With the advent of neoliberal globalization in the 1980s, international student mobility (ISM) has become a significant social and educational phenomenon. Given the increasing magnitude of international student flows from developing countries to the developed or major member countries of the Organization for Economic Co-operation and Development (OECD), this research explores major OECD policy positions on international students, related priorities in higher education, and the influence of the GATT, the WTO and the GATS on higher education in these countries. Chinese graduate student perspectives are also drawn upon to understand Chinese student migrations to Canada in pursuit of higher education. The research considers ISM as a social and educational phenomenon of student migration across borders for higher education. Given the focus on exploration, meanings and understandings, an interpretive approach and qualitative case study strategy have been utilized to examine relative policy positions and to understand the experiences of Chinese graduate students who study at the University of Alberta (U of A) with the view to contribute towards qualitative studies of ISM. / Theoretical, Cultural and International Studies in Education

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Ce travail se veut comme une contribution académique sur le sujet de l’évaluation du contact des sociétés dites traditionnelles (locales) face à la dynamique de mondialisation culturelle (globale) portée par les dispositifs d’information et de communication. Il s’inscrit dans le cadre d’un débat portant sur les industries culturelles et leurs influences, ainsi que sur le processus de reconfiguration des identités et cultures traditionnelles locales au contact du monde moderne synonyme de leur intégration ou non à l’ordre mondial. Entre tradition et modernité, la rencontre entre l’industrie culturelle et la culture kabyle nous renvoie souvent à la dimension du global/local que soulève ou qu’impose la globalisation. Celle-ci par delà son aspect hégémonique participe à l’émergence d’un processus d’hybridations culturelles et identitaires symbole de cette combinaison entre moderne et non moderne qui repose sur les dichotomies fascination/répulsion, emprunts/rejets intégrations/éliminations qui se déploient selon des modalités de résolution toujours précaires. Les flux médiatiques transnationaux apparaissent sans doute comme un facteur majeur à l’intérieur de ce processus, d’où la question de savoir et de comprendre dans quelle mesure est ce que de tels dispositifs produisent de « l’homogénéisation culturelle », ou, à l’inverse, s’ils permettent, « d’enrichir » l’expérience culturelle et identitaire locales « d’apports extérieurs » ? / This work is intended as an academic contribution on the subject of the evaluation of traditional societies (local) against the dynamics of cultural globalization (global) supported by information and communication devices. It is in the context of a debate on the cultural industries and their influences, as well as on the process of reconfiguration of traditional local identities and cultures in contact with the modern world stands for integration or not the world order. Between tradition and modernity, the meeting between the cultural industry and the so-called local cultures we often return to the dimension of global / local raised or imposed by globalization. This and beyond its hegemonic aspects involved in the emergence of a cultural and identity symbol of the hybridization process combinison between modern and non-modern based on dichotomies fascination / repulsion, loans / discharge integration / élimiation that deployed in ever precarious resolution arrangements. Transnational media streams appear likely as a major factor in the interior of the process where the question and understand if such dipositifs produce "cultural homogenization" or permetent conversely, «d 'enrich» cultures and local identities «external input»?

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A tese está organizada em torno dos estudos de caso de três edições da Documenta de Kassel (1997, 2002, 2007), bem como das 24ª (1998), 27ª (2006) e 28ª (2008) edições da Bienal de São Paulo, tendo como foco de análise as transformações ocorridas nas práticas curatoriais e na esfera institucional da arte a partir dos anos 1960 e 1970. A construção conceitual foi realizada através de um diálogo entre as transformações nas práticas curatoriais contemporâneas, resultado de uma revisão dos papéis das instituições como mediadoras entre a produção artística e o público, com os processos de inserção de regiões e discursos periféricos em um sistema cultural global. / The Thesis is organized around the case studies of the last three editions of Kassel´s Documenta (1997, 2002, 2007), and the 24th (1998), 27th (2006) and 28th (2008) editions of São Paulo Bienal. It is focused on the analysis of the transformation that has been occurring in the curatorial practices and in the art institutions since the 1960s and 1970s. Its conceptual background is based on the relationship between the critical (aesthetic) practices and the process of cultural globalization.

A tese está organizada em torno dos estudos de caso de três edições da Documenta de Kassel (1997, 2002, 2007), bem como das 24ª (1998), 27ª (2006) e 28ª (2008) edições da Bienal de São Paulo, tendo como foco de análise as transformações ocorridas nas práticas curatoriais e na esfera institucional da arte a partir dos anos 1960 e 1970. A construção conceitual foi realizada através de um diálogo entre as transformações nas práticas curatoriais contemporâneas, resultado de uma revisão dos papéis das instituições como mediadoras entre a produção artística e o público, com os processos de inserção de regiões e discursos periféricos em um sistema cultural global. / The Thesis is organized around the case studies of the last three editions of Kassel´s Documenta (1997, 2002, 2007), and the 24th (1998), 27th (2006) and 28th (2008) editions of São Paulo Bienal. It is focused on the analysis of the transformation that has been occurring in the curatorial practices and in the art institutions since the 1960s and 1970s. Its conceptual background is based on the relationship between the critical (aesthetic) practices and the process of cultural globalization.

