Les attentats commis sur le sol américain le 11 septembre 2001 ont transi quasi simultanément une incommensurable communauté de regards. Cette participation scopique plurielle a très vite suscité des analogies avec le cinéma-catastrophe, immense pourvoyeur de fictions d’apocalypse urbaine, accusé d’avoir inspiré les commanditaires de l’attentat, d’avoir déréalisé toute catastrophe et de ne pas nous avoir préparé à son surgissement dans la réalité, ou désigné encore comme mètre-étalon de nos fantasmes apocalyptiques auxquels les images médiatiques ont dû se mesurer au point de déréaliser l’événement lui-même. Pour essayer de saisir les logiques de continuité ou de rupture auquel le cinéma américain se trouve exposé à la suite de cet événement, il importe de se demander dans quelles mesures le 11 septembre a pu entailler les habitudes du regard que le spectaculaire Hollywoodien nous avait intimement inculquées. Par comparaison avec le modèle figuratif des images médiatiques de l’attentat, Hollywood peut-il encore se permettre de mettre en scène le chaos au nom d’une pure invention figurative sans référent réel ? Après le 11/9, la représentation du désastre au cinéma n’est-elle pas en position d’incriminer le plaisir pris autrefois devant le spectacle fictionnel du chaos ? La culpabilité ne s’invite-t-elle pas dans le cœur même de la figuration du désastre, le souvenir dysphorique ne s'immisce-t-il pas dans la représentation urbaine, la reconstitution de l'événement ne déclare-t-elle pas ses limites face aux images médiatiques concurrentielles ? Après le 11 septembre, Hollywood semble se laisser déborder par une réalité insaisissable. / Throughout the world on September 11 2001, people watching their screens simultaneously suffered a deep shock caused by the attacks on the American soil. Given the variety of the viewers, parallels were at once made with Hollywood disaster-films which had always been huge providers of urban apocalyptic fiction. These films were charged with having inspired the perpetrators of the attacks, by naturalising disaster as such – so to speak – and thus leaving us unprepared for its intrusion into the real. In other words, Hollywood would have created a reference for our apocalyptic fears to the point that the media, by replicating such fictional images, thus deprived the tragic event itself of its reality. Because since then, American cinema cannot avoid dealing with narratives ruled by ruptures vs continuities which call for analysis, one needs to examine how deeply the 9/11 tragedy has altered the Hollywood spectator’ s gaze, i.e. one’s visual expectations and habits regarding spectacular attraction. Given the realistic images of the attacks in the media, can Hollywood still afford to show chaos on the screen as mere pleasurable fiction? After 9/11, has it become impossible for us to enjoy chaos on the screen without experiencing a feeling of guilt? How far do tragic memories interfere with any kind of urban representation? How does the cinematic reconstruction of the very event suffer from the essentially competitive nature of media images? After September 11, Hollywood appears unable to cope with a reality which remains forever elusive.

During development process, especially under the impact of climate change, natural disaster is one of the major challenges. In fact, the degree of devastation of natural disasters such as storms, floods and landslides are enormous, causing severe damage to people, property and environmental degradation. These natural disasters increasingly occurring more frequently in the last 20 years claimed the lives of many people. Unlike natural disasters, catastrophes are often related to human factors. Thus, the policy on response, treatment should also take into account the legal process in order to ensure that the principle of the polluter must bear responsibility after incidents and catastrophes. The catastrophe is a serious disruption of a community activity, causing loss of life, environment and material on a large scale. Normally catastrophe is beyond the capacity of affected communities to cope with, if only sources power of that community is used. The impact of economic - social development, climate change and natural disasters, environmental pollution situation, the capacity to respond to environmental incidents ... has been the pressure and challenge to Vietnam. / Trong quá trình phát triển, đặc biệt dưới tác động của biến đổi khí hậu, thiên tai là một trong những thách thức lớn. Trong thực tế, mức độ tàn phá của thiên tai như bão, lũ và sạt lở đất là rất lớn, gây thiệt hại nặng nề về người, tài sản và gây suy thoái môi trường. Những thảm họa do thiên tai gây ra đang ngày càng xảy ra thường xuyên hơn trong 20 năm qua, cướp đi sinh mạng của nhiều người. Khác với thiên tai, thảm họa môi trường thường liên quan đến yếu tố con người. Do đó, chính sách ứng phó, xử lý cũng cần tính đến các quá trình pháp lý nhằm đảm bảo nguyên tắc người gây ô nhiễm phải chịu trách nhiệm sau sự cố, thảm họa. Thảm họa là sự phá vỡ nghiêm trọng hoạt động của một cộng đồng, gây ra những tổn thất về người, môi trường, vật chất trên diện rộng. Thảm họa thường vượt quá khả năng đối phó của cộng đồng bị ảnh hưởng nếu chỉ sử dụng các nguồn lực của cộng đồng đó. Tác động của sự phát triển kinh tế - xã hội, biến đổi khí hậu và thiên tai, thực trạng ô nhiễm môi trường, năng lực ứng phó với sự cố môi trường… đã và đang là những áp lực và thách thức không nhỏ với Việt Nam.

