Notre travail interroge les relations entre l’action culturelle et l’hôpital psychiatrique au sein du programme « Culture à l’hôpital ». Ce dernier s’inscrit dans la politique culturelle menée en direction des « publics empêchés ». Porteur d’enjeux multiples, tant du côté des ministères, des directions hospitalières, du personnel que des artistes, ce programme interroge, bouscule l’institution hospitalière et peut parfois être source de conflits. Son étude permet de mettre en évidence l’originalité d’un dispositif particulier : l’atelier culturel. Prenant en compte la logique de projet dans laquelle l’atelier s’intègre, nous interrogeons les effets que ce dispositif peut avoir sur l’institution hospitalière et ses acteurs.Notre étude s’est déroulée sur trois terrains (hôpital du Vinatier, Fondation Bon Sauveur d’Alby et hôpital de Montfavet). Nous avons mobilisé différents corpus : des entretiens, des conventions ainsi que des documents internes aux établissements hospitaliers (projets d’établissement, projets de service, documents de travail d’artistes).Les principaux résultats de la recherche concernent deux axes, l’un relatif au champ hospitalier, l’autre à celui de la médiation culturelle. L’atelier culturel est un nouveau dispositif communicationnel au sein de l’hôpital, il est l’élément tiers dans l’acte de médiation. L’objet artistique y est moins finalité que support de la relation dans la triade patients-soignants-artistes. Le sens donné à l’intervention artistique est redéfinit, le partage d’une expérience esthétique importe plus que la réalisation de l’oeuvre.Pour les personnes hospitalisées, l’atelier culturel représente un en-dehors dans le temps d’hospitalisation, un nouvel espace d’expression bénéfique tant sur le plan social qu’identitaire. L’atelier culturel permet de contrebalancer la rigidité du cadre institutionnel. Les rapports entre participants (patients, soignants) se voient « redistribués » le temps de l’atelier. Une fois ce dernier terminé, les retombées de ce dispositif perdurent au travers d’une modification des représentations sociales sur la maladie mentale, l’institution psychiatrique et ses acteurs. On assiste également à une réappropriation de l’expérience vécue par le personnel. Pour ces professionnels du soin, ce qui s’est déroulé en atelier peut être repris au sein des services, dans la perspective d’améliorer la prise en charge globale des patients. Par la même, il s’agit d’une quête de légitimité tant sur le plan identitaire que professionnel / Our work questions the relationship between cultural action and the psychiatric hospital within the programme “Culture in Hospital”. This programme is part of the cultural policy aimed at the “prevented public”. It carries multiple challenges for the relevant ministries, the hospital administrators, the staff and the visiting artists. It questions, examines and perhaps disturbs the institution, sometimes even becoming a source of tension. This study has highlighted the originality of the specific and recurring device used : cultural workshops. Taking into account the logic of the project behind the workshops, we examine the effects that this device can have on the medical institution and its various actors.To answer these questions, our study took place in three different locations (The Vinatier Hospital, the Bon Sauveur Foundation of Alby and the Montfavet Hospital). We used different corpus : interviews, collective agreements as well as in-house documents related to medical establishments (institution projects, ward projects, work documents for the visiting artists).The main results concerned two separate axes: the one related to the medical field, the other to cultural mediation. The cultural workshop is a new device within the hospital world, it is the “third element” within the act of mediation. The artistic object is less a finality than a means to relate within the triangle of “patient-medical carer-artist”. The meaning given to the artistic action is redefined, the sharing of an aesthetic experience is more important than the finished work. For the patients, the cultural workshop represents “time-out” during their stay in hospital, a new space of expression that is beneficial on both a social level and a self-identity level. The cultural workshop allows a counterbalance to the strictness of the institutional framework. The relationships between the participants (patients and carers) changes during the time of the workshops. Once the workshop is over, the effects of this device continue through a modification in social representations of mental illness, the psychiatric hospital and its actors. We also see a re-appropriation of the experience by the staff who participated. For these professional health-carers, what took place in the workshops could perhaps be repeated within the wards so as to improve the overall care of the patients. Equally, it is a search for legitimacy on both an identity and professional level