Cette thèse de géographie porte sur la mobilité internationale des artistes. Mes travaux ont consisté à étudier les pratiques et les discours des artistes rhônalpins, plus spécifiquement dans le domaine du spectacle vivant, au regard des politiques culturelles et de leurs dispositifs. J’ai questionné ces pratiques (déplacements, construction de projets, création, diffusion) dans leur relation à l’espace et aux territoires, non par le prisme de l’ancrage mais par celui d’une mobilité internationale qui paraissait tout autant normale que valorisée aux yeux des artistes. Sur un plan théorique, ces pratiques ont été interrogées à travers la notion de nomadisme, abondamment mobilisée tant par les analystes que par les artistes eux-mêmes. La thèse consiste à déconstruire la conception de la mobilité des artistes comme une pratique nomade en proposant une analyse en termes de spatialités et de territorialités, laquelle décline plusieurs modalités de relations à la distance, au mouvement, aux institutions et à l’altérité. De 2012 à 2014, j’ai bâti et appliqué un protocole méthodologique impliquant tout d’abord la construction d’un terrain mobile afin de capter et comprendre au mieux le mouvement dans l’espace. Cette méthodologie a consisté à articuler un point de vue fixe (étude des politiques culturelles à plusieurs niveaux, des données issues du dispositif de la Région et des discours d’opérateurs culturels) et un point de vu mobile (entretien avec des artistes mobiles à l’international et observation de projets d’artistes à Montréal, Ouagadougou et Barcelone). Cette thèse dessine une géographie de la mondialisation culturelle par les voyages des artistes. Découlant des déplacements, elle reflète les affinités des artistes mais aussi les espaces de projection des territoires dont ils sont issus ainsi que des dynamiques de développement des marchés du spectacle vivant. Cette géographie relativise le poids du cadre européen et met en lumière un jeu de territorialités qui articule les ici (composés des relations institutionnelles aux différents niveaux de territoires dans lesquels les artistes s’inscrivent) et les ailleurs (composés des différentes destinations et de leur poids symbolique, humain et matériel investi puis véhiculé artistiquement). Loin d’un nomadisme généralisé et généralisant, l’étude des territorialités mobiles des artistes est révélatrice d’un rôle politique et symbolique des territoires dans la mondialisation culturelle. / This dissertation deals with the international mobility of artists, especially about performing arts in relation with cultural policies. The object of my study is artistic practices (displacements, projects, creation, distribution) in connection with space and territories. This is not tackled from the angle of anchorage but from that of mobility, expressed by artists as a normal and valorised activity. These practices have been questioned through the prism of nomadism - a notion that has been massively used by mobility analysts as well as by mobility actors themselves and criticized in the context of the new mobilities paradigm. In accordance with this paradigm, the dissertation discusses this romantic reading of mobility by analysing artistic mobility in terms of spatialities and territories, in relation with distance, movement, institutions or otherness. From 2012 to 2014, I applied mobile methods by building a mobile field in order to focus on and understand spatial movement. This methodology articulates a static point of view (study of cultural policies, of data from institutions and of cultural operators’ speeches) and a mobile one (interviews with artists on the move, observations abroad). This dissertation draws a geography of cultural globalization based on artists’ travels. It shows places visited by French artists in the context of economic trends and geopolitical logics. This geography balances the weight of the European Union as a political framework for cultural policies and artistic cooperation. It also lays emphasis on the relation with territories articulating places here (a multi-level institutional relationship) and places elsewhere (a multi-located way of creating). Far from the generalising idea of nomadism, this territorial study by artistic mobility reveals a political and symbolic action of territories in cultural globalization.

The Nigerian entertainment industry called Nollywood has for several years been one of the top audiovisual producers worldwide in regards to the volume of media produced. However, its market is to a large extent isolated from the dominant media flows, which has inspired interest for a detailed study of its role in the global cultural scene. The thesis is a theoretical treatise about the history and the present situation of Nollywood, which the author discusses in the context of the two seemingly oppositional paradigms of the globalization discourse: cultural imperialism and cultural globalization. To gather the most up-to-date and the most complex information, the thesis uses theoretical methods, such as the analysis, synthesis and comparison of the articles found in science journals and literature. The text is comprised of three main parts. After a brief introduction into the current situation in Nigeria and the historical development of its audiovisual media, the second chapter discusses the birth of Nollywood for the first time in the Czech academia, as well as its current production and distribution principles. In this part of the thesis, the focus is given to the description of the extent of Nollywood's influence in the world, including the Czech Republic, talking both about the audience size...

