This paper examines the role of the Chinese cultural production in political economy, putting some emphasis to the market aspects of culture as well as the political outcomes. The hypothesis of the paper is based on the assumption that culture is one of the main resources of soft power. Therefore, the spread of the well-favored culture through cultural trade should create an attractive image of a country represented by that culture. A specific case study of China’s cultural imports into Lithuania is provided to serve as an example to reveal this relation of politics-economics-culture and to prove that cultural interaction can influence opinion about the whole cultural group thus increasing its power. This qualitative research was conducted first of all reviewing theoretical literature on the relevant topics of political economy, culture and soft power (Chapter 2). Then a number of a recent primary data from the United Nations reports as well as the other academic and media sources was analyzed in order to establish the role of China’s cultural production in the world market, which clearly demonstrates that China is already proving the success of its cultural industries becoming the largest producer and exporter of cultural products in the world (Chapter 3). Finally, the case study, which included analysis of primary imports data, review of the Chinese services and activities in Lithuania and 25 in-depth semi-structural interviews, proved that China’s cultural products imports into Lithuania is a subsistent part of the trade market and is constantly growing since 2003 along with the cultural services proliferation. The interviews presented some insightful opinions about Chinese cultural production, Chinese culture and China in general (Chapter 4).

O objetivo desta tese é analisar as relações de poder expressas nas definições de cultura contidas nos documentos legais da Organização das Nações Unidas para a Educação, Ciência e Cultura (UNESCO), entre 1945-2015, principalmente em relação às implicações para a produção, reprodução, circulação e proteção de bens, serviços e conteúdos culturais. Buscou-se identificar como a relação entre cultura e desenvolvimento, ausente nos primeiros documentos emitidos pela entidade, tornou-se ponto central das declarações, convenções e recomendações mais recentes, levando-se em conta o papel das instituições do sistema ONU como promotores de normas. O recorte temporal da análise compreende três fases: o primeiro período corresponde aos antecedentes da Organização (1871-1945). Nessa fase, a expansão do imperialismo capitalista, principalmente europeu, e o colonialismo têm entre suas bases uma noção hierárquica de \"civilização\". O chamado conceito humanista de cultura vigente baseia-se, por esse aspecto hierárquico, em uma visão de \"igualdade excludente\". A UNESCO efetivamente passa a existir no segundo período (1945-1985), fase da Guerra Fria e em que ocorre o processo de descolonização e a ascensão do chamado Terceiro Mundo. A ênfase é dada à noção de \"diversidade\", analisada aqui como \"diferença inclusiva\" e a substituição gradual do conceito humanista pelo conceito antropológico. No terceiro momento (1985-2015), os aspectos econômicos são agregados ao conceito de diversidade, o que leva à incorporação, nos debates sobre cultura, do tema \"desenvolvimento\", caracterizada como uma visão de \"diferença produtiva\". Nota-se a relação entre contextos históricos e geopolíticos e os discursos prevalentes e sua difusão como norma, passando a compor o fundamento de políticas culturais domésticas. / The aim of this thesis is to analyze the power relationships expressed in the definitions of culture contained in the body of legal documents of the United Nations Educational, Scientific and Cultural Organization (UNESCO) between 1945-2015, regarding the implications for the production, circulation and protection of cultural goods, services and contents. The main goal was to trace how the relationship between culture and development, absent in the first documents issued by the entity, became central in recent declarations, conventions and recommendations, taking into account the role of UN institutions as norm setters. The analysis comprises three phases: the first corresponds to the antecedents of the Organization (1871-1945), when the expansion of capitalist imperialism, mainly European, and colonialism had among their bases a hierarchical notion of \"civilization\". The humanist concept of culture is based, in this hierarchical aspect, on a vision of \"excluding equality\". UNESCO effectively came into existence in the second period (1945-1985), during which the Cold War, with the decolonization process and the rise of the Third World, took place. The emphasis is given to the notion of \"diversity\", analyzed here as \"inclusive difference\" and the gradual replacement of the humanist concept by the anthropological concept. In the third period (1985-2015), economic aspects are added to the concept of diversity, which leads to the incorporation, in the debates on culture, of \"development\", characterized as a vision of \"productive difference\". The relationship between historical and geopolitical contexts and the diffusion of discourses as norms, which, by their turn, influence domestic cultural policies, are stressed.

