Cette étude explore les relations entre la "Beat Generation" et l'art. Elle se penche principalement sur les oeuvres plastiques de William S. Burroughs (1914-1997), Jack Kerouac (1922-1969) et Allen Ginsberg (1926-1997). La période choisie pour cette recherche débute en 1944 et se poursuit jusqu'en 1975, c'est-à-dire de la formation du groupe à la fin de l'idée de contre-culture. L'analyse ne se limite pas à la constatation d'un va-et-vient entre le mot et l'image, mais démontre que les écrivains de la "Beat Generation" sont en prise direct avec l'art de l'époque et vont explorer toutes les techniques plastiques pour exprimer en dehors de leur œuvre littéraire. En abordant l'aventure artistique, les trois "Beats" sont confrontés à la notion d'"ekphrasis": ils prolongent un long héritage à travers des disciplines artistiques différentes: la peinture, le croquis ou la technique du collage. / This study exlpores the relationship between art and the "Beat Generation". It mainly focuses on the plastic works of William S. Burroughs (1914-1997), Jack Kerouac (1922-1969)and en Ginsberg (1926-1997). The field of research covers the period from 1944 to 1975, i.e. from the formation of the Group to the end of the idea of counterculture. The analysis does not limit itself to the description of the back and forth movements between literature and the arts. The "Beat Generation" writers were in fact directly connected to the art of their time and explored all kinds of plastic techniques to express themselves independently from their lierary works. In addressing the adventures of the artistic experience, the three "Beats" were confronted with the notion of "ekphrasis" and obviously prolonged an old legacy through different artistic disciplines like painting, drawing or collage.

In the 1940s, 50s and 60s the two youth movements of the beats and the hippies emerged in the United States. Disagreeing with the progressive positivism of the previous generations these youths were part of a counter culture that adhered to an ideal of living in the present. Alan Wilson Watts (1915–1973), most known for his popularization of eastern philosophy and religion in general and Zen-Buddhism in particular, became one of the most influential and well-read advocates of the new movements. Drawing upon eastern philosophy and religion as well as modern psychology, Watts challenged the western world view by rejecting the dualism of self and environment, arguing that man is one with God and nature and claiming that nothing exists but the present experience here and now. Based on Watts’ view of man and reality, and in the context of the emerging youth movements, this study examines Watts’ criticism of western culture and society as well as his view on happiness and the possibility of a better life for the individual living in the west. The study shows that, according to Watts, the root of the problem facing western society lies in man’s incapability of distinguishing concept from reality, preferring abstract ideas and symbols to the experience present in everyday life. As a result, man perceives himself as separate from nature, waging war on his environment in a futile attempt at finding happiness by constantly striving for ever greater achievements of which the main goal always seems to lie somewhere in the future but never in the present. His ideas inspired the youth movements, although they moved in a different direction than the one he would have wanted. Watts, suggesting that an altered understanding of oneself as one with the universe is central in maintaining a thriving society in union with nature, claims that the essence of happiness consists of this understanding here in the present rather than the pursuit and obtaining of a desired goal.

De la confrontation problématique d’un projet de jeu vidéo aux conditions plurielles desa création, ce travail de thèse tente de mettre à jour les contraintes et les interrogationsqu’elles suscitent. Le jeu vidéo, contemporain de la société de l’information est un témoinde l’évolution complexe du paradigme postmoderne, né avec la cybernétique. De la genèsedu jeu vidéo au temps présent, les technologies, les façons de jouer et les productions serévèlent significatives de visions du monde opposées. La thèse montre que derrière l’imaged’un divertissement et d’une industrie consensuelle, une résistance peut s’exprimer d’unpoint de vue technique, artistique et politique. A travers l’histoire et le devenir du jeuvidéo peuvent se lire certains enjeux de société en lien avec de nouvelles formes de pouvoir.C’est dans un interstice contre culturel que se développe une oeuvre résistante, nourrie d’unexamen critique préalable. Une création originale se construit progressivement en contreculturedu modèle libéral dominant, dans un mouvement d’opposition à l’action irréfléchie,l’accélération et la dématérialisation... Du point de vue plastique, la thèse interroge le retourdes technologies de réalité virtuelle, et élabore deux nouvelles notions, le véhicule expérientielet le leurre suffisant. Profitant de ce nouveau champ d’investigation de création, la thèseinvite le joueur à laisser l’usage pour le faire. / From the problematic confrontation of a video game project with the multiple conditions ofits creation, the present thesis tries to highlight the constraints and the interrogations whichthey arouse. Contemporary to the information society, the video game is a witness of thecomplex evolution of the postmodern paradigm born from cybernetics. From the genesis ofthe video game to present time, technologies, the ways of playing and the productions revealthe significant oppositions in their visions of the world. The thesis shows that behind theimage of entertainment and of a consensual industry, a form of resistance can express/voiceitself from a technological, artistic and political point of view. Through the history of videogame and its future, one can read some of society’s stakes/challenges linked to new formsof power. It is within a counter cultural interstice, and fed by a prior critical exam, thata resistant work/piece is developed. An original creation is progressively built in reflexivecounter cultural opposition to the mainstream dominant liberal world and its accelerationand dematerialization... From a plastic point of view, the thesis questions the return of thevirtual reality technologies, and elaborates two new notions: the experiential vehicle and thesufficient decoy. Taking advantage of this new field of investigation of creation, the thesisinvites the player to let it be used so as to do so. Keywords: Video games. Counter culture.Experiential vehicle. Counter dematerialization. Sufficient decoy.

