This research sets out to examine the main excuses, often mentioned in connection to the so-called “honour killings” in Pakistan. In this way, the aim is to discuss the idea of “honour killings” by looking at trends and patterns in this kind of homicides in Pakistan. This study also explores what legal and judicial obstacles stand in the way of putting an end to the abuse of killing women in the name of honour.The first part is mainly theoretical and analytical. In this part a set of concepts is theorized as the notion of patriarchy, public/private division and cultural globalization. These theories test the empirical data of “honour killing” in the last decade and try to find their role in the society of Pakistan. This study also analyzes the “honour killing” cases in a different way by telling stories. Second part contributes to the research regarding Islam the official religion of Pakistan. This section mainly concerns the status of women in Islam and their rights of life and free will to choose their spouses. This study also tries to remove the misconception in the minds of the West regarding Islamic teachings towards women.This study proceeds mainly under the qualitative method with the supplementary help of quantitative method. At the end, the thesis bears some finding under the abductive technique. The results show that the tested theories have a significant role in upholding the ancient practice of “honour killings” in Pakistan, and Qur’aanic and Prophetic Islam has no link with the abuse of “honour killing” in general. It is ancient tribal phenomena that have entered in some cultural norms of the society.

本文是以處在文化全球化發展進程下的台灣社會現況做為研究背景，針對十四位現年二十三歲到二十九歲的台灣青年世代觀眾的美國影集收視經驗，進行深度訪談研究。這群台灣的青年觀眾因為熟稔網際網路與電腦科技操作，善於以下載數位檔案、燒錄光碟、以及購買DVD的方式，自行且主動安排出個人的電視收視方式與內容。本文關注這群青年觀眾利用各種傳播科技工具進行休閒娛樂，他們對諸多來源地區的外國電視節目做出取捨時，電視節目的出品地區是否對他們的消費心態有任何影響。筆者以Mittell（2004）所倡議的電視節目類型研究建議，結合全球化理論、消費理論、電視觀眾等研究傳統，設計出本文的研究架構。 本文的提問有二：其一是在全球化的文化情境背景下，主動且大量收看美國影集的台灣青年觀眾，在生活中利用什麼工具與方法、付出多少時間在收視美國影集一事上，而收看美國影集對於這群觀眾生活的其他部分有何影響。其二是關於受訪者是基於怎樣的品味標準，養成了獨鍾美國影集的收視選擇與收視習慣，對於生活中其他國家的電視劇又抱持怎樣的想法。 本文發現，美國影集在受訪者生活裡扮演的功能歷經數次重要的轉變，隨著年紀增長，受訪者對美國影集的收視態度也從被動到主動。受訪者喜歡在看美國影集時尋獲看見真實美國社會的感受，而他們認為日、韓、台三地的電視劇都無法提供這樣的寫實感。本文更進一步發現，這些受訪者的文化認同狀況，遠較單純地被美國文化洗腦來得複雜許多。他們是以不斷重覆消費腦中虛構的美國印象為工具，並以此鑑賞力為榮，他們認為自己的品味獨到，優於其他台灣民眾。 本文的研究發現有三：首先，本文認為吾人在思考文化全球化問題時，應避免以二分的對立觀點去看待全球化和在地化；我們應該思考個人是如何在權衡全球和在地兩方的力量之後，創造符合個人認知的生活方式。其次，本文認為收視節目的選擇有宣示個人品味的消費功能，而本文受訪者貴遠賤近的心態，也顯示區域文化商品的文化鄰近性優勢應被重新評估。最後，本文發現受訪者對個人虛構出來的美國印象產生文化認同，而且他們不經客觀事實查證也確信從美國影集中所得的資訊為美國社會之真實，證明電視的收視樂趣涉及感覺的消費，而受訪者希望以對美國影集的長期收視與喜愛，來與在地的其他地區電視節目收視品味區隔，以達成在文化資本上的秀異宣稱。