O objetivo desta tese é analisar as relações de poder expressas nas definições de cultura contidas nos documentos legais da Organização das Nações Unidas para a Educação, Ciência e Cultura (UNESCO), entre 1945-2015, principalmente em relação às implicações para a produção, reprodução, circulação e proteção de bens, serviços e conteúdos culturais. Buscou-se identificar como a relação entre cultura e desenvolvimento, ausente nos primeiros documentos emitidos pela entidade, tornou-se ponto central das declarações, convenções e recomendações mais recentes, levando-se em conta o papel das instituições do sistema ONU como promotores de normas. O recorte temporal da análise compreende três fases: o primeiro período corresponde aos antecedentes da Organização (1871-1945). Nessa fase, a expansão do imperialismo capitalista, principalmente europeu, e o colonialismo têm entre suas bases uma noção hierárquica de \"civilização\". O chamado conceito humanista de cultura vigente baseia-se, por esse aspecto hierárquico, em uma visão de \"igualdade excludente\". A UNESCO efetivamente passa a existir no segundo período (1945-1985), fase da Guerra Fria e em que ocorre o processo de descolonização e a ascensão do chamado Terceiro Mundo. A ênfase é dada à noção de \"diversidade\", analisada aqui como \"diferença inclusiva\" e a substituição gradual do conceito humanista pelo conceito antropológico. No terceiro momento (1985-2015), os aspectos econômicos são agregados ao conceito de diversidade, o que leva à incorporação, nos debates sobre cultura, do tema \"desenvolvimento\", caracterizada como uma visão de \"diferença produtiva\". Nota-se a relação entre contextos históricos e geopolíticos e os discursos prevalentes e sua difusão como norma, passando a compor o fundamento de políticas culturais domésticas. / The aim of this thesis is to analyze the power relationships expressed in the definitions of culture contained in the body of legal documents of the United Nations Educational, Scientific and Cultural Organization (UNESCO) between 1945-2015, regarding the implications for the production, circulation and protection of cultural goods, services and contents. The main goal was to trace how the relationship between culture and development, absent in the first documents issued by the entity, became central in recent declarations, conventions and recommendations, taking into account the role of UN institutions as norm setters. The analysis comprises three phases: the first corresponds to the antecedents of the Organization (1871-1945), when the expansion of capitalist imperialism, mainly European, and colonialism had among their bases a hierarchical notion of \"civilization\". The humanist concept of culture is based, in this hierarchical aspect, on a vision of \"excluding equality\". UNESCO effectively came into existence in the second period (1945-1985), during which the Cold War, with the decolonization process and the rise of the Third World, took place. The emphasis is given to the notion of \"diversity\", analyzed here as \"inclusive difference\" and the gradual replacement of the humanist concept by the anthropological concept. In the third period (1985-2015), economic aspects are added to the concept of diversity, which leads to the incorporation, in the debates on culture, of \"development\", characterized as a vision of \"productive difference\". The relationship between historical and geopolitical contexts and the diffusion of discourses as norms, which, by their turn, influence domestic cultural policies, are stressed.

