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Loin de la dénonciation sociale ou d’un exercice strictement historique, le présent travail cherche à comprendre comment se construit l’image du personnage bourgeois à travers l’étude de portraits de la bourgeoisie mexicaine entre 1854 et 2008. Le concept de masque permet de rendre compte du portrait en tant que construction d’un modèle de représentation sociale. La première partie propose un aperçu général des origines et de l’évolution du portrait pictural, de son influence sur le portrait photographique, des conséquences des idées humanistes sur l’art, enfin de l’histoire de la bourgeoisie mexicaine et du portrait photographique bourgeois au Mexique. La deuxième partie s’intéresse au phénomène de la carte-de-visite en tant que source et modèle du portrait photographique de la bourgeoisie mexicaine, avant d’examiner la question de la figure : l’interprétation de la pose et du visage en tant qu’éléments constitutifs de la construction d’une identité sociale. La troisième partie étudie le fond, c'est-à-dire les différents espaces dans lesquels le personnage bourgeois se fait photographier, les objets qui l’entourent et son rapport à eux. Cette recherche s’appuie sur les contributions théoriques de philosophes, d’écrivains, d’historiens et de photographes tels qu’André Adolphe Eugène Disdéri, Joan Foncuberta, Geoffrey Batchen, Octavio Paz, Carlos Monsiváis, Celso Sánchez Capdequí, Pierre Francastel, Christian Phéline, E. H. Gombrich, Gilles Lipovetsky, Gillo Dorfles, Graham Clarke, Jacques Aumont, Jean Sagne, Jean-Luc Nancy, Michel Frizot, Philippe Dubois, John Berger, Hermann Broch, Umberto Eco, Roland Barthes, Tzvetan Todorov, Michel Foucault, Susan Sontag, Walter Benjamin. Parmi les photographes mexicains abordés dans cette étude, l’on citera les frères Valleto, Cruces et Campa, les Archives Casasola, Nacho López, Héctor García, Pedro Meyer, Daniela Rossell et Ivonne Venegas. / Far from social condemnation or a strictly historic review, this work seeks to understand the construction of the bourgeois personage through the study of Mexican bourgeoisie portraits between 1854 and 2008. The “mask” concept allows us to explain the portrait as the construction of a model of social representation. Part I offers an overview of the origin and evolution of the pictorial portrait and its influence on the photographic portrait, as well as the consequences of humanist ideas on art, the history of Mexican bourgeoisie and the bourgeois photographic portrait in Mexico. Part II analyses the carte-de-visite phenomenon as origin and model for the photographic portrait of the Mexican bourgeoisie, to later study the figure, the interpretation of posture, stance and facial expression as components of the construction of social identity. Part III studies depth: different spaces where the bourgeois character is photographed, the objects around him and his relation to them. Taken into account are the theoretical contributions of philosophers, writers, historians, and photographers, like André Adolphe Eugène Disdéri, Joan Foncuberta, Geoffrey Batchen, Octavio Paz, Carlos Monsiváis, Celso Sánchez Capdequí, Pierre Francastel, Christian Phéline, E. H. Gombrich, Gilles Lipovetsky, Gillo Dorfles, Graham Clarke, Jacques Aumont, Jean Sagne, Jean-Luc Nancy, Michel Frizot, Philippe Dubois, John Berger, Hermann Broch, Umberto Eco, Roland Barthes, Tzvetan Todorov, Michel Foucault, Susan Sontag, Walter Benjamin. Among the Mexican photographers studied are the Valleto brothers, Cruces y Campa, the Casasola Archive, Nacho López, Héctor García, Pedro Meyer, Daniela Rossell and Ivonne Venegas.