本研究以一家台灣獨立唱片廠牌─小白兔橘子唱片為個案，探討其實際運作情況及其音樂產品由生產到消費的過程。透過深入訪談及實物蒐集，我由四類不同身分參與者的實作層次與意識層次觀點切入研究問題，其中受訪對象包括：獨立唱片廠牌經營者、獨立音樂唱作者、獨立音樂產品消費者以及樂評人等。研究結果的討論在實作層次包括三個層面，即產製面、消費面及互動面，而在意識層次則主要討論各類參與者對於獨立音樂產品之「獨立性」的看法與實踐。 研究結果發現，獨立音樂的產製具有低資本與高自主性的特色。首先，獨立音樂廠牌的經營規模較小，而低經濟資本的經營方式反映在實際的產製過程中，在相關合作對象與宣傳管道的選擇上產生一些限制；不過，廠牌經營者所擁有的社會資本常成為廠牌成立與存續的重要助力。再者，相較於主流音樂而言，獨立音樂的唱作人對於產品與宣傳活動的展現方式有相當高的自主性，但相對而言也必須更為自立，無法在所有環節上都依賴廠牌。而獨立音樂的消費者在消費資訊的取得方式上是較為積極主動的，而不是被動地依賴較容易取得的主流媒體資訊。 以全球化的觀點論之，小白兔橘子唱片作為一個本地獨立廠牌，雖然擁有與跨國集團有所區隔的獨特利基，但仍是以英美語系音樂產品的輸入作為最重要的經營項目。對台灣的獨立音樂產業而言，如何活絡「本地音樂產品」的發展，而不只是存在著「本地廠牌」，需要各方參與者及政府機構更多的投入與努力。 / This research is a case study of White Wabbit Records (hereafter WWR), an independent record label in Taiwan. I investigated the mode of WWR’s operation as well as the process from production to consumption of its music merchandise. Through in-depth interviewing and archival strategies, I collected data on the views and experiences of four different actors in the independent music business: the executive of the independent record label, the independent bands and artists, the consumers of independent music, and music critics. There are two primary aspects involved in this research: 1) “performance”, which includes production, consumption, and interactions amongst the actors; and 2) “ideology”, which comprises the views and practice of each actor with respect to the “independent-ness” in independent music products and production. The research found that two distinguishing features – “low cost” and “high autonomy” – are involved in the production of independent music. First, independent record labels are predominantly small companies, and thus the executive’s social capital is crucial to the establishment and ongoing operation of the company. However, in order to cut costs, many procedural restrictions exist, such as in the choice of collaborationists and promotional methods. Second, the autonomy in creativity that independent bands and artists enjoy during the production and promotional processes is much higher than that of their major record label counterparts. Nevertheless, artistic freedom comes at a cost: greater autonomy means the bands and the artists are unable to rely on their record labels to provide the bulk of the necessary resources. Moreover, the consumers of independent music are more proactive in accessing musical information, as they do not depend passively on the information transmitted to them through major broadcasting venues and the mass media. With respect to issues of globalization, even though WWR is a local independent record label with a particular niche different from that of transnational corporations, Anglo-American recordings continue to be WWR’s most important merchandise. Ultimately, while an “independent record label” already exists in Taiwan, the independent music industry here still needs to facilitate its development in the production of home-made music, rather than rely on Western imports. The achievement of this goal needs further participation and efforts of related actors as well as the government of Taiwan.

Au carrefour de la sociologie des élites, de l’histoire intellectuelle et des études de réception, cette recherche explore les mécanismes par lesquels les discours théoriques et les idées politiques circulent entre pays, entre disciplines, et entre mondes savants et politiques. Elle prend pour objet la réception, dans les champs intellectuel et politique français, de la théorie de la justice sociale de John Rawls et du vaste débat ouvert par celle-ci dans le monde anglophone à partir de 1971. Contribution à une histoire sociale des idées politiques contemporaines, elle combinel’observation in situ de séminaires d’experts, de colloques universitaires, l’ethnographie de discussions en ligne, avecune enquête statistique, et l’étude d’archives administratives, universitaires et éditoriales. La description desréférences à Rawls, Sen ou Walzer dans les publications académiques, la presse, les programmes politiques, l’actionpublique ou les programmes scolaires fonctionne ainsi comme un analyseur de reconfigurations plus globales, comme la domination accrue de l’anglais sur les échanges culturels transnationaux, le déclin des référentiels marxistes et keynésiens au sein de la gauche française, ou la remise en cause du paradigme structuraliste au sein des sciences humaines et sociales françaises. On montre comment les appropriations des « théories de la justice » et leurs circulations se rapportent à la position occupée par leurs médiateurs et la structure du milieu d’interconnaissance qu’ils constituent. Alors que la sociologie de la réception a souvent négligé l’analyse du contenu des appropriations, on montre en outre comment une lecture sociologique de celles-ci permet d’expliquer des affinités ressenties par ces médiateurs pour la pensée de Rawls, par delà les frontières nationales, disciplinaires et sectorielles / Spanning the sociology of elites, intellectual history, and reception studies, this research explores how theories and political ideas are circulated across countries and disciplines, as well as between the academic and political worlds. Starting in 1971, it studies the French intellectual and political reception of John Rawls’s theory of social justice, and more broadly of the debates it sparked in the English-speaking world. Contributing to a historical sociology of political ideas, this dissertation combines ethnography in think-tanks and academic conferences, as well as in online discussions, with a statistical survey, and the study of archives of publishers, academics and administrations. Through the exploration of references to Rawls, Sen or Walzer in academia, the press, political platforms or curricula, we show how this reception is an analyzer of broader changes, such as the growing dominance of English in transnational cultural exchanges, the declining recourse to Marxist and Keynesian paradigms in the French Left, and the questioning of centrality of structuralism in social sciences and the humanities in France. It shows that the very diverse ways in which “theories of justice” have been appropriated and circulated in France depend on the social location of their mediators, and on how their networks are structured. Whereas the sociology of reception has often overlooked the internal analysis of appropriations, this research shows how analyzing them sociologically helps explain why these mediators felt elective affinities with Rawls’s thought, despite national, disciplinary and sectoral boundaries