Depuis les années 1980, les États s’attachent à adopter et à promouvoir certaines initiatives tournées vers une meilleure protection du patrimoine culturel submergé en mer, exposé aux convoitises des chasseurs de trésors et mis en danger par les activités d’exploitation des ressources, même dans les grands fonds marins. La faible adhésion que suscite encore la Convention de l’UNESCO de 2001 sur la protection du patrimoine culturel subaquatique témoigne toutefois de profondes divisions au sein de la communauté internationale sur les moyens de soustraire les biens culturels sous-marins aux périls qui menacent leur intégrité. La localisation de certains sites en haute mer a fait naître des revendications de compétence tantôt fondées sur l’extension des rattachements (spatiaux et « extra- spatiaux ») légaux reconnus par le droit international général et par la Convention des Nations Unies de 1982 sur le droit de la mer, tantôt sur des facteurs de rattachement jusqu’ici purement factuels. Dans ce contexte, la protection internationale du patrimoine culturel de la mer offre un nouveau prétexte d’affrontement entre puissances maritimes et États côtiers, que l’évolution future du droit positif pourrait bien donner vainqueurs. Insuffisantes aux fins de procéder à une véritable délimitation des compétences en la matière, les règles conventionnelles et coutumières le sont tout autant lorsqu’il s’agit d’encadrer l’exercice des fonctions étatiques dans une sphère de compétence déjà reconnue. C’est dire que l’ « intérêt de l’humanité » à la protection du patrimoine culturel sous- marin joue un rôle essentiellement rhétorique et que l’unilatéralisme règne en la matière. / Since the eighties, States have endeavoured to adopt and promote initiatives oriented towards a better protection of underwater cultural heritage, endangered by treasure hunters' covetousness and resources exploitation impacts, even in the deep ocean. The current low number of adhesions to the 2001 UNESCO Convention on the Protection of the Underwater Cultural Heritage however highlights some deep divisions among the international community concerning the means for preventing threats to the integrity of the submerged cultural heritage. The localisation of certain sites in the high seas has raised jurisdictional claims, sometimes grounded on an extension of connecting factors - spatial and "extra-spatial" - already recognized in general international law and by the 1982 United Nations Convention on the Law of Sea, sometimes based on hitherto purely factual links. In this context, international protection of underwater cultural heritage offers another pretext for confrontation between maritime powers and coastal States, the latter being potentially declared winners according to future developments in positive law. Conventional and customary rules remain insufficient, either for a real delimitation of state's competences or for regulating the exercise of jurisdiction once authorized. Therefore, the idea of protecting underwater cultural heritage for the "benefit of humanity" appears to be merely rhetorical and even evicted by unilateralism.

Cette thèse se présente sous la forme d’un volume de 134 pages composé de 5 articles de recherche. La thèse est une contribution empirique à la littérature qui s’est développée depuis le début des années 2000 sur les bouleversements introduits par Internet sur le commerce des biens culturels. Elle examine plus particulièrement un ensemble de questions portant sur la complémentarité ou la substitution des canaux de distribution, physiques et virtuels, l’effet de « Longue Traîne » et la dispersion des prix sur Internet. L’intérêt de la thèse est d’apporter des éléments de preuve empiriques à ces débats, grâce notamment à la création de bases de données obtenues par captation automatisée de données observables sur Internet. Les résultats statistiques et économétriques issus de ces travaux détaillent les spécificités des meilleures ventes de Livres, CD et DVD selon les canaux de distribution (Amazon, Marketplace d’Amazon, magasins physiques) mais aussi selon leur format (livres papiers/ livres numériques). D’autre part, les résultats montrent une faible variabilité des prix par les vendeurs d’Amazon Marketplace ainsi qu’un faible impact des mesures traditionnelles de la réputation (notations des vendeurs) par rapport à la taille du catalogue des vendeurs remettant en question l’utilisation de la notation comme proxy de la réputation. / This thesis is a volume of 134 pages and includes 5 research articles. The thesis is a contribution to the empirical literature that has developed since the early 2000s on the changes introduced by the Internet trade in cultural property. It examines in particular a set of questions on the complementarity or substitution distribution channels, physical and virtual, the effect of the "Long Tail Theory" and price dispersion on the Internet. The interest of this thesis is to provide empirical evidence to the debate, thanks to the creation of databases obtained by automated data capture observable on the Internet. Statistical and econometric results from these studies detail the specifics of best-selling books, CDs and DVDs as distribution channels (Amazon, Amazon Marketplace, physical stores) but also according to their format (paper books / ebooks). Regarding price dispersion, the results show a low variability of prices by sellers of Amazon Marketplace and low impact of traditional measures of reputation (ratings of sellers) compared to the size of the catalog vendors challenging the using of notation as a proxy for reputation.