Le retour d’une inondation identique à celle de la Seine en janvier 1910 est à l’origine de nombreuses inquiétudes pour les autorités publiques, vu l’ampleur des dommages potentiels, estimés aujourd’hui à 30 milliards d’euros. Si l’information relative aux inondations historiques fait l’objet depuis plusieurs décennies d’une exploitation pour la gestion du risque, son intérêt s’est récemment vu affirmé par la Directive Inondation 2007/60/CE. L’article 4 de première étape de la Directive, relative à l’Évaluation Préliminaire des Risques d’Inondation ou EPRI, recommande aux gestionnaires de procéder à « la description des inondations survenues dans le passé et ayant eu des impacts négatifs significatifs […] ». Cette injonction permet de s’interroger quant à la signification de ces impacts significatifs, ainsi qu’à l’intérêt de l’étude des inondations du passé. Ce travail de thèse a porté sur la mise au point d’une approche multidisciplinaire pour caractériser des inondations dites remarquables, terme utilisé pour qualifier les 176 évènements de l’EPRI dans la BDHI (Base de Données Historiques sur les Inondations). Une grille multicritères, portant à la fois sur les caractéristiques hydrométéorologiques de l’aléa et les conséquences socio-économiques et politiques des événements, a été appliquée sur les 176 évènements d’inondation (1770-2010). Neuf événements remarquables ont été retenus sur la période 1910-2010 et fait l’objet d’études monographiques présentées en annexe. Ces synthèses détaillées d’évènement d’inondation ont permis d’alimenter la réflexion autour de trois questions transversales : 1/ Quels sont les facteurs impliqués dans le processus d’aléa d’une inondation remarquable ? ; 2/ Une analyse rétrospective permet-elle de mettre en lumière les causes de la mortalité lors d’inondation remarquables ? ; 3/ De quelle manière la société gère-t-elle un évènement remarquable d’inondation ? L’analyse de ces questions s’est en particulier reposée sur la cartographie qui offre des perspectives intéressantes pour restituer les différentes échelles spatio-temporelles impliquées dans l’évènement d’inondation. / The occurrence of a 100 year flood in the Paris area like the January 1910 flood event is a major issue of concern as its potential economic impacts are today estimated around 30 billion euros. This shows the interest of studying exceptional past flood events for flood risk management. It has recently been confirmed by the European Flood Directive 2007/60/CE, in which article 4 recommends describing the floods that had “significant adverse impacts”. This aspect raises some questions. What does significant adverse impact mean? What is the interest to describe those events? This PhD thesis is focussing on a multidisciplinary approach for characterizing remarkable flood events, term used to qualify the 176 flood events selected during the Preliminary Risk Assessment of 2011 into the French National Historical Flood database (BDHI).An evaluation grid, based on the hydrometeorological aspects of the flood hazard as well as the socio-economic and politic consequences of the flood event, was applied to the set of 176 floods. The results conducted to select 9 remarkable flood events from 1910 to 2010. Monograph studies are presented on each of these case studies and are used to deal with three questions on the interest of studying past flood events: 1/ what are the factors involved in the hazard process leading to a remarkable flood event? ; 2/ does a retrospective analysis helps to understand the main explicative factors of flood mortality? ; 3/ how does the society manage a remarkable flood event?The analysis is especially supplied by the use of mapping which offers some issues to better understanding the different spatio-temporal dynamics and the main factors involved in a remarkable flood event.

