Résumé: Limits of work of copyright in visual art This diploma thesis primarily deals with the concept of copyright work in the current Czech law and its relation towards works of contemporary visual art. The main aim of this thesis is to carry out a complex analysis of conceptual features of work of copyright under the Czech Copyright Act No. 121/2000 Coll. (including key and not always properly interpreted terms such as work of art, originality, or creativity) and then to apply these features to examples of the world's major works of visual art from the twentieth and twenty-first century. Author of this thesis tries to find out whether even specific works of visual art "meet legal requirements" imposed on works of copyright and thus may enjoy the copyright protection in the Czech legal system. It is the effort to identify boundaries between works of copyright and objects which are not under the protection of copyright law what is reflected in the title of this diploma thesis. Text of this thesis is divided into two main units. The first unit, which is the core of the thesis, is called "Limits of work of copyright", the second unit is called "Limits of appropriation". In the general part of the first unit the author tries to focus deeply on theoretical inquiry about the concept of work of copyright under...

[pt] Com base na experiência do autor como realizador de filmes feitos com imagens encontradas -found footage-, a dissertação procura identificar as razões que levam cineastas inseridos em um contexto social contemporâneo a dispensarem registros cinematográficos autorais e optarem por fragmentos de formatos e origens diversos. Parte-se do pressuposto de que a escolha da imagem do outro potencializa liberdade poética e conceitual ao artista em seu discurso sobre os tempos atuais e expressos nos filmes montados a partir da apropriação de imagens-ruína. Nesse movimento, busca-se a identidade fraturada, característica que se acentua na produção cinematográfica a partir dos anos 90, concomitante ao processo de revisão histórica pela qual o mundo passa. Nesse âmbito, as noções de apropriação, ressignificação, modernidade, ruína, memória e arquivo serão vistas sob a perspectiva histórica e da prática cinematográfica. / [en] Based on the author s experience as a director of found footage films, the current dissertation aims at identifying the reasons that induce filmmakers within a contemporary social context to set aside authorial cinematographic records in order to embrace fragments of several shapes and origins. This study is based on the supposition that the image of the Other is chosen due to reinforce both poetic and conceptual freedom of the artist, whose discourse lies on the present times, as shown in the films edited with appropriate ruin-images. In this movement, I try to explore the fractured identity, a characteristic that is accentuated in film productions since the 1990s, simultaneously with the historical review process the world hás been going through since then. In this context, the notions of appropriation, resignification, modernity, ruin, and archival are addressed under the historical perspective and cinematic practice.

Cette recherche trouve son origine dans une pratique clinique quotidienne auprès d'enfants en âge de latence accompagnés pour leurs difficultés d'apprentissage. L'âge de latence est pour l'enfant une étape importante de réaménagement cognitif et de désintrication pulsionnelle. Si les troubles des apprentissages et l'échec scolaire peuvent trouver leur origine dans des temps plus anciens du développement psycho-cognitif du sujet, la période de latence est cruciale pour le déploiement de la curiosité intellectuelle et la réalisation de "conquêtes" importantes de la symbolisation. Ne pas savoir lire, écrire, compter, ne constitue bien souvent que la partie émergée de difficultés plus profondes qui touchent chez certains sujets tous les modes de figurabilités et différents niveaux de symbolisation. Cette thèse explore les différentes significations des conduites anti-apprentissages que développent ces enfants dans leurs expériences d'appropriation, d'exploration et de manipulation de l'environnement. Enfin, ce travail présente un outil de repérage clinique et d'évaluation qualitative des groupes à médiation thérapeutique qui sont proposés pour accompagner cette clinique des apprentissages. L'intérêt thérapeutique de ces dispositifs sera questionné et illustré au travers de trois expériences de groupe : un atelier à médiation sensorielle, un atelier peinture et un groupe à médiation théâtrale. / This research finds its origin in a daily clinical practice with children in latence period in treatment for their learning disabilities. The latence period is an important stage of cognitive reorganization and drive defusion. If the learning disabilities and the academic failure can find their origin in older times of the psychic and cognitive development of the subject, the time of latence period is crucial for the growth of the intellectual curiosity and achieve important symbolic “conquests”. Deep, unresolved psychic issues can perturb all modes of abstraction and symbolic understanding as well as causing difficulties in the acquisition of reading and writing. This dissertation explore the various meanings of the anti-learnings conducts which develop these children in their experiences of appropriation, exploration and manipulation of the environment. Finally, this work presents a tool of clinical analysis and qualitative evaluation of the groups of therapeutic mediation which are proposed to treat these context of learning disorder. The therapeutic interest of these settings will be questioned and illustrated through three experiences of group : a workshop with sensory mediation, a painting group experience and a therapeutic group with the medium of theater.