Esse trabalho identifica como relevante o acervo de bens culturais rurais localizados no sul do estado do Espírito Santo, e adota a região localizada entre os rios Itapemirim e Itabapoana para investigação. A fazenda Fortaleza, Alegre, ES, de meados do século XIX, foi eleita como exemplar piloto para elaboração de reflexões pautadas na utilização de ferramentas da geotecnologia, para acervo de bens culturais do ambiente rural. Para isso, foi realizada análise fenomenológica da fazenda entendida como única em sua unidade potencial, a partir da qual se considera pertinente a incorporação de análises morfométricas do meio ambiente rural e utilização do Analytic Hierarchy Process - AHP, para obtenção da Sensibilidade Cultural para o Ambiente Rural - SCAR. Definiu-se como área elegível da fazenda Fortaleza, aquela obtida através da delimitação por 500 m em linha reta, com origem em cada um dos quatro extremos do telhado da Casa Sede, por apresentar escala adequada aos estudos. Com o auxílio de manuais de agricultura do século XIX, percepção da fazenda em sua essência enquanto bem cultural e mapeamento do uso da terra, foram relacionados os Fatores de Fragilidade Morfológica e Cultural - FFMC para obtenção da SCAR. Adotou-se o FFMC de maior peso estatístico, Casa Sede, conforme AHP, para detalhamento histórico e científico. Em seguida, a partir de análise macroscópica, foram identificadas as principais espécies de madeiras utilizadas no sistema construtivo da Casa Sede da fazenda Fortaleza. Por fim, o trabalho traz como principal contribuição, a disponibilização de procedimento adequado à identificação e gestão do patrimônio rural do Espírito Santo. / This work chose as relevant cultural collection the property located in rural southern state of Espirito Santo, and adopts the region located between the rivers Itapemirim and Itabapoana for investigation. We used the Fortaleza farm how study model. It was built in first half of nineteenth century in the municipality of Alegre/ES. Thus we performed the phenomenological analysis on the farm which seen as unique in its potential unity from which we consider appropriate the incorporation of morphometric analysis of the environment rural using the Analytic Hierarchy Process - AHP to obtain the Cultural Sensitivity for the Rural Environment - CSRE. Thus, we used in the study an area of 500 m around of house, starting from the four ends of main roof. With the aid of agricultural manuals of the nineteenth century and the perception of the farm as precepts of phenomenology and mapping of use the land we related factors of Morphological and Cultural Fragility - MCF, to obtain the CSRE. The biggest MCF used was main house according of AHP for historical and scientific detail. Therefore, we identify from macroscopic analysis which were the main species of wood used to building of main house of the farm Fortaleza. This work brings as the main contribution the appropriate procedure to identify and manage the rural heritage of Espirito Santo.