Aujourd'hui, dans de nombreux pays, les programmes de télévision de quelques entreprises américaines, les Majors, sont les plus populaires auprès des téléspectateurs. Cette thèse propose d'étudier le processus d'uniformisation culturelle qui a rendu ce phénomène possible en se concentrant sur les interactions commerciales sur le marché de la distribution de programmes de télévision. Nous avons choisi d'observer à la fois les acteurs qui portent cette uniformisation, les Majors, et les autres, qui essaient de résister. Pour ce faire, nous avons privilégié une entrée par les salons. En effet, ce secteur est structuré par un ensemble de salons et festivals, rythmant l'année. La stratégie de captation des Majors consiste à pratiquer des contrats exclusifs et à adopter un comportement de passager clandestin sur les salons. Durant ces derniers, ils sortent de la place de marché officielle, tout en restant à proximité, afin d'attirer les plus gros acheteurs. Ces comportements sont tolérés, car, pour un salon, la participation des Majors est une condition nécessaire à son succès du fait de leur popularité auprès des acheteurs. Au moyen d'une enquête ethnographique, d'une analyse des réseaux d'échanges d'informations et de rendez-vous entre individus, et d'une analyse des réseaux de contrats entre organisations reconstruits sur le principal salon en Europe Centrale et Orientale, nous montrons que les plus faibles peuvent résister en coopérant. Cette coopération correspond souvent à des mécanismes triadiques locaux, à la fois multiniveaux, multimilieux et multiplexes, que nous identifions avec leurs sous-structures et leurs conditions d'apparition, et dont nous testons la probabilité d'occurrence. / Today television programs produced by a few American companies, the Majors, are among the most popular with viewers. This dissertation examines the process of cultural uniformisation that has driven this phenomenon by focusing on commercial interactions in the global distribution market for television programs. We observe both the actors who promote this uniformisation, the Majors, and the others, who try to resist it. To do this we look at how trade fairs in this sector work. Indeed, this industry is structured by a set of recurrent and annual trade fairs and festivals. The captation strategy of the Majors consists in offering only exclusive contracts and free-riding on the trade fairs themselves. During these events, they leave the official marketplace while remaining in the close vicinity in order to organize private screenings and attract the buyers with the deepest pockets. This behavior is tolerated because the participation, at least formal, ofthe Majors is vital for the organizers of the trade fairs due to the popularity of their production with buyers and the public. Based on ethnographic observations, organizational analyses and a multilevel network study (i.e. inter-individual networks of information exchange and of scheduled meetings, and inter-organizational networks of contracts between companies) in the main tradefair of Eastern Europe, we show that the weakest parties in the system can cooperate to resist the domination of the Majors. This cooperation is often based on local, triadic mechanisms that are multilevel, multimilieux and multiplex that we identify with their substructures, determinants and probability of occurrence.

Dans les années 1990 et 2000, la scène musicale underground taiwanaise a vu naître successivement le Taik – ou Rock Taike 台客搖滾 taike yaogun – puis le Taiwan Traditional Rap, ou 台灣味唸歌 Taiwan wei niange. Ces courants « trans-musicaux » se rejoignent sur de nombreux points tels que la revendication de « traditions » populaires locales, accompagnée cependant d'une forte complaisance au métissage culturel, et par-dessus tout d'un besoin de se définir – de s'identifier – en dehors des clichés aliénants du bon-goût, dictés de manière hégémonique par la culture « dominante » centrée depuis la fin des années 1940 sur le modèle de la République de Chine. Appuyée par un travail de terrain réalisé entre 2005 et 2010 selon les principes de l'observation participante, et pensée à la lumière des cultural studies et d'ouvrages d'auteurs tels que Dick Hebdige et Stuart Hall, cette thèse propose une approche « sensible » d'une sous-culture particulière, tempérée d'autre part par une critique des théories développées par Pierre Bourdieu dans La Distinction, Critique sociale du jugement. Elle tente ainsi – au travers du prisme trans-musical – de définir la place occupée par la sous-culture locale « Taike » dans l'histoire globale d'autres sous-cultures comparables, et s'impose alors en contexte tel un trait d'union entre Taiwan et le reste du monde. / In the 1990's and 2000's, the underground music scene in Taiwan successively gave birth to the Taik – also called Taike Rock 台客搖滾 taike yaogun – then to Taiwan Traditional Rap 台灣味唸歌 Taiwan wei niange. These "trans-musical" currents are similar in many issues such as the claim to local folk traditions, accompanied however by accomodating a strong cultural mix and by a need to define – to identify – themselves outside the alienating good taste, so dictated since the late 1940's by the hegemonic "dominant" culture focused along the lines of the Republic of China. This thesis proposes a ''sensitive'' approach to a particular subculture, furthermore tempered by a critique of theories developed by Pierre Bourdieu in Distinction: A Social Critique of the Judgment of Taste. It has been backed up by field studies conducted between 2005 and 2010 according to the principles of the participant-observer and trends of thought enlightened by cultural studies and works of authors such as Dick Hebdige and Stuart Hall. It attempts also – through the prism of trans-musicality – to define the place of the local "Taike" subculture in the global history of other comparable subcultures, as an essentiel link between Taiwan and the rest of the world.

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