Circulation des produits culturels, uniformisation des cultures, diversité culturelle, américanisation des cultures. Telles sont les théories véhiculées par la mondialisation culturelle. Toutefois, l’histoire démontre que la théorie qui fait l’unanimité en passant par les Sciences économiques, le Management des entreprises et la Sociologie est : la circulation des produits culturels, des services et des biens économiques à l’échelle planétaire. Au regard de ce fait, nous avons voulu l’expérimenter en Sociologie et plus précisément dans le domaine du cinéma au Gabon. A cet effet, nous avons relevé par le biais des programmes cinématographiques des chaînes de télévision, de la salle de l’Institut Français du Gabon et des vidéoclubs qu’il existe un panorama de films mondiaux (Américains, Français, Nigérians, Ivoiriens, Mexicains et Gabonais etc) qui circulent dans ce marché. Par ailleurs, il était aussi capital pour nous, de démontrer que la population gabonaise ne subit pas la mondialisation culturelle. C’est de ce pas que l’étude de la culture du cinéma au Gabon trouve tout son sens. Cette étude a confirmé que les Gabonais s’attachent particulièrement aux films qui se rapprochent de leur société (faits sociaux et cultures traditionnelles). Ceci explique le fait que les cinémas ivoirien, latino-américain, nigérian et ghanéen soient les plus préférés. D’autres cinémas (à l’exemple du cinéma américain) sont également bien reçus. Fort de tout ce qui précède, nous pouvons affirmer que le Gabon est véritablement dans la mondialisation culturelle. / Movement of cultural products, standardization of cultures, cultural diversity, Americanization of cultures. These are the theories which are conveyed by cultural globalization. However, History has shown that the theory which is approved unanimously by Economics, Corporate Management and Sociology is: the movement of cultural products, services and economic goods on a worldwide scale. For this reason, we wanted to experiment it in Sociology and more precisely in the area of cinema. For this purpose, we have noted down thanks to the cinema programmes of television channels, of the theatre room of the French Institute of Gabon, and of videoclubs that there is a panorama of world films (American, French, Ivoirian, Mexican, Gabonese, etc.) that are in circulation on the market. Furthermore, it was also important for us to demonstrate that the Gabonese people does not undergo cultural globalization. Therefore, the study of the cinema culture in Gabon makes sense. This study has confirmed the fact that the Gabonese are particularly interested in films which are close to their society (social facts and traditional cultures). This explains the fact that Gabonese people mostly prefer films from Ivory Coast, Latin American, Nigeria and Ghana. Other cinemas - the American one, for instance- are well accepted too. In light of this, we can say that Gabon is really in cultural globalization.

El propósito de esta investigación es analizar la representación de la idea de justicia en los animes shonen transmitidos en el Perú durante la década de los 90. Para ello, se retoman los debates sobre las capacidades del anime como producto artístico y cultural y la influencia de series animadas transmitidas por televisión desde las disciplinas de comunicación, ciencias sociales, educación, psicología y artes. Para la profundización teórica, se revisaron estudios referentes al anime, como el de Cobos (2010) sobre la globalización de la animación japonesa y su incursión en Latinoamérica; y análisis de personajes shonen, como el de Sasada (2011) sobre el altruismo en la serie One Piece. Sobre el tema de la justicia, se revisaron textos que analizan la teoría de justicia desarrollada por John Rawls en 1971, como el de Caballero (2006), Echeverry y Jaramillo (2006), Castilla (2007), Hoyos (2008), Gaiada (2008), Osorio (2010) y Plata y Urbina (2011). Finalmente, en coherencia con los objetivos del estudio, se propone un diseño metodológico cualitativo, orientado a la realización de un análisis de contenido de dos animes shonen, de los cuales se escogieron nueve capítulos de cada uno para ser observados. Con ello, se espera observar que los animes shonen de la década de los 90 que fueron televisados en el Perú, transmitían ideas de justicia a sus jóvenes espectadores a través de los protagonistas y la narrativa propuesta en esas series. / The purpose of this research is to analyze the representation of the idea of ​​justice in shonen anime broadcast in Peru during the 1990s. To do this, the debates on the capabilities of anime as an artistic and cultural product and the influence of animated series transmitted by television from the disciplines of communication, social sciences, education, psychology and the arts are retaken. For theoretical deepening, anime studies were reviewed, such as that of Cobos (2010) on the globalization of Japanese animation and its foray into Latin America; and shonen character analysis, such as Sasada (2011) on altruism in the One Piece series. From a perspective of my discipline, texts such as that of Baccaro and Guzman (2013), which expose the languages ​​of cinema, and Chalko (2014), which delve into the design and importance of sound for audiovisual language, were reviewed. Finally, in coherence with the objectives of the study, a qualitative methodological design is proposed, aimed at conducting a content analysis of five shonen anime, from which nine chapters of each were chosen to be observed, and in-depth interviews twenty men who were adolescents between 1995 and 2000 (from 37 to 42 years at present). This will allow finding the expected result. / Trabajo de investigación