L’antifascisme fait l’objet de nombreuses études sous sa forme historique, mais peu s’intéressent à son expression contemporaine. Afin de comprendre l’antifascisme dans le contexte montréalais, rencontrer les militants de cette lutte, acteurs de terrain de l’action, a semblé primordial. C’est donc en réalisant des entrevues semi-dirigées avec 5 militant(e)s antifascistes montréalais et par une courte recherche documentaire dans les ressources antifascistes montréalaises, que la compréhension de cette forme d’antifascisme a pu se construire. Cette recherche met en lumière une pluralité de portraits et de parcours militants auxquels la littérature sur le sujet , alors que les participants s’expriment sur leurs différents parcours, leur cheminement personnel ainsi que sur leurs motivations à s’engager. Ces discussions permettent de contextualiser l’engagement antifasciste dans le cadre spécifique du Québec au cours des 15 dernières années, tout en soulevant les défis des engagements militants. Par la même occasion, la rencontre des militant(es) met en avant la diversité des actions antifascistes ainsi que leurs enjeux, dont celui de la violence qui fait l’objet d’un traitement médiatique important. Cette recherche démontre que ce qui est présenté dans les médias ou la littérature sur l’antifascisme n’est que la pointe de l’iceberg et que la réalité du milieu est beaucoup plus complexe. / Anti-fascism is the object of many studies when it comes to its historical expression, but few focus on its modern expression. When seeking to understand modern anti-fascism in Montreal, meeting the militants of the movement, front actors of the actions, seemed to be of prime importance. The comprehension of this form of anti-fascism was achieved by conducting semi-directed interviews with 5 Montrealer anti-fascist activists and through a documentary search conducted on several Montreal anti-fascists key resources. This research highlights a plurality of portraits and militant journeys which are hardly referred to in the literature on anti-fascism, while the participants describe their different experiences, their personal journey and their motivations to get involved in the cause. These discussions help contextualizing anti-fascist engagement in Montréal, Quebec, by exploring its definitional and cultural frameworks, while addressing the challenges of militant engagement. Anti-fascist actions are explored with the activists and allow to map out their actions as well as their challenges and stakes, including the issue of violence. This research shows that what is presented in the media or literature about anti-fascism is only the tip of the iceberg and the reality of the milieu is much more complex.

Young male vocational students are in academia described as being less interested by politics and social issues and having less knowledge regarding democracy than other students. A culture of resistance is the appellation of the specific culture that emphasise the relations between young male vocational students. Deliberately arranged teaching with deliberate qualities has shown a positive impact on students’ learning as well as being a way of working with moral issues in school. The purpose of this study is to make researches into whether deliberately arranged teaching has an impact on  the political and social interest amongst young male vocational students. A questionnaire was conducted before and after the Civics A (social studies) course. Individual interviews, where the students’ ways of expressing themselves in regards to politics and social issues were in focus, were carried out. The deliberately arranged teaching was conducted once a week during one academic year. The students were then responsible for the content as well as ensuring that they abided by the set rules for the conversation. Limited alterations regarding the students’ interest for politics and social issues were identified in the questionnaire. However, the interviews revealed that some of the students have changed their way of looking at politics and their interest has increased. The culture of resistance that usually distinguishes the behaviour of vocational students in regards to core subjects was not found as a dominating factor. The students taking part in focus groups expressed a positive response to the deliberately arranged teaching stating it was the part of the course they enjoyed the most. To be able to express their views and listen to others was highly appreciated by the students who described themselves as serious and ambitious during classes. The teachers felt that this teaching style meant that there was a focus on relations and that the didactic question about content in the course were more complicated to execute.