Tropical Cyclones are a continuing threat to life and property. Willoughby (2012) found that a Pareto (power-law) cumulative distribution fitted to the most damaging 10% of US hurricane seasons fit their impacts well. Here, we find that damage follows a Pareto distribution because the assets at hazard follow a Zipf distribution, which can be thought of as a Pareto distribution with exponent 1. The Z-CAT model is an idealized hurricane catastrophe model that represents a coastline where populated places with Zipf- distributed assets are randomly scattered and damaged by virtual hurricanes with sizes and intensities generated through a Monte-Carlo process. Results produce realistic Pareto exponents. The ability of the Z-CAT model to simulate different climate scenarios allowed testing of sensitivities to Maximum Potential Intensity, landfall rates and building structure vulnerability. The Z-CAT model results demonstrate that a statistical significant difference in damage is found when only changes in the parameters create a doubling of damage.

This thesis is focused on the floods that hit the Czech Republic in 1997 and 2002 and on the storms. It deals with the risk of floods and storms, flood control, insurance products, role of insurance companies in coverage of flood and storm risk. It considers the changes that have occured in the czech insurance market after the floods and storms.

This diploma thesis is focused on alternative possibilities, how can we apply financial solution of risks. First part of this thesis describes problems of current commercial insurance market. There are also mentioned traditional ways risk's transfer and their possible troubles. In following part there are chapters containing alternative forms which solves specific kinds of risk related to different economical subjects. In the last part there is discussed possibility of state participation of catastrophic events. The aim this thesis is to identify the problems of current insurance market, evaluate common used techniques the risk's transfer and suggest suitable ways which can be used to solve the problem of risk with cooperation of financial markets, public finance and other alternative instruments.

This master thesis discusses the niche of reinsurance business -- catastrophe bonds. It provides a brief description of reinsurance in general, insurance-linked securities and catastrophe bonds. The goal of this thesis is to describe the development of cat bond market and the influence of economic and natural shocks on it. In order to analyze the effect, quarter issuance data are used together with Swiss Re Cat Bonds return indexes. In addition, several other variables (i.e. Munich Re and Swiss Re stock prices) and indexes are used. The most important indexes are Merrill Lynch high yield bonds and structured products. The shocks' influence is examined by analyzing the correlation between cat bonds yields and other financial instruments. The conclusion of the thesis is that during economic boom cat bonds are correlated with other instruments. In times of recession cat bonds' yields prove to be negatively or not correlated with other negatively affected instrument.

Cette thèse s’articule autour de trois volets. Tout d’abord, la genèse de concept du trauma, ses effets cliniques, puis son abord psychanalytique, et enfin la conduite à tenir face à ces sujets souffrants depuis leur rencontre raté avec l’éventualité de la mort. C’est ce paradoxe, cette énigme qui fait appel à la psychanalyse pour essayer d’appréhender ce qui conduit un sujet souffrant à consulter un psychanalyste. Les catastrophes ont toujours marqué la vie des hommes. Par leur effet de surprise, et lorsqu’elles épargnent la vie du sujet, elles le laissent sous l’emprise de l’effroi y inscrivant la trace du réel de la mort. Cette rencontre blesse l’appareil psychique. Elle y fait effraction, lève le fantasme d’immortalité et y introduit l’image de la scène traumatique que FREUD nomme un « corps étranger interne ». Etranger car la mort est inconnue de l’inconscient. C’est à FREUD que revient le mérite de mettre en lumière le concept de traumatisme psychique. Le concept de trauma devient la pierre angulaire de la doctrine psychanalytique. Il l’a traverse et demeure au centre de ses travaux, la menant progressivement à prendre forme. Du traumatisme sexuel par séduction réelle, il devient fantasmatique naissant d’une mise en scène imaginaire. C’est à partir de ce concept de trauma que FREUD concevra la théorie des névroses. Puis le premier conflit mondial et le cataclysme de la guerre vinrent confronter l’humanité à l’effroi de la rencontre de la mort. Ainsi la doctrine freudienne ne va pas cesser de s’enrichir jusqu’au départ du Maître de Vienne fuyant la barbarie pour Londres, où il publiera « L’Homme Moïse et la religion monothéiste » en y reprenant le concept du trauma dans sa totalité, donnant un nouvel éclairage à la psychanalyse. / This thesis opens around a three fold questionnaire. Firstly, the genesis of the concept of traumatic, its clinical effects, then its psychoanalytic approach and finally, the actions taken against these individuals suffering from their failed encounter with eventual death. It is this paradox, this puzzle that the psychoanalysis uses to try and learn what drives a suffering individual to consult a psychoanalyst.Catastrophe has always marked the lives of men. By their effect of surprise and when theysave the lives of individuals, thus leaving at trace of the reality of terror and death. This encounter injures the psyche. It breaks the fantasy of immortality introducing the image of the traumatic science, wich FREUD named « an internal foreign body ». Strange, because death is not known to the unconscious. Freud merits the discovery of the concept of traumatic psyche. The concept of the trauma becomes the corner stone of psychoanalytic approach. Progressively this approach took form all along his work and research. The sexual traumatism by real seduction becomes fantasmatic born of a built up of imagination. From this trauma, the concept of the theory of neurosis was developped by FREUD. The doctrine of Freud does not stop developping until the Master of Vienna flees to London where he publishes « Moses and the monotheism » putting together a synthesis oh his ideas in its totality, giving a new light on psychoanalyst.