Using as a case example an ownership dispute over a Gitksan origin story depicted on the carved doors of University of British Columbia's Museum of Anthropology (MOA), this thesis contributes to an understanding of the ways in which hereditary prerogatives are being exercised in new contexts on the Northwest Coast and the political ramifications this entails for both museums and traditional systems of ownership. Drawing on interviews, archival materials, and published sources, this thesis details the ongoing history of the 'Ksan doors, from their commissioning in the early-1970s, as both an architectural feature of MOA and an example of contemporary Northwest Coast art, to their emergence as the focal point of an ownership dispute twenty years later that was escalated, if not precipitated, by a 1991 interpretive-dance performance of the origin story that they depict that involved Hereditary Chief Kenneth B. Harris. The claims and actions of Chief Harris and a Gitksan woman named Dolly Watts (whom many identify as the source of the dispute) are considered both ethnographically and historically, with a final emphasis on how MOA has in this case become a forum around and through which cultural meanings and identities are being asserted. / Arts, Faculty of / Anthropology, Department of / Graduate

Dans un Cameroun, officiellement bilingue, le constat de la dégradation de l'apprentissage de la lecture et de l'écriture du français, langue seconde/étrangère (FLS/FLE), est clairement établi. Notre travail de recherche porte sur l'origine de ces carences, en utilisant des méthodes de sociolinguistique et de didactique. Notre étude, sur le terrain scolaire, a analysé l'appropriation du français dispensé par des enseignants à des élèves de première année de secondaire, en système anglophone et francophone camerounais. Dans cette première année de post primaire, de niveau équivalent pour les deux sous systèmes éducatifs, nous avons analysé le déroulement des apprentissages du français et son utilisation. Notre choix de lieu d'enquête s'est porté, dans les Lycées bilingues de Buea et de Yaoundé, en zones urbaines, sur deux classes de 6ème (francophones) et deux classes de F1(anglophones). Nous avons constaté, dans cette étude synchronique, que les recommandations officielles du domaine linguistique pour le français sont mal connues des enseignants, que les éléments de base, dispensés au cycle primaire, sont mal assimilées par les élèves, qu'il existe des incompétences dans la production de certains phonèmes, que les règles prosodiques du français ne sont pas suivies (absence ou mauvaises liaisons, perte ou insertion, ou déformation/confusion de certains sons, etc.), que la production de l'intonation est délétère. Des facteurs sociaux et didactiques ont aussi été identifiés comme des obstacles à l'appropriation de la lecture et de l'écriture (plurilinguisme, faible intérêt pour l'écrit, rareté et mauvais usage des manuels scolaires, effectifs pléthoriques, indiscipline chronique, projets pédagogiques absents ou mal structurés, méthodes et méthodologies non efficientes, etc.). Toutes ces pratiques et ces facteurs précédents placent les élèves du corpus d'étude dans une insécurité linguistique grandissante. Des pistes possibles de remédiation à la dégradation de ces apprentissages se dégagent de notre recherche. Il serait souhaitable d'instaurer des pratiques pouvant favoriser la construction de micro processus qui permettraient d'installer la compétence de lecture et d'écriture chez les élèves : étude de la phonologie, amélioration des pratiques d'oral, production et reproduction constantes d'écrits... / In Cameroon, with two official languages, findings clearly show that there is a drop in learning how to read and write French as a second/foreign language (FSL/FFL). This project, using the sociolinguistic and didactic method, looks at the origin of these gaps. The study which was carried out in schools analyzed the ownership of French taught by teachers to first year students in secondary schools in the English-speaking subsystem and French-speaking subsystem. In the first year of post primary education, at the equivalent levels for both subsystems of education, this study analyzed the learning and usage of French. The study was carried out in Bilingual High Schools in urban areas, Buea and Yaounde, in two classes of 6ème for French-speaking students and two classes of Form One for English-speaking students. The synchronic study made the following findings: the official linguistic recommendations for French Language are poorly understood by teachers; basic elements taught in the primary school are poorly assimilated by students; poor production of certain phonemes; students do not follow French prosodic rules (absence or poor liaison, loss or insertion, or deformation/confusion of some sounds, etc.); and production of intonation is poor. Social and didactic factors were also identified as obstacles to the ownership of reading and writing (multilingualism, low interest in writing, scarcity and misuse of textbooks, overstaffing, chronic indiscipline, lack or poorly structured teaching plans, inefficient methods and methodologies, etc.). All these factors and practices put the students in this study under growing linguistic insecurity. The study further makes recommendations to remedy the gap in the learning of French. It would be desirable to introduce practices that promote the building of micro processes that will help students acquire skills in reading and writing: study of phonology, improvement of oral practices, constant production and reproduction of writing.