La présente thèse est née d’une interrogation sur le véritable rôle de l’iconographie de l’Éros adolescent, c’est-à-dire de l’adolescent érotisé, dans la culture occidentale et plus précisément sur l’enjeu et les fonctions que représente son image en tant que symbole d’amour, de beauté et de désir dans le cadre de la pédérastie en Europe et plus précisément dans l’Allemagne Wilhelmienne dans le contexte de l’intensification de la répression sexuelle au tournant du XXe siècle. Pour les Grecs, c’est le corps juvénile masculin avec ses charmes particuliers qui représente le plus beau sexe et le bon objet de plaisir. C’est une erreur fondamentale de croire que cette beauté était valorisée à cause de son parentage avec le corps féminin. La beauté de ses traits était liée à un certain charme et à des caractéristiques particulière au corps et à l’esprit masculins en voie de se former : la vivacité de l’esprit, la vigueur, la résistance, la force, l’endurance, la ténacité, l’ardeur, la fougue et l’enthousiasme faisaient partie de cette beauté que les garçons se devaient de renforcer par la pratique régulière d’exercices intellectuels et physiques. L’éducation pédérastique des garçons, garante des valeurs masculines, assurait que leur grâce et leur raffinement ne sombreraient pas dans la mollesse et l’effémination. L’ambiguïté féminine, l’androgynie qui sera perçue plus tard comme une caractéristique de la beauté adolescente mâle, plus encore, comme la raison de cette beauté, était plutôt, à cette époque, ce dont les garçons devaient se préserver et être préservés. Ainsi, le statut du jeune mâle lui confère, depuis la Grèce antique, un rôle prédominant dans la culture occidentale et explique, en partie, l’omniprésence de ses représentations dans l’art et la littérature européennes jusqu’au XIXe siècle. Pourtant, l’iconographie et la propagande autour de son image se transforment progressivement et fatalement jusqu’à l’aube de la Première Guerre mondiale. C’est notamment l’association de son image à l’érotisme et la beauté qui devient progressivement un tabou honteux, voire pervers. Instrumentalisée et esthétisée selon les intérêts de différents groupes qui s’opposent, le contrôle de l’iconographie et de la sexualité de l’adolescent devient, de cette manière, un enjeu majeur du pouvoir à la fin du XIXe et au tournant du XXe siècle. Ce phénomène est européen mais le Reich wilhelminien, en construction et en quête d’identité, représente un exemple idéal pour analyser ce phénomène que nous replaçons, d’une part dans le contexte de la répression sexuelle et, d’autre part, dans le contexte des mouvements de jeunesse et de contestation qui se développent parallèlement au cours de cette période. Notre étude, basée sur des observations et des faits précis, a l’audace d’essayer de comprendre un phénomène tabou et représente une invitation à une réflexion sur le destin de la beauté masculine et des amours masculins dans notre société. Nous invitons le lecteur à remettre en question certaines de ses convictions et nous espérons réussir à redonner à l’Éros adolescent, trop souvent censuré et négligé, au moins partiellement, la place qu’il mérite dans l’histoire européenne en insistant sur le rôle qui fut le sien dans l’art et la littérature ainsi que sur les enjeux et les fonctions qu’il a si souvent représentés dans les conflits politiques et sociaux. / The following thesis arose from an analysis of the actual role which the iconography of the adolescent Eros, i.e. the eroticized juvenile, plays in the western culture. More precisely, it is about the issue and the functions of its image as a symbol of love, beauty and desire in the framework of pederasty in Europe and more precisely in Wilhelminian Germany in the context of intensified sexual oppression at the turn of the 20th century. For the ancient Greeks, it was the young male body with its particular charms which represented the most beautiful gender and which was a fine object of pleasure. It is totally wrong, however, to believe that the value of this beauty was increased because of its descent from the female body. The beauty of its features was connected with certain charms and characteristics which are particular of the male body and spirit that are on their way to develop : A liveliness of the spirit, strength, power of resistance, endurance, toughness, verve, impetuosity and enthusiasm were part of this beauty which the boys had to intensify through regular mental and physical exercises. The boys’ pederastic education, a guarantee of male values, made sure that their grace and sophistication would not disappear into softness and effeminateness. Female ambiguity, the androgyny which will be seen later as a characteristic of juvenile male beauty or – even more – as a reason for male beauty, was at this stage rather something that the boys had to avoid or had to be sheltered from. Thus, the status of the young male has given him – since ancient Greece – a predominant role in western culture, which partly explains the omnipresence of his representation in European art and literature until the 19th century. However, the iconography and the propaganda about his image are transformed gradually and fatally till the beginning of the First World War. It is especially the association with eroticism and beauty which becomes gradually a taboo, something disgraceful or even perverted. Either instrumentalized or aestheticized – according to the interests of the different opposing groups – the control of this iconography and sexuality of the juvenile becomes in this way a great matter of dispute of power at the end of the 19th century and at the turn of the 20th century. This phenomenon is a European one but the Wilhelminian Reich – under construction and on a quest for identity – represents an ideal example for analyzing this phenomenon which on the one hand I put into the context of sexual oppression and on the other hand into the context of youth movements and contestation developing in parallel ways over this period of time. In my research – based on both observations and precise facts – I dare to try to understand a taboo phenomenon and I invite the reader to reflect upon the destiny of male beauty and male love in our society. The readers are invited to question some of their convictions and I hope I succeeded in giving back to juvenile Eros – too often censured and neglected, at least partially – the place he deserves in European history, insisting both upon the role he had in art and literature as well as on the issues and functions which he represented so often in political and social conflicts.