Esse trabalho identifica como relevante o acervo de bens culturais rurais localizados no sul do estado do Espírito Santo, e adota a região localizada entre os rios Itapemirim e Itabapoana para investigação. A fazenda Fortaleza, Alegre, ES, de meados do século XIX, foi eleita como exemplar piloto para elaboração de reflexões pautadas na utilização de ferramentas da geotecnologia, para acervo de bens culturais do ambiente rural. Para isso, foi realizada análise fenomenológica da fazenda entendida como única em sua unidade potencial, a partir da qual se considera pertinente a incorporação de análises morfométricas do meio ambiente rural e utilização do Analytic Hierarchy Process - AHP, para obtenção da Sensibilidade Cultural para o Ambiente Rural - SCAR. Definiu-se como área elegível da fazenda Fortaleza, aquela obtida através da delimitação por 500 m em linha reta, com origem em cada um dos quatro extremos do telhado da Casa Sede, por apresentar escala adequada aos estudos. Com o auxílio de manuais de agricultura do século XIX, percepção da fazenda em sua essência enquanto bem cultural e mapeamento do uso da terra, foram relacionados os Fatores de Fragilidade Morfológica e Cultural - FFMC para obtenção da SCAR. Adotou-se o FFMC de maior peso estatístico, Casa Sede, conforme AHP, para detalhamento histórico e científico. Em seguida, a partir de análise macroscópica, foram identificadas as principais espécies de madeiras utilizadas no sistema construtivo da Casa Sede da fazenda Fortaleza. Por fim, o trabalho traz como principal contribuição, a disponibilização de procedimento adequado à identificação e gestão do patrimônio rural do Espírito Santo. / This work chose as relevant cultural collection the property located in rural southern state of Espirito Santo, and adopts the region located between the rivers Itapemirim and Itabapoana for investigation. We used the Fortaleza farm how study model. It was built in first half of nineteenth century in the municipality of Alegre/ES. Thus we performed the phenomenological analysis on the farm which seen as unique in its potential unity from which we consider appropriate the incorporation of morphometric analysis of the environment rural using the Analytic Hierarchy Process - AHP to obtain the Cultural Sensitivity for the Rural Environment - CSRE. Thus, we used in the study an area of 500 m around of house, starting from the four ends of main roof. With the aid of agricultural manuals of the nineteenth century and the perception of the farm as precepts of phenomenology and mapping of use the land we related factors of Morphological and Cultural Fragility - MCF, to obtain the CSRE. The biggest MCF used was main house according of AHP for historical and scientific detail. Therefore, we identify from macroscopic analysis which were the main species of wood used to building of main house of the farm Fortaleza. This work brings as the main contribution the appropriate procedure to identify and manage the rural heritage of Espirito Santo.

Made available in DSpace on 2016-04-27T16:32:37Z (GMT). No. of bitstreams: 1 Kelly Ludkiewicz Alves.pdf: 1182888 bytes, checksum: 630670414b5ccac14117066bbe89e481 (MD5) Previous issue date: 2012-03-26 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / This research aims to investigate the relationship between the performance of students in the discipline of History and their social family background, by using the concept of cultural capital as theoretical reference, that intend to explain the inequity of school performance of children from distinct social classes relating school success to the sharing of the cultural capital between social classes. To do so, the starting point is the idea that the school plays a decisive role in the reproduction of the dominant cultural capital and its deficiency may directly interfere with the performance in specific areas of the curriculum such as History discipline. Data collection has taken place in two stages. The first was the application of a questionnaire to 47 graduated students of the Elementary School II at E. E. Prof. Caetano de Campos, in São Paulo, and aimed to map family habits that allow identifying the cultural capital of the agents investigated. From the data collected on the instrument and based on students performance on History discipline detected through the grades obtained by them in the discipline four families were selected to a semi-structured interview at the second stage of the study. Working with the concept of family configurations, the study aimed to ascertain the mode of transmission of this family cultural capital, considering whether it can be transmitted by parents to children, despite its objective presence, so it reverts into school practices. The data that were collected in the questionnaire and interviews point out the existence of a relationship between access to cultural assets - cultural capital - and the cultural practices closer to schooling and the performance of students in History. Among students who have better grades in History it was observed the existence of family strategies, cultural practices, more access to cultural assets and more proximity to the written text / Este trabalho tem como objetivo averiguar a relação entre o desempenho dos alunos na disciplina de História e sua origem social