This thesis examines the aesthetic of ballets adapted for BBC Television by producer Margaret Dale, beginning with her entrance to the BBC's training program in 1955 and culminating with her commissioned work Houseparty, which aired in 1964. A historical and organizational framework is discussed regarding the BBC's cultural mission and view of arts programming, as well as general developmental milestones in programming contextualizing Dale's working conditions. Particular focus is placed upon the appropriation of Romantic narrative ballets and their significance in reinforcing an aristocratic and culturally divisive structure in the arts. Textual analyses consider issues of restaging, camera placement, and lighting, as well as television's intimacy and relationship to characterization in ballet narratives.

Le tourisme de croisière se démarque du tourisme ayant des assises terrestres par sa nature mobile et extraterritoriale. Ces facteurs favorisent un rapport de force en faveur de l’industrie lorsque vient le temps de négocier ses conditions d’opération lors de la mise en place d’une nouvelle destination. Le but de ce projet de recherche est de mettre en évidence les dynamiques sociospatiales inhérentes aux relations de pouvoir entre les groupes d’acteurs liés au tourisme de croisières dans l’espace caribéen. Notre attention a été portée sur les processus de territorialisation induits par le déploiement d’une destination à travers l’étude de cas de la création d’une enclave de croisière à Harvest Caye dans le Sud Belize. Pour ce faire, nous avons développé un cadre conceptuel qui s’appuie d’abord sur la notion de production d’un espace de tourisme de croisière où sont pris en compte les mécanismes néolibéraux de production de l’espace ayant conduit à la mise en place de l’enclave. Ensuite, il porte sur les processus de territorialisation qui ont transformé le Sud Belize en conséquence au déploiement territorial de ce tourisme dans l’espace de vie des communautés réceptrices. Nos résultats, basés sur de l’analyse de contenu, de l’observation participante et de 42 entretiens semi-directifs, montrent que les relations de pouvoir d’abord favorables à l’industrie du tourisme de croisière peuvent être contrées et permettre aux différents acteurs de l’espace de vie de prendre en charge les processus de territorialisation dans un contexte d’imposition d’un espace de tourisme de croisière. Les processus de territorialisation apparus lors de la rencontre entre l’espace de tourisme de croisière et l’espace de vie témoignent des actions stratégiques simultanées entre les différents groupes d’acteurs. D’une part, celles liées à la tentative d’appropriation territoriale de la part de l’industrie, et ensuite celles associées aux différentes résistances des groupes d’acteurs locaux notamment ceux issus de l’industrie de l’écotourisme. Néanmoins, de part et d’autre, nous avons assisté, directement ou indirectement, à des actions d’adaptations et de coopérations qui ont érodé la vision conflictuelle des dynamiques territoriales qui caractérisent souvent l’implantation du tourisme de croisière. Enfin, nous soulevons l’hypothèse qu’il existe une phase de territorialisation parallèle au tourisme de croisière, liée à des dynamiques d’appropriation territoriales par le foncier qui s’est exacerbée lors de la mise en place de l’île enclave.| / Cruise tourism is distinct from land-based tourism because of its mobile, derogatory and extraterritorial nature. These factors allow the industry to dominate in the power struggle that plays out when the operating conditions for a new destination are being negotiated. The purpose of this research project is to highlight the socio-spatial dynamics inherent to the power relations between stakeholders in cruise tourism in the space of the Caribbean. We use the case study of the creation of a cruise enclave at Harvest Caye in South Belize to explore the territorialization processes that result when a new destination is established. To do this, we have developed a conceptual framework that is based, first of all, on the idea of the production of a cruise tourism space considering the neoliberal mechanisms of space production when a new enclave is established. The framework then focuses on the processes of territorialization that have transformed South Belize as a consequence of the territorial deployment of this kind of tourism in the lived space of the receiving communities. Our results are based on content analysis, participant observation and 42 semi-structured interviews, and show that the power relations that initially favor the cruise tourism industry can be countered, allowing lived space actors to take charge of territorialization processes in the context of the imposition of a cruise tourism space. The processes of territorialization that emerged when the cruise tourism space and the lived space met are evidence of strategic actions the different stakeholders have taken simultaneously—those related to the industry’s attempt at territorial appropriation and those associated with local stakeholders’ various resistance strategies, especially those evolving in the ecotourism industry. Nevertheless, we have witnessed, directly or indirectly, adaptation and cooperation on both sides that have eroded the conflictual vision of the territorial dynamics that often characterize the implementation of cruise tourism. Finally, we suggest that there is a phase of territorialization that runs parallel to cruise tourism and that is linked to the dynamics of territorial appropriation brought about by the real estate industry that has been exacerbated as the enclave island was established.

