administrative learning. Concerning cooperatives, the partnership with Semasa is not steady, members of cooperatives number has decreased and there are not actions to face parallels recyclables collects. In the other hand, the cooperatives guarantee to your members bigger income than in former occupations, stability and inclusion. As a conclusion, it is not satisfactory that a municipal program of selective waste collection that exists for more than 10 years, has door to door selective waste collection in 100% of urban area, collect stations is able to remove less than 3% of municipal solid waste from landfill. Therein it is necessary to change the paradigm: selective collection does not mean to offer the service; it is necessary to collect in a selective way, with people participation.

Plus connu comme ethnologue que comme musicologue, André Schaeffner (1895-1980) a adopté, dans ses travaux sur la musique savante, une position contraire à un type de critique prétendument « objective », qui se voudrait neutre face à l’œuvre d’art. Il y revendique le droit à une « critique d’admiration », ne cachant pas ses préférences personnelles. La démarche de Schaeffner se caractérise par l’absence d’une « vision téléologique de l’histoire de la musique » ou de tout esprit de système, et par l’importance accordée à la mise en perspective historique et esthétique, à la contextualisation de l’œuvre du compositeur. Cette vision de la critique a été fréquemment dénoncée comme péchant par l’absence de tout jugement. En reconstruisant l’ensemble des circonstances qui entourent les événements auxquels il s’intéresse, en collectant et en soumettant à un examen attentif les documents qui y ont trait, Schaeffner remet en question des idées reçues, des clichés autour desquels flotte une trompeuse aura de légitimité. Cette thèse montre, en s’appuyant sur de nombreux documents – textes publiés ou restés inédits, notes de travail, riche correspondance –, comment Schaeffner a mené ce type d’étude critique à propos de l’œuvre de deux musiciens auxquels il a voué un intérêt passionné, l’un disparu : Claude Debussy, l’autre vivant et qu’il a pu côtoyer : Igor Stravinsky, ainsi que la manière dont on a accueilli ses travaux de son vivant, et leur validité aujourd’hui. / André Schaeffner (1895-1980), better known as ethnologist than for his musicological activity, in his works concerning classical music embraces a position against the kind of critique that claims to be “objective” or neutral towards the artwork. He makes a plea for a “critique of admiration” that takes sides and displays one’s preferences. His writings pay no heed to a teleological or systematic approach of the history of music. Instead, he puts the composer’s work in perspective, reconstructing its historical and aesthetic background. Many condemned this kind of approach as lacking any judgement criterion. Nevertheless, thanks to his study of the circumstances in which a composer’s works were created, Schaeffner was able to call into question common and supposedly true preconceptions and stereotypes. Based on a study of several documents – both published and unpublished texts, drafts, rich correspondence – this thesis shows how Schaeffner carried out this kind of critique, especially in his writings concerning two composers that he fervently admired: the deceased Claude Debussy and Igor Stravinsky, still alive at that time and with whom Schaeffner was acquainted; as well as how Schaeffner’s theories were received upon publication and what their validity is nowadays.

There are two major, well-known operas based on plays of Tennessee Williams. He refused many times throughout his life to give permission for his play, A Streetcar Named Desire, to be set as an opera. It was not until the 1960s that he granted permission for Lee Hoiby to choose any of his plays as a basis for a new opera. Hoiby chose Summer and Smoke, a play which was written at approximately the same time as Streetcar. Lanford Wilson created the libretto for the opera which was given its premier in 1971 by the St. Paul Opera Association. In 1994 representatives of the Williams estate granted permission to the San Francisco Opera to commission an opera based on A Streetcar Named Desire. With a libretto by Philip Littell, the opera was composed by André Previn and given its premier in 1998. These two plays share common themes, character types, character relationships, and literary symbols due in part to the autobiographical nature of Williams's writings. The plays exhibit a cinematic nature and possess common dramatic elements such as the symbolic use of sets, props, and musical leitmotifs as a result of his attempts to create a new "plastic" style of theatre. The purpose of this thesis is to examine how each composer has captured the essence of Williams's dramatic style in these well known plays while dealing with stylistic elements that by nature could interfere in operatic composition. A brief biography of Williams is included to show the familial basis of his character types. Illustrations of his style serve as the basis for a comparison of the librettos to the plays. The musical analysis focuses on the composers' choices in dealing with Williams's poetic southern language, use of music, cinematic techniques, and complex characterizations.