Notre mémoire propose une nouvelle compréhension des portraits bourgeois peints au Bas-Canada entre 1790 et 1830. Partant du constat que ces portraits étaient symptomatiques de la société dans laquelle ils ont été conçus, c'est le concept de « représentation sociale » qui dirige l'ensemble de notre étude. Pour ce faire, nous avons élaboré une argumentation en trois chapitres. Le premier chapitre nous permet de situer les éléments théoriques et historiques nécessaires à la compréhension du désir de représentation. S'ensuit, dans le deuxième chapitre, une analyse plastique, stylistique et iconographique, d'un vaste corpus de portraits, peints par cinq artistes. mis en relation avec la biographie des différents bourgeois portraiturés. Finalement, le troisième chapitre nous permet de donner tout son sens à cette analyse. La présentation des différents liens unissant les modes de représentativité de la bourgeoisie et ses aspirations, permet de comprendre le portrait, à la fois reflet de la société, de ses valeurs et de son évolution, comme un puissant objet de représentation sociale.

The purpous of this master’s thesis is to explore how the swedish public library evolved between 1890-1911, before the state implemented the library reform in 1912. The material used to cunduct the study concists mainly of texts published during the time frame of the thesis in the form of books, booklets and articles from Folkbiblioteksbladet, a journal dedicated to the subject of the swedish public library. Drawing upon Habermas theory of the structural transformation of the public sphere and Bourdieus theories about taste as social distinction and symbolic capital, the thesis seeks to show how the public participated in the evolvement of the public library and which aspects of society that contributed to the public library’s establishment as an institution. The findings are also discussed in relation to previous research of the history of the Swedish public library. In summary, the study shows that the public library evolved as part of a larger aim to educate the masses with help from what was seen as ”good” litterature. It also shows that even though the higher classes decided the premisses for public education and the public library, some of the ideas were shared by the working class despite their different political goals.

Mémoire numérisé par la Direction des bibliothèques de l'Université de Montréal.