Denna studie bygger på en fältstudie i två klasser på gymnasieskolans Byggprogram. Intresset är riktat mot hur ett antal ungdomar, vilka samtliga är pojkar och i varierande grad är ointresserade av så kallade teoretiska studier, förhåller sig till kärnämnena. Mer precist är syftet att analysera deras förhållningssätt till kärnämnena som en del av deras identitetsskapande i relation till dessa ämnen. I studien ses skolan och klassrummet som en social arena där mycket annat än formell undervisning pågår och är relevant för ungdomar när de befinner sig i skolan. Den teoretiska förankringen för studien består i ett interaktionistiskt perspektiv på identitet, bland annat influerat av Richard Jenkins. Därutöver utgörs den av ett genus- och klassperspektiv, samt motståndsteoretiska utgångspunkter. Metodologiskt ansluter sig studien till den etnografiska traditionen. Data som analyseras är observationsdata, intervjudata och inspelade samtal mellan eleverna. Analysen visar bland annat att ungdomarna använder sitt kommande yrke och sitt ointresse för skolarbete i teoretisk tappning som utgångspunkter när de pratar om sin utbildning, olika ämnen eller sitt agerande i relation till skolarbetet. Analysen visar också att ungdomarna både är konforma och oppositionella gentemot kärnämnena. De anpassar sig efter skolans makt att bedöma deras studieinsatser, men gör bl.a. motstånd mot den ordning lärare söker åstadkomma och den tristess och påfrestning som de menar att kärnämnena medför. Till sina konsekvenser innebär denna form av motkultur ett identitetsskapande som avviker från ideal som låg bakom införandet av kärnämnena, vilket innebär ett motstånd mot en statlig påverkan på deras liv, så som denna påverkan kommer till uttryck genom utbildningssystemet. Mot bakgrund av deras kombination av motstånd och konformitet tolkas deras förhållningssätt till kärnämnena emellertid som motsträvighet än som ett renodlat motstånd. / This study is based on a field study that was conducted in two classes in a vocational programme (the Construction Programme) at a Swedish upper secondary school. The main concern of the study is how the pupils, all of whom are boys who are indifferent to varying degrees to so-called theoretical studies, relate to the academic subjects (or core subjects) of their education. More precisely, the aim is to analyze their attitudes towards the core subjects as part of their identity work. In this respect, the school setting is viewed as a social arena in which much more than formal education is going on and has relevance for the pupils when they are in school. The theoretical framing of the study is based on an interactional perspective on identity, primarily influenced by Richard Jenkins. Additionally, a gender and class perspective as well as theories of resistance are used to understand the views and actions of the boys. Methodologically, the study draws on an ethnographic tradition. The data consist of observations, interviews and recorded conversations between the pupils. The analysis points out that the pupils use their future work as construction workers and their indifference to theoretical schoolwork as important starting points when they talk about their education, different subjects or their own actions in relation to their schoolwork. The analysis also stresses that the boys employ modes of both conformity and opposition in relation to the academic subjects. They adjust to the power the school has when it comes to assessing their schoolwork, but they also resist the classroom order their teacher is trying to achieve and the stress and strain of everyday life in the academic subjects. This forms a counter culture, the consequences of which imply identity work that to a large extent differs from the ideas that conditioned the implementation of the core subjects. In this respect the pupils are also resisting governmental steering of their lives as it is expressed in the educational system. However, since the boys have modes of both conformity and opposition in their attitudes towards academic subjects, their overall attitude towards this part of their education is interpreted as a form of reluctance rather than full-scale resistance.