familiar. Utilizando o conceito de capital cultural como referencial teórico, busca-se explicar a desigualdade de desempenho escolar de crianças provenientes de diferentes classes sociais, relacionando sucesso escolar à distribuição do capital cultural entre as classes. Para tanto, parte-se da idéia de que a escola atua de forma decisiva na reprodução do capital cultural dominante e que sua carência pode influenciar diretamente o desempenho em áreas específicas do currículo como a disciplina de História. A coleta de dados se deu em duas fases. A primeira fase consistiu na aplicação de um questionário a 47 alunos concluintes do Ensino Fundamental II da E.E. Prof. Caetano de Campos, na cidade de São Paulo, como objetivo mapear práticas familiares que permitissem averiguar o capital cultural dos agentes investigados (BOURDIEU, 2010). A partir dos dados coletados no instrumento e com base no desempenho dos alunos na disciplina História detectado por meio das notas escolares obtidas por eles na disciplina foram selecionadas quatro famílias. Na segunda etapa da pesquisa as quatro famílias selecionadas foram submetidas a uma semi-estruturada, na qual trabalhando com o conceito de configurações familiares (LAHIRE, 2004), buscou-se averiguar o modo de transmissão desse capital cultural familiar, analisando se apesar de sua presença objetiva ele está em condições de ser transmitido pelos pais à criança, de modo que ela o reverta em práticas escolares.Os dados coletados no questionário e nas entrevistas apontam para a existência de uma relação entre o acesso a bens culturais capital cultural e as práticas culturais mais próximas da escolarização e o desempenho dos alunos em História. Observou-se entre os alunos que têm melhores notas em História a existência de estratégias familiares, práticas culturais, maior acesso a bens culturais e mais proximidade com o texto escrito

La Haute Autorité pour la Diffusion des Œuvres et la Protection des Droits sur internet (HADOPI) a reçu du législateur en 2009 la mission de discipliner les actes de contrefaçon de biens culturels sur internet. L'objectif central de la thèse est de produire un récit empirique de la genèse de cet instrument d'action publique comme expérience de gouvernement d'internet et des internautes. Bien que modeste et circonscrit, le problème posé par le téléchargement illicite va générer un débordement d'ampleur des cadrages de l'action publique, historiquement traduits par le droit de propriété littéraire et artistique. L'effet politique du numérique, conséquence déterritorialisée de la globalisation, du libéralisme et de la technologie, est de réinterroger le rapport entre souveraineté et discipline. Entre l'impasse des Mesures Techniques de Protection, les normes supra-nationales, les détournements des usagers/amateurs, la force collective des ayants droit, l'inaltérabilité du droit de propriété et les militants de la liberté d'accès à la culture, les pouvoirs publics ont dû inventer et innover pour organiser, à la manière d'un laboratoire, une action collective de fabrication d'un instrument d'action publique dont l'un des buts est d'étendre une valeur forte de l'État-nation français : la défense de l'exception culturelle. Les internautes sont-ils des hommes gouvernables ? En construisant une représentation de l'usager d'internet, en prônant l'obéissance, en modifiant les comportements par le biais de divers leviers progressifs d'incitation (de l'information à la sanction pénale) et en produisant autant de comportement de contournements et de résistance, la HADOPI produit le résultat politique d'inaugurer une tentative inédite, fragile, peu compacte mais pionnière de gouverner internet et les internautes. / The High Authority for Transmission of Creative Works and Copyright Protection on the Internet (HADOPI) was adopted in 2009 with the mission to discipline acts of intellectual property infringement on the internet. The main purpose of this thesis is to produce an empirical account of the creation of this new law (an instrument of public action as an experience of internet governance and internauts). While it is a somewhat minor public issue, illegal downloading creates a myriad of issues across the framework of public action, historically recognised as literary and artistic property rights. The political effects of the digital age, deterritorialised consequences of globalisation, liberalism and technology necessitate a rethinking of the relationship between sovereignty and discipline. The gridlock between DRM; supranational norms; the hijacking of content by users; the collective power of rights holders; the unalterable nature of intellectual property and the militants for free access to culture; the public authorities had to invent and innovate an instrument of public action. The goal of which is to extend an added value of the French nation state: the defense of the cultural exception. Are internauts governable? In constructing a representation of the internet user, through promoting obedience, and by modifying behaviour through incremental incitation (from being informed to being penalised) and by producing as much unwanted behaviour, the HADOPI has effected the political result of inaugurating the first ever attempt (albeit fragile, yet pioneering) to govern the internet and internauts.