Este estudo contribui para a compreensão da formação da fração industrial da burguesia de São Paulo. Procuramos examinar a atuação da patronal da indústria a partir dos conflitos e negociações ocorridos desde este acontecimento, buscando apreender a experiência de coesão e organização do empresariado industrial de São Paulo. Nossa hipótese principal é de que, tal como o operariado, a patronal industrial também passou a se organizar e se mobilizar de forma mais consciente e programática. O que se pode inferir na análise de sua atuação nas greves gerais de 1919 e 1920. Em ambas as greves, posteriores a 1917, notamos uma atuação coesa no processo de negociação, com destaque para a forma organizacional das entidades patronais, tais como o Centro Industrial de Fiação e Tecelagem de São Paulo e a Associação Paulista das Indústrias Mecânicas e Metalúrgicas. / This study contributes to the compreehension of the establishing of the industrial fraction of the bourgeosie of Sao Paulo. We seek to examine the Sao Paulo industry employers actions from conflicts and negotiations that have occured since this event, trying to understand their experience of organization and cohesiveness. Our main hypothesis is that, as well as the working class, the industrial employers also began to organize and mobilize themselves in a more consciously and programmatically way. What can be inferred from the analysis of their action in the general strikes of 1919 and 1920. In both strikes, subsequent to 1917, we observed a cohesive representation in the negotiation process, highlighting the organizational form of the employers, such as the Spinning and Weaving Industrial Center of Sao Paulo and the Metallurgical and Mechanical Industry Association of Sao Paulo.

A fim de investigar a relação entre processo social e forma literária nOs Maias, de Eça de Queirós, o presente trabalho propõe a análise das afinidades entre a composição de classe representada no romance (sobretudo no embate entre uma aristocracia resiliente e uma burguesia ascendente) e o tema do incesto, a partir do conceito de figuração tal qual desenvolvido por Norbert Elias. / Aiming to investigate the relationship between social process and literary form in Os Maias [The Maias], by Eça de Queirós, this work purpose is to analyze the affinities between the class composition represented in the novel (mainly in the clash concerning a resilient aristocracy and an ascendant bourgeoisie) and the theme of the incest, taking into account the concept of figuration as developed by Norbert Elias.

A fim de investigar a relação entre processo social e forma literária nOs Maias, de Eça de Queirós, o presente trabalho propõe a análise das afinidades entre a composição de classe representada no romance (sobretudo no embate entre uma aristocracia resiliente e uma burguesia ascendente) e o tema do incesto, a partir do conceito de figuração tal qual desenvolvido por Norbert Elias. / Aiming to investigate the relationship between social process and literary form in Os Maias [The Maias], by Eça de Queirós, this work purpose is to analyze the affinities between the class composition represented in the novel (mainly in the clash concerning a resilient aristocracy and an ascendant bourgeoisie) and the theme of the incest, taking into account the concept of figuration as developed by Norbert Elias.

The present dissertation examines conceptions of masculinity in the works of Theodor Storm, a representative of German Poetic Realism. It shows how variations of masculinities are arranged, constructed and performed in Storm’s novellas within the bourgeois order of the supposedly 'stable' 19th century. The different types of masculinities are viewed and analysed in selected areas, as represented in the following four texts: Schweigen, Der Herr Etatsrat, Ein Doppelgänger and Der Schimmelreiter. Simultaneously, they constitute different research fields within Men's Studies, such as family, body/health, power/violence and also society/"male spaces". The main thesis of the dissertation is that Storm expands contemporary 19th-century perceptions of masculinity and femininity by making traditional gender stereotypes converge in his late novellas. The characters only partially match the bourgeois, bipolar gender model, and masculinity should be understood as a variation rather than as an opposition to femininity. Furthermore, the dissertation proposes that Storm should be considered a precursor to literary modernity to a larger extent than has previously been assumed. Therefore, the dissertation focuses on internal differentiation of the hegemonic bourgeois masculinity typical of the 19th century in Storm's works. Here, free spaces are observed between gender identities traditionally conceived as binary. Using Robert Connell's theoretical concept of hegemonic masculinity as a basis, the relationship between inferior, marginalized masculinities and normative ideals is particularly emphasized. Furthermore, the dissertation analyses the depiction of bourgeois self-conflicts in the text, through which Storm exposes the hegemonic stereotype of masculinity.