Hui Pui Lam Joe. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2007. / Includes bibliographical references (leaves 121-128). / Abstracts in English and Chinese. / Chapter Chapter 1 --- Buried in the footnotes-Introduction / Chapter 1.1 --- The importance of museums --- p.1 / Chapter 1.2 --- What are museums? --- p.6 / Chapter 1.2.1 --- Museums in Hong Kong --- p.6 / Chapter 1.2.2 --- Definitions of Museums --- p.7 / Chapter 1.3 --- Research Questions --- p.10 / Chapter 1.4 --- Research Texts: --- p.10 / Chapter 1.4.1 --- Background information of the ´بHong Kong Museum of History' --- p.10 / Chapter 1.4.2 --- Background information of the ´بThe Hong Kong Story´ة --- p.11 / Chapter 1.4.3 --- Background information of the ´بTai O Cultural --- p.12 / Chapter 1.5 --- Methods of study --- p.13 / Chapter 1.6 --- Chapter outline --- p.15 / Chapter Chapter 2 --- The theoretical and critical framework / Chapter 2.1 --- ´بModernist museums´ة as gendered institutions --- p.18 / Chapter 2.1.1 --- The dominant form of museum in the MH --- p.21 / Chapter 2.2 --- Literature on gender representation in art galleries and history museums --- p.22 / Chapter 2.2.1 --- In the context of art galleries --- p.22 / Chapter 2.2.2 --- The pragmatic approach --- p.23 / Chapter 2.2.3 --- The quantitative approach --- p.24 / Chapter 2.3 --- "Gaby Porter and other museologists, works" --- p.25 / Chapter 2.3.1 --- Gender dualism --- p.27 / Chapter 2.3.2 --- Object-centered approach --- p.31 / Chapter 2.3.2.1 --- The concept of ´بemotion material´ة --- p.35 / Chapter 2.3.2.2 --- Methods to regenerate the representation of women in history museum --- p.37 / Chapter 2.3.3 --- Classification system --- p.39 / Chapter 2.4 --- New museology movement --- p.40 / Chapter 2.4.1 --- Post-museum --- p.40 / Chapter 2.4.1.1 --- The characteristics of post-museum --- p.42 / Chapter 2.4.1.2 --- How does post-museum relate to gender? --- p.44 / Chapter 2.4.2 --- Ecomuseum --- p.45 / Chapter Chapter 3 --- Case study of the Hong Kong Story- Gender dualism and object-centered approach in exhibition / Chapter 3.1 --- General description of the Hong Kong Story (HKS) --- p.47 / Chapter 3.2 --- Displays in lower and upper floors --- p.48 / Chapter 3.2.1 --- Lower floor: Folk Culture in Hong Kong --- p.49 / Chapter 3.2.2 --- Upper floor: Birth and Early Growth of the City and Modern Metropolis and the Return to China --- p.51 / Chapter 3.3 --- Gender dualism in Exhibition --- p.53 / Chapter 3.3.1 --- Male-defined experiences of work and daily life --- p.59 / Chapter 3.3.2 --- Marginalization of work in domestic area --- p.63 / Chapter 3.4 --- Object-centered approach taken by curators --- p.65 / Chapter 3.4.1 --- Lower floor- The representation of wedding ceremony --- p.68 / Chapter 3.4.1.1 --- Reasons behind the under-representation of women experiences in traditional wedding ceremonies --- p.69 / Chapter 3.4.2 --- Upper floor- The under-representation of women experiences --- p.72 / Chapter 3.5 --- Methods to exhibit the non-material formed history and emotion material --- p.75 / Chapter Chapter 4 --- Out of the box: Case Study of the Tai O Cultural Workshop / Chapter 4.1 --- Orientation of the Workshop and the role of Ms. Wong in the Workshop --- p.81 / Chapter 4.1.1 --- The Position of Ms. Wong in the Workshop --- p.82 / Chapter 4.2 --- Description of displays --- p.83 / Chapter 4.2.1 --- The interpretation of objects --- p.86 / Chapter 4.2.2 --- The importance of Ms. Wong as a guide --- p.88 / Chapter 4.3 --- A critical analysis of exhibition --- p.89 / Chapter 4.3.1 --- The role of guide in the Workshop --- p.90 / Chapter 4.3.2 --- The naming issue --- p.92 / Chapter 4.3.3 --- The ways of object interpretation --- p.95 / Chapter 4.3.4 --- Objects as emotion material --- p.96 / Chapter 4.3.5 --- The position of Ms. Wong as a curator --- p.101 / Chapter 4.3.6 --- The orientation of the Workshop- Tai O as a unique and lively community --- p.104 / Chapter 4.4 --- Reasons for the success of the Workshop --- p.108 / Chapter Chapter 5 --- Conclusion / Chapter 5.1 --- Comparison between the MH and the Workshop --- p.110 / Chapter 5.2 --- Limitation of the Workshop --- p.114 / Chapter 5.3 --- The positive role of laymen to change curatorial practices --- p.115 / Chapter 5.4 --- In what ways can HKS learn from the Workshop? --- p.117 / Bibliography --- p.121 / Appendix / Appendix: Pictures of the Hong Kong Story (Chapter 3) and the Tai O Cultural Workshop (Chapter4) --- p.130