Nous avons essayé de définir la notion d'image dialectique et la dialectique au sein de cette image dans l'œuvre tardive de Walter Benjamin. On a travaillé sur une notion qui ne fut pas achevée par son auteur et qui n'apparaît que à travers sa genèse conceptuelle dans l'établissement du concept d'histoire. Nous avons suivi un parcours retraçant la naissance d'un siècle qui crée des images reproductibles à l'infini. La spécificité de ces productions apparaît à travers la notion de fantasmagorie qui retraduit un moment de la dialectique qui compose celle de l'image. La fantasmagorie exprime au sein des représentations que forge un siècle la part archaïque et devenu mythologique de la superstructure économique de celui-ci. La mémoire, l'expérience et l'imagination semblent produire des représentations figurées des aspirations autant utopiques que destructrices d'un siècle, et d'offrir ainsi une image intérieure des productions inhérentes aux mécanismes sociaux à la base du fétichisme, et qui s'expriment comme un inachèvement existentiel permanent. La marchandise apparaît comme la catégorie centrale de ce processus, définissant la finalité du concept d'histoire matérialiste comme un récit de l'émancipation qui cherche à s'opposer à un univers anhistorique devenu infernal, qui est une continuité au sein d'un retour éternel du même d'une catastrophe sociale engendré par l'idéologie du progrès qui lui est associée. La théorie des images dialectiques se pose en tant que perspective politique et théologique, diagnostique et projective, de l'histoire, comme celle d'une mémoire involontaire d'une humanité délivrée, en tant qu'établissement d'une temporalité de l'achèvement comme complétude et de la discontinuité. / We tried to define the notion of dialectical image and the dialectic within this image in Walter Benjamin's late work. We worked on a notion that was not completed by its author and that we only can grab through its conceptual genesis in the development of the concept of history. We followed a journey tracing the birth of a century that creates reproducible images to infinity. The specificity of these productions appears through the notion of phantasmagoria which translate a moment from the dialectic that composes the image's. The phantasmagoria expresses within the representations of a century the archaic and mythological part of the economic superstructure of it. Memory, experience and imagination seem to produce figurative utopian representations as well as destructive representations of the aspirations of a century, and to offer an internal image of the productions who belong to the social mechanisms at the basis of fetishism, and which express themselves as an endless permanent existential incompleteness. Merchandise appears as the central category of this process, defining the finality of the concept of materialist history as a story of emancipation that seeks to oppose to an ahistorical infernal universe, which is a continuity as a eternal return to the same of a social catastrophe generated by the ideology of progress associated with it. The theory of dialectical images arises as a political and theological, diagnostic and projective, historical perspective, as the one of an involuntary memory of a delivered humanity, as the foundation of completion times as completeness and discontinuity.

No description available.