Le trafic d’objets culturels est une manne illicite qui approvisionne partiellement le marché de l’art. Ce commerce clandestin se veut d’ampleur internationale bien que certains pays se trouvent plus touchés que d’autres. Afin de limiter ces pratiques et les conséquences irréversibles qu’elles entraînent, la communauté internationale tente depuis la seconde moitié du XXe siècle de mobiliser la population et de produire des instruments juridiques en faveur de la protection de l’héritage mondial. Pourtant, en août 2015, une cargaison de quatre-vingt- trois objets culturels d’origine syrienne est livrée au port de Long Beach, en Californie. Le chargement en provenance de Turquie s’avère alors composé de poteries, mais aussi de trois mosaïques, dont une pièce datée entre le IIIe et le IVe siècle de notre ère. Saisie et confisquée à son propriétaire par la justice américaine, cette mosaïque ne sera néanmoins jamais retournée à son pays d’origine. L’objectif de cette étude est d’analyser et de comprendre le cheminement d’un objet culturel illicite. Cependant, le trafic demeure un phénomène complexe et ses ramifications sont nombreuses. Afin de rendre cette étude intelligible, notre mémoire se divisera en trois axes autour d’une étude de cas. Le contexte dans lequel se place la fresque est examiné au premier chapitre. Celui-ci met en lumière l’impact d’un environnement instable sur les crimes perpétrés contre l’art. Il implique aussi une analyse globale des intermédiaires participants au trafic et apporte une analyse formelle et iconographique de la fresque. Ensuite, et pour comprendre le cheminement de l’objet d’art jusqu’aux États-Unis, le second chapitre de cette étude participe à un court état des lieux du marché de l’art dans toutes ses nuances : soit du marché licite dit « blanc » au marché « gris » ou encore « noir ». Il dévoile alors l’importance des technologies dans l’expansion du trafic illicite d’objets d’art. Enfin, le dernier chapitre étudie les institutions internationales majeures ainsi que leurs actions en faveur de la protection du patrimoine culturel. Cette section dresse la chronologie des différents instruments juridiques qui auraient pu prévenir l’exportation illicite de la mosaïque ou qui pourraient encore actuellement permettre son retour en Syrie. Mais ces outils sont-ils suffisants ? / Trafficking in cultural objects is an illicit source of income that partially supplies the art market. This clandestine trade is international even if some countries are more affected than others. In order to limit these practices and the consequences they generate, the international community has been trying since the second half of the 20th century to mobilize the population and to produce legal tools for the protection of the world's heritage. However, in August 2015, a shipment of eighty-three objects of Syrian origin was delivered to the port of Long Beach, California. The shipment sent from Turkey was composed of pottery, and three mosaics, including one piece dated between the 3rd and 4th centuries AD. This mosaic has been seized and confiscated from its owner by the District Court of California but has never been returned to its country. The purpose of this study is to analyze and understand the path of an illicit cultural object. However, trafficking remains a complex phenomenon and its ramifications are countless. In order to make this study intelligible, our dissertation will be divided into three chapters that will anchored into a case study. The historical context of the mosaic is studied in the first chapter. It highlights the impact of an unstable environment on crimes against art. The chapter also provides a global analysis of the intermediaries involved in the traffic and provides a formal and iconographic analysis of the mosaic. Then, in order to understand the journey of the artifact to the United States, the second chapter of this study focuses on established yet illicit practices of the art market, both the legal « white » market and the illicit or «black» market. It also underlines the importance of technology in the expansion of the illicit traffic of art objects. Finally, the last chapter studies the international institutions and their pronoucement (if not always their actions) in favor of the protection of cultural heritage. This section creates a history of the different legal instruments that could have prevented the illicit export of the mosaic or that could still currently allow its return to Syria. But are these tools efficient ?