L’histoire des relations culturelles internationales à travers l’étude des circulations et des transferts culturels, dans un contexte de mondialisation, est un sujet de plus en plus fréquent. Nous comprenons alors que l’action dans le domaine culturel correspond à l’intérêt que portent les États et les nations à faire connaître leur réalité sociale, politique, économique, scientifique et technique, afin de mieux échanger leurs réalisations. Dans le contexte particulier de la Corée du XXe siècle, les spectacles en langue française sont davantage perçus pour leur approche académique. Si ces derniers sont compris comme des œuvres savantes, mais aussi critiques et politiques, les spectacles coréens se focalisent davantage sur leur popularité auprès du grand public. En revanche, la comédie musicale de langue française, déjà présente sur le sol coréen mais qui jusqu’alors était perçue pour son approche académique, investit désormais le champ du divertissement populaire. Nous pouvons relever les principaux facteurs contribuant à ce succès au travers d’une approche esthétique et une méthodologie propre au marketing. Dans un contexte de circulation internationale des produits culturels, le plus important est de saisir dans quelles mesures cette culture peut s’adapter et influencer le développement d’une autre culture. Notre étude consacrée à la réception de la comédie musicale de langue française en Corée devrait constituer un moyen de révéler les points de convergences ou de différences entre deux cultures radicalement éloignées, géographiquement, certes, mais aussi sur le plan historique, social ou généalogique. Notre analyse du rôle de la mondialisation repose sur la réception d’une culture sur un terrain étranger afin d’évaluer les influences réciproques que se portent ces deux cultures. / The history of cultural relations in the international arena, carried out through circulations andtransfers, has come to be a subject emerging more and more frequently in the context of globalization. It hasbecome apparent that actions of interchange in and from cultural domains respond to the states’ interestwhile countries allows others to acknowledge their social, political, economic, scientific and technical reality,in order for their realizations to be exchanged better. As for the context of Korea in the midst of its 20thcentury development, performances in French have been well perceived mainly through their academicapproach. They tend to be understood as technical, as well as critical and political maneuvers, whereasKorean performing arts exhibit the tendency of focusing on gaining popularity from a large public. On theother hand, musical theatre in French, readily present in Korean stages but perceived predominantly in thelight of academic approach, is starting to shift to the popular entertainment realm. Some of the principalfactors to its success can be studied through an aesthetic approach and methods oriented on marketing. Interms of international flow of cultural products, with the recognition of globalized economies, the essentialquestion is to grasp to what extent one culture can be assimilated into and influence the development ofanother. The efforts directed towards the Korean reception of musical theatre in French will have to give riseto a system in which the point of convergence or the differences between two radically distinct cultures notonly in geographical, but also in historical, social and genealogic respect should be duly noted. Our analysisof the role of the process of globalization lies on the inflow of one culture into a foreign territory, with thereciprocal influences arising from the relationship between the two.

Ce travail de recherche représente une synthèse sur la question des échanges entre la Méditerranée orientale (le monde phénicien) et le monde égéen ; une synthèse inscrite dans la longue durée, à savoir dès le début des contacts à l'Âge du Fer jusqu'à la fin de l'époque perse (fin XIe – fin IVe s. av. J.-C.). Elle envisage ces échanges en dehors des contextes de conflits et d'opposition ethnique, en dépassant la ligne de séparation tracée entre la culture classique et les cultures sémitiques, mettant en évidence les relations suivies qui ont existé entre la Grèce et le monde oriental. Deux questions fondamentales ont pu être précisées dans ce travail. Tout d'abord si la céramique fine grecque ne peut être interprétée en termes de « grand commerce international » et qu'elle ne justifie pas en soi la création d'un réseau, elle peut néanmoins être exploitée comme « marqueur archéologique de réseaux », car sa commercialisation se glisse dans des courants d'échanges établis de produits fondamentaux. On propose une nouvelle reconstitution des réseaux ancrée dans une périodisation qui a pour point de départ la culture matérielle et tout changement significatif qu'on peut observer du point de vue de la « performance économique ». Elle tient compte des changements politiques globaux dans ces régions, en essayant de se détacher de la simple histoire événementielle. D'autre part, les principales séries de céramiques importées ont pu être cernées et nous proposons une nouvelle réflexion sur les ateliers de production, en confrontant nos résultats au cadre méditerranéen global. / This research looks at trade between the eastern Mediterranean (Phoenician world) and the Aegean world. It provides a long-term-perspective, namely spanning the early Iron Age contacts to the end of the Persian period (late eleventh to late fourth century BC). It envisages these exchanges outside the contexts of conflict and ethnic opposition, and beyond the dividing line drawn between classical culture and Semitic cultures, elucidating the ongoing relationships that existed between Greece and the eastern world. Two key issues have been identified in this work. Firstly, if Greek fine pottery cannot be interpreted in terms of "international trade" and does not by itself justify the creation of a network, they can still be used as "archaeological markers of networks" because their marketing fits into established trade flows for basic products. We propose a new reconstruction of networks rooted in a periodization whose starting point is material culture and in which any significant change can be observed in terms of "economic performance". It reflects the overall political changes in these areas, trying to break away from the simple narrative history. On the other hand, the main series of imported ceramics have been identified and we provide new insights into the production centres, by comparing our results to the wider Mediterranean setting. Then, to understand the true meaning of the "marketing" of these ceramics, this research takes into account the contexts of reception by addressing consumer choice and reception of these products in the Phoenician cultural context.