Centrée sur le contexte des « longues années 68 », la thèse porte sur les raisons et le déroulement de la protestation juvénile entre les Etats-Unis et l’Europe, à partir du début des années Soixante jusqu’à la moitié de la décennie suivante. Il s’agit d’une période durant laquelle les pays développés connaissent une transformation sans pareil, marquée par l’élargissement de la société de consommation de masse et par le progrès frappant dans le domaine de la communication. La recherche vise surtout à éclairer deux questions principales : définir le rôle joué par la contre-culture dans la vague révolutionnaire et encadrer la dimension internationale du mouvement. Ce travail est donc divisé en deux parties : la première aborde les causes et l’esprit de la contre-culture à partir de ses racines américaines, tandis que la deuxième partie sera centrée sur les agitations étudiantes dans les pays de référence. En ce qui concerne les acteurs de la mobilisation, la recherche porte sur trois sujets principaux : les groupes undergrounds, le mouvement étudiant international et la révolte italienne de Soixante-dix-sept. Il s’agit de trois sujets qui représentent trois phases distinctes dans la chronologie du « cycle de protestation », un cycle qui se déroule dans un récit déchiqueté où on assiste à un changement continu de paradigme. Malgré cette inconstance fondamentale, il subsiste des mots d’ordre qui occupent une place privilégiée dans la mentalité des activistes : anti-autoritarisme, égalitarisme, répression, droit, révolution restent les nœuds théoriques les plus significatifs de la contestation dans le milieu juvénile, étudiant et également ouvrier. / Centred on the political and cultural context of the “long Sixties”, this work examines the reasons and the dynamics of social movements between USA and Europe, focusing on the period from 1960 to the mid-1970s. It was a period of great transformations where the affluent societies witnessed an explosive growth both in social field and in technological domain. This thesis aims above all to understand two main issues: the role counterculture played in the war protest and civil rights movement and the international dimension of this phenomenon. Thus, this research is divided into two parts: the first section concerns with the underground movement beginning with its American roots while the second part is dedicated to the student movement thought an international perspective. Concerning the social actors involved in the mobilisation, this work is focused on three main subjects: the counterculture groups, the several student movements and the militants of Italian 1977 revolt. It means to analyse three different moments in the “protestation cycle” of long Sixties that remains a tumultuous period of paradigm shifts. In spite of this instability, it is possible to indicate some keywords that characterise the spirit of the age: anti-authoritarianism, egalitarianism, repression, rights, and above all, revolution remain the more significant theoretical questions on which this work revolves.

Orientador: Antônio Rafael Carvalho dos Santos / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-19T10:07:18Z (GMT). No. of bitstreams: 1 Moreira_MariaBeatrizCyrino_M.pdf: 2182763 bytes, checksum: 15fed57320fdcd934dd46fe29678303e (MD5) Previous issue date: 2011 / Resumo: O Som Imaginário foi um grupo que surgiu no Brasil em 1969 com o intuito de acompanhar o músico Milton Nascimento em sua turnê realizada em 1970. A partir da reunião de diversos músicos vindos de formações diferentes e com influências distintas, criou uma obra musical cheia de hibridismos fruto também de um contexto social-político e cultural específico. Através da análise musical dos três discos do grupo, Som Imaginário (1970), Som Imaginário (1971) e Matança do Porco (1973), buscou-se observar os aspectos de forma, gêneros e estilos presentes na sonoridade do grupo, instrumentação utilizada, harmonia e letra, com o objetivo de relacionar as formas de expressão musical do grupo com o contexto cultural e político do Brasil no período em que atuou, a transição da década de 60 para os anos 70. Ao se construir a narrativa da trajetória do grupo, procurou-se também relacioná-la à crescente indústria fonográfica no Brasil e associar elementos da produção musical do grupo com os traços comportamentais e maneiras de pensar relacionadas à contracultura e à vigência do regime ditatorial militar na sua fase mais repressiva / Abstract: The Brazilian group "Som Imaginário" emerged in 1969 with the purpose of accompanying the musician Milton Nascimento in his tour of 1970. The group gathered different musicians from differents music backgrounds and influences, and created a musical work full of hybridism as a result of the specific social, political and cultural context. Through the musical analysis of their three albuns, Som Imaginário (1970), Som Imaginário (1971), this study tried to identify many musical aspects such as form, genres and styles present in the sonority of the group, instrumentation used, harmony and lyrics, in order to relate these forms of musical expression with the cultural and political context of Brazil in that period, the transition between the 60's and 70's. By developing the narrative trajectory of the group, we tried to relate it to the growing phonographic industry in Brazil and associate elements of the musical production of the group with behavioral traits and ways of thinking related to the counterculture and to the term of military dictatorship in it most repressive stage / Mestrado / Fundamentos Teoricos / Mestre em Música