Disordered quantum many-body systems exhibiting the many-body localization (MBL) phenomenon evade the fate of thermalization due to the existence of an extensively large set of quasi-local integrals of motion (l-bits). Due to the size of the Hilbert space of many-body systems, it is hard to compute the time evolution of many-body systems generally, which hinders our understanding of the MBL phenomenon. Recently it has been proposed in Ref. [1] to time evolve local density matrices of lattice system with short-range interactions using the Petz recovery map. By time evolving local density matrices, information encoded in long-range entanglement that is irrelevant to the time-evolution of local observables is discarded. This method is promising for MBL-systems, primarily because it can be implemented to conserve local constants of the motion. For the case of a MBL system, this means that the l-bits can be (approximately) conserved. This thesis employs the Petz recovery map to time evolve local density matrices of localized 1D lattice systems, modeled by the Aubry-André Hamiltonian. The accuracy of the method is evaluated and the results are used to study the flow of information between subsystems. It is found that the method can accurately time evolve localized density matrices for an Anderson localized system to arbitrary times. For interacting systems, it is shown that the method is accurate for long time if the system is sufficiently localized. Furthermore, the solutions for the local density matrices exhibit the information spread behavior that is predicted by the l-bit theory of the many-body localized phase: both the logarithmic ”light” cone of entanglement and the dephasing dynamics are observed. This work shows that time evolution of local density matrices is a promising method in the pursuit of a better understanding of the nature of localized systems. / I oordnade kvantmekansika mångpartikelsystem förekommer en lokaliserad fas (MBL). System i denna fas undkommer termalisering då det existerar ett extensivt antal kvasi-lokala rörelsekonstanter (l-bitar). Som en följd av Hilbert-rummets storlek för mångpartikelsystem är det svårt att tidsutveckla mångpartikeltillstånd i allmänhet, vilket gör det svårt att undersöka MBL-fenomenet. Det har nyligen föreslagits i Ref. [1] att tidsutveckla lokala täthetsmatriser för växelverkande endimensionella gittersystem med hjälp av Petzs återställningsfunktion. Genom att tidsutveckla lokala täthetsmatriser förkastas information som inte är relevant för lokala observabler. Metoden är lovande för MBL-system då den kan implementeras så att lokala rörelsekonstanter konserveras. Detta innebär för MBL-system att l-bitarna kan konserveras approximativt. I detta arbete används Petzs återställningsfunktion för att tidsutveckla lokala täthetsmatriser i lokaliserade endimensionella gittersystem. Metodens nogrannhet utvärderas och de resulterande tidsserierna används för att studera informationsspridning mellan delsystem. Arbetet visar att Andersonlokaliserade system kan tidsutvecklas med god nogrannhet till godtyckligt långa tider. Vidare visas att metoden nogrannt kan tidsutveckla MBL-system till långa tider, givet att lokaliseringslängden är kort nog. Slutligen används metoden för att studera informationsflödet mellan delsystem, och resultaten återskapar det beteende som väntas från den fenomenologiska l-bitteorin: informationen sprids logaritmiskt över tid och avfasningsdynamik observeras. Arbetet visar att den föreslagna metoden är lovande i jakten på en utökad förståelse av MBL-system.

This collection of 9 vocal works, taken from the oœuvre of André-Ernest-Modeste Grétry (1741-1813), was chosen for their utility in teaching undergrad voice majors. This collection offers a group of songs that are attractive in their simplicity allowing the time in their lessons to be devoted to the instruction of French pronunciation. Grétry's attention to detail in the setting of French prosody provides undergraduate singers with a collection of songs that offer an immediate understanding as to the nuances of the French language. With funding from an I-GRO grant through the University of North Texas, research was conducted in the archives of the Bibliothèque nationale de France, and work continued in the Grétry Museum in Liège, Belgium. The primary sources found within these locations formulated valuable insights into to the life and influence of Grétry, and provided first-hand experience with research techniques within foreign libraries. This research has solidified the relationship between Grétry's compositional style and its usefulness within the undergraduate voice studio.