La thèse porte sur l’étude de la formation de convergences et de tensions dans les choix stratégiques opérés par les partenaires public et privé engagés dans la valorisation des activités collaboratives de R&D. Il s’agit d’en caractériser les déterminants et d’identifier également les moyens permettant de les dépasser. L'originalité de l'approche consiste à mobiliser l'outil conceptuel du business model pour en évaluer la portée en tant qu'artefact cognitif d'analyse de cette situation de gestion et en tant qu'instrument de management stratégique de celles-ci. Le travail s'appuie sur deux études de cas longitudinales élaborées dans le cadre de deux recherche-interventions dans les pôles de compétitivité dédiés à la conception dans l'industrie automobile (Movéo) et des systèmes embarqués (Systematic). Les résultats sont présents à trois niveaux: au niveau du contexte, l'importance des mécanismes d'appropriation à partir des capacités d'absorption des organisations; au niveau du processus, le rôle des trajectoires et du leadership des acteurs et au niveau du contenu, les limites spécifiques liées aux incertitudes du mode projet. / The main objective of the thesis consists into the study of convergences and tensions in the interplay between value co-creation and strategic planning in public private R&D partnerships. Two in-depth longitudinal case studies are used to investigate the usefulness of the business model as a cognitive artifact enhancing the partners to collaborate on designing, articulating and implementing collective strategic choices of R&D outcomes. Data were gathered on two collaborative partnerships among two French Clusters (pôles de compétitivité) Movéo and Systematic. Methodology design employed a triangulation strategy based on both qualitative and quantitative methods (interviews and survey-based, structured methods of scenarios screening, participatory and qualitative methods of information gathering – project’s journals and meeting analysis). Based on internal validity, we have pointed out some issues in the management of inter-organizational relationships and networks regarding the process of how value can be created in strategic project management practices in public private R&D partnerships with these innovative clusters.