Depuis près de 40 ans, les designers n’échappent pas à la tournure politique de la crise écologique et aux outils normatifs qu’elle engendre pour concevoir notre rapport au monde. Dans ce champ professionnel, le concept de durabilité a été appliqué particulièrement au choix des matériaux et les normes qui en ont découlé ont tendu à consolider les propriétés esthétiques promulguées par le Mouvement moderne. Cette esthétique endémique, fortement uniformisante, anthropocentrée et anhistorique est à l’encontre du programme de changement promis par les politiques environnementales qui enjoint l’engagement citoyen, la construction du commun entre les individus, et aussi avec les autres, les non-humains. Les critiques exprimées contre le Mouvement moderne et l’environnementalisme ont pourtant montré que l’engagement écologique peut prendre forme dans une autre esthétique, une esthétique qui, en outre, défait la distinction entre nature et culture et conserve aux personnes une capacité d’agir nécessaire à la durabilité du monde. En posant un regard anthropologique sur l’esthétique, dans une perspective pragmatique et réaliste, cette thèse avance que l’engagement envers la cause écologique dépend de cette esthétique particulière. L’hypothèse est que l’engagement écologique est étroitement lié à la possibilité d’une esthétique de l’usure — capacité de la matérialité à se transformer, à porter l’usage et le temps. Afin de vérifier cette hypothèse, diverses formes d’engagement écologique ont été identifiées, et leurs propriétés esthétiques visuelles documentées. Une enquête photoethnographique a été réalisée entre 2014 et 2016 auprès de six individus, deux couples et quatre communautés engagés envers la cause écologique dans des milieux de vie urbanisés. Les terrains d’enquêtes comptent un squat activiste autogéré à Istanbul, un centre culturel et social habité autogéré à Berlin, un quartier autogéré à Copenhague, une habitation communautaire, des simplistes volontaires à Montréal et une autoethnographie performative effectuée à la lumière des pratiques observées sur le terrain. Une documentation photographique contextualisée par le biais d’un carnet de terrain a permis de décrire les propriétés esthétiques des lieux habités et des gestes posés au nom du souci écologique. Les résultats montrent que l’esthétique de l’usure est une qualité transversale de ces milieux de vie. Elle s’atteste dans la matérialité artificielle et naturelle, mais aussi gestuelle. Les résultats révèlent aussi douze autres propriétés esthétiques déterminantes de l’engagement écologique. Cette recherche permet de poser un regard critique sur les pratiques des designers adoptées au nom de la durabilité. Elle contribue à une compréhension plus riche des propriétés esthétiques oppressives, liberticides, écologiques et engageantes. L’une des particularités du design est sa capacité à agir sur l’esthétique du quotidien. Ces connaissances permettent aux designers et autres producteurs de l’environnement artificiel de considérer l’esthétique comme un levier d’action pour l’engagement et la transition écologique. Particulièrement, elles démontrent que l’esthétique est un élément clé des transformations sociales et culturelles, mais sa dimension anthropologique reste à explorer, à expérimenter et à légitimer. Enfin, ce travail aspire à éclairer, sur un plan théorique, le rapport entre l’esthétique et l’engagement, puis à sonder la possibilité d’une (contre)politique de l’artificiel pour améliorer les modes de production de demain. / In the last forty years, designers have not been immune to the political turn of the ecological crisis and the normative tools that it generated to design our relationship to the world. In this professional field, the sustainability has been applied particularly to the choice of materials and the standards created have tended to consolidate the aesthetic properties of the Modern Movement. This endemic aesthetic, highly standardizing, anthropocentric and ahistorical is opposite to the change promised by environmental policies which require citizen commitment, building a community between human beings, and also with others, non-humans. Criticisms against the Modern Movement and environmentalism showed that the ecological commitment can take shape in another aesthetic, an aesthetic which also defeats the distinction between nature and culture and preserves the agency of people for sustainability. Looking at aesthetic through an anthropological approach, from a pragmatist and realistic perspective, this thesis argues that the ecological commitment depends on this particular aesthetic. The hypothesis is that the ecological commitment is closely linked to aesthetics of wear - the ability of materiality (bodies and things) to transform, to show mark of uses and time. To verify this hypothesis, various forms of ecological commitment have been identified, and their visual aesthetic properties documented. A photo ethnographic survey was conducted between 2014-2016 with six individuals, two couples and four ecological communities, all settled in urban areas. The fieldwork includes a self-managed activist squat in Istanbul, a self-managed cultural and social center in Berlin, a self-managed neighborhood in Copenhagen, a communitarian house in Montreal, persons following the principles of simple living in Montreal and a self-ethnography performed in the light of ecological practices observed in these fieldworks. A photographic data collection contextualized through a field notebook allows to describe the aesthetic properties of those ecological places and the actions undertaken. The results show that the aesthetics of wear is a transversal quality of these environments. It was identified in artificial and natural materiality, but also in gestures. The analysis also reveals twelve other aesthetic properties crucial to ecological commitment. This research allows us to take a critical look at sustainable practices. It contributes to a richer understanding of oppressive and engaging aesthetic properties. Designers shapes the everyday aesthetics. The knowledge produced allows designers and the other producers of the artificial environment to consider aesthetics as a lever of action for commitment and ecological transition. In particular, it demonstrates that aesthetics is a key element of social and cultural transformations, but its anthropological dimension remains to be explored, tested and legitimized. Finally, this work aspires to contribute, on a theoretical level, to the relationship between aesthetics and commitment, and explore the possibility of a policy (or not) for artificial to improve our future production patterns.

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