Pierre de L'Estoile (1546-1611) kept an extraordinary diary and collection in Paris during the Wars of Religion, recording everything from high-political scandals to low-life criminality during this crucial turning point in early modern history. The first extensive study of L'Estoile in any language, this thesis demonstrates how he negotiated and commemorated the conflicts that divided France as he engaged creatively with the rumours, ephemeral prints, poems, pictures, and books that he assembled in his diary and cabinet. It argues that the story of his life and times is the history of the civil wars in the making. While historians and literary scholars depend on L’Estoile’s diaries as an essential source of information, citing him as a mere passive observer, this thesis instead explores his subjectivity and interprets a wide range of hitherto unseen or neglected manuscript evidence that situates him in the Parisian society of royal office-holders and demonstrates his significance in the republic of letters. It follows a microhistorical approach to L'Estoile and his world in order to challenge established interpretations of his sources as evidence of a widespread mentality of eschatological anxiety in sixteenth-century France, instead focusing on L’Estoile’s personal responses to pieces in his collection. In this way, it critiques a common trend in cultural history to roam freely among ‘collective representations’ and argues for the importance of a precise analysis of social context, materiality, and individual subjectivity in reception studies.

This thesis applies a sociological framework to the North American celebrity career of Canadian pianist and broadcaster Glenn Gould (1932-1982) to account for Gould's iconic status as an artist in modern musical culture. Despite the persistent cultural fascination with Gould, as evidenced in the seemingly endless supply of biographies, films, novels, and fan texts which narrate and celebrate his life and work, modern Gould scholarship has consistently neglected issues relating to his artistic reception. This thesis proposes that the modern Gould phenomenon is productively analysed in terms of the contexts of its historical production in North America, where it first originated. Focusing on the circumstances of Gould's career during his lifetime, it identifies three areas of overlapping conceptual interest that provide the basis for an explanatory account of his modern mythology: i) Gould's relationship to the culture of his time, particularly in Canada; ii) Gould's relationship to the mass media; iii) Gould's relationship to his own artistic identity. This approach is refined through the application of Stuart Hall's 'Circuit of Culture' model, which yields an understanding of Gould's celebrity in terms of the processes of its representation, production, regulation, and consumption. Against this theoretical backdrop, and consistent with the premise of my thesis, I ask some key questions: what was Gould's relationship to Canadian cultural nationalism and, specifically, a nationalist discourse of public broadcasting? How did media institutions brand his image, and for what commercial purposes? How did Gould mobilise understandings of his genius and Canadian identity through his artistic discourse and experimental media self-representations as a 'Northerner' and a technologist? Based on this analysis, the thesis concludes that Gould continues to fascinate because of the unique ideological work performed by his cultural identities, and because of the highly mediated nature of his celebrity. The ubiquity of his image on video-sharing websites and social media platforms is a vindication of his radical belief in the validity of a musical career pursued primarily through the electronic media.