Orientador: Oswaldo Francisco de Almeida Júnior / Resumo: A ideia amplamente disseminada pela Ciência da Informação (CI) sobre a existência de uma suposta “Sociedade da Informação” – em que todos os jovens que nasceram nos últimos vinte anos, período em que houve o surgimento e popularização da internet, seriam membros de uma geração que sabe lidar facilmente com tecnologias – pode ser uma proposição bastante perniciosa à sociedade, tendo em vista que muitos grupos sociais aparentemente não fazem parte deste cenário. Um desses grupos é formado pelos jovens encarcerados, pois grande parte deles chega ao cárcere com graves carências vinculadas à estrutura familiar, à educação básica e ao letramento. Diante desse cenário, este estudo é norteado pelo problema acerca de como são as práticas informacionais dos jovens encarcerados no Centro de Detenção Provisória de Serra Azul, no que se refere à mediação e à apropriação dos dispositivos informacionais. O objetivo foi investigar como são as práticas informacionais desses jovens antes e após adentrarem ao CDP de Serra Azul com relação à mediação e à apropriação dos dispositivos informacionais. Além disso, buscou-se identificar quem são esses detentos, verificar os motivos pelos quais se encontram na unidade de detenção, criar quadros comparativos acerca das mudanças nas práticas informacionais antes e após o cárcere, averiguar as limitações e possibilidades da biblioteca prisional com relação ao acesso e apropriação desse dispositivo, descrever ações mediadoras no sentido de compreender de ... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: The idea widely disseminated by Information Science (CI) about the existence of a supposed “Information Society” - in which all the young people born in the last twenty years, during which the internet emerged and became popular, would be members of a A generation that can easily handle technologies - can be a very pernicious proposition to society, given that many social groups are apparently not part of this scenario. One of these groups is made up of incarcerated young people, as most of them reach prison with serious shortages linked to family structure, basic education and literacy. Given this scenario, this study is guided by the problem of how are the informational practices of young people incarcerated at the Serra Azul Provisional Detention Center, regarding mediation and appropriation of informational devices. The objective was to investigate how are the informational practices of these young people before and after entering the Serra Azul CDP regarding the mediation and appropriation of informational devices. In addition, we sought to identify who these detainees are, to verify the reasons for their detention, to create comparative tables about changes in informational practices before and after prison, to investigate the limitations and possibilities of the prison library in relation to the prison. access and appropriation of this device, describe mediating actions in order to understand how these actions develop in the daily life of the prison, such as the readin... (Complete abstract click electronic access below) / Résumé: L’idée largement répandue par la science de l’information (CI) de l’existence d’une prétendue «société de l’information» - dans laquelle tous les jeunes nés au cours des vingt dernières années, au cours desquels Internet est apparu et est devenu populaire, serait membre d’un Une génération capable de gérer facilement les technologies peut être une proposition très pernicieuse pour la société, étant donné que de nombreux groupes sociaux ne font apparemment pas partie de ce scénario. L'un de ces groupes est constitué de jeunes incarcérés, car la plupart d'entre eux se retrouvent en prison avec de graves pénuries liées à la structure familiale, à l'éducation de base et à l'alphabétisation. Compte tenu de ce scénario, cette étude est guidée par le problème suivant: comment les pratiques informationnelles des jeunes incarcérés au centre de détention provisoire de Serra Azul concernent-elles la médiation et l’appropriation de dispositifs informatifs? L’objectif était d’enquêter sur la manière dont les pratiques informationnelles de ces jeunes avant et après leur entrée dans le CDP de Serra Azul en ce qui concerne la médiation et l’appropriation de dispositifs informationnels. En outre, nous avons cherché à identifier qui sont ces détenus, à vérifier les raisons de leur détention, à créer des tableaux comparatifs sur les modifications des pratiques en matière d'information avant et après la prison, à enquêter sur les limites et les possibilités de la bibliothèque de la prison par ra... (Résumé complet accès életronique ci-dessous) / Doutor

This study investigates the extent to which subversive practices of conceptual art can be identified in contemporary works. It attempts to understand if, despite the widespread understanding of conceptual art as a mainstream in today's art scene, there may still be examples of contemporary practice that are as deviant and challenging to the notion of art today as those that came at the forefront of the conceptual art movement.       The standard historical definition of 'conceptual art' generally refers to the artistic movement taking place between 1966 and 1972. The aim of this study, however, is to give an account of its development both prior to and beyond that narrow temporal window, seeking to identify both the roots and the legacy of the philosophical aspects of conceptual practice.       The study traces these roots to the actions of Duchamp, who shifted the focus from aesthetics to a more cognitive valuation of art, by designating an everyday object as an artwork; an action that paved the way for the notion that, rather than being skilled craftsmen, artists are the authors of meaning, and artworks are the creation and transmission of ideas.       This ‘Duchampian’ approach which pushes and explores the boundaries of art within the framework of the artwork themselves has also influenced the selection of works for analysis. Like most other contemporary artworks, Michael Mandiberg's After Sherrie Levine and Banksy’s The Walled off Hotel, are considered conceptual in the sense that they work to transmit ideas to the viewer, but yet, like Duchamp’s ready-mades a hundred years earlier, they sit beyond commonly accepted understandings of the formal boundaries of the artwork, thus risking not being perceived as artworks at all. For that reason, these works potentially constitute radical practices that could be understood as questioning the limits of art making today.       From a theoretical point of view the study engages in hermeneutics and constructivism in order to construct an analysis of these two artworks relating their websites as well as artists’ intentions to the philosophical notions of conceptual art. The results show that the After Sherrie Levine is a critique of Levine's aura as well as of the art institutions. It also proposes that artistic appropriation as an art form can have an instrumental value in exploring the limits of art making. It further shows that it is possible to create art that is neither exclusive nor mysterious. The analysis of The Walled off Hotel shows that while operating as a local company with an ambition to lead the creative resistance movement in the West Bank through art, the hotel also constitutes a political satire with real effects in the area. The thesis proposes that this work is deviant and ‘organic’ in the way it renegotiates both the role of the artist and the very notion of 'art' itself.        Thus both After Sherrie Levine and The Walled off Hotel can be regarded as rather ‘Duchampian’ practices today.