Les États latins d’Orient, nés après le succès de la première croisade (1095-1099), sont dominés par une aristocratie militaire, catholique et latine, qui revendique une supériorité à la fois sociale, culturelle, économique et politique, laquelle lui donne, dans la logique du temps, un droit à gouverner les autres. Il s’agit dans ce travail de s’intéresser aux pratiques de pouvoir de cette classe dominante, autrement dit à l’ensemble des actions et des techniques déployées par les seigneurs pour établir, imposer, légitimer et pérenniser leur domination ; le tout dans un long XIIe siècle allant de la fondation du royaume de Jérusalem à l’arrivée en Orient de Frédéric II Hohenstaufen (1229). Ces pratiques – de la construction des châteaux au service militaire, de la justice aux mariages, du conseil au tirage au sort – structurent les jeux de pouvoir et constituent l’essence même de la nature politique de cette société aristocratique. L’Orient latin est un terrain d’études d’autant plus intéressant que les seigneurs latins, s’ils restent inscrits dans un paysage culturel occidental, savent néanmoins s’adapter aux conditions locales – marquées notamment par une très forte diversité ethnique et confessionnelle – ce qui les pousse à faire preuve d’une réelle inventivité juridique et politique ainsi qu’à emprunter de nombreuses pratiques aux mondes byzantin et musulman. Dans ce terreau particulier germe alors une culture politique originale, qui ne cesse d’évoluer au fil du siècle et qui se caractérise par une intense circulation du pouvoir, à la fois réelle et symbolique, sans cesse remis en jeu pour mieux irriguer l’ensemble de la société seigneuriale. / The Latin East, born in the aftermath of the First Crusade (1095-1099), was ruled by a military, Catholic and Latin aristocracy, which claimed a social, cultural, economic and political superiority. In this work, I studied the practices of power of this dominant class : the lords deployed diverse actions and techniques to establish, impose, legitimate, and perpetuate their domination, during a long twelfth century (from the foundation of the Kingdom of Jerusalem to the arrival in Orient of Frederick II Hohenstaufen in Orient in 1229). These practices - ranging from the construction of castles to military service, from justice to marriages, and from council to lottery - structured the games of power and characterized the political nature of this aristocratic society. The Latin Orient is a rich field of study inasmuch the Latin lords, although they remained part of a Western cultural landscape, nevertheless knew how to adapt to local conditions. These were marked in particular by a very high ethnic and religious diversity, which led the lords to show a real legal and political inventiveness and borrow many practices from the Byzantine and Muslim worlds. In this peculiar society, an original political culture grew and evolved over the course of the century. It was characterized by an intense circulation of power, both real and symbolic, which flew over the whole seigneurial society.

This paper aims to analyze the important role of the reception of music in Marcel Proust's novel À la recherche du temps perdu. This analysis is founded on a theoretical framework inspired by critical theory and theory of critical ideology, where important theorists are Theodor W. Adorno, Fredric Jameson, and Slavoj Zizek. By drawing on these theorists, the firsts two analytical parts of this study shows how the reception of music in the novel creates supplements that reinforce hegemonic ideological consciousness, and how the reception of music also has a thematic role in revealing how these different ideological consciousnesses permeate social relations to both music and other people. In the final analytical part of the work, the study can further conclude that the Bildung of the novel, which constitutes the basic thematic structure of the whole novel, is based on breaking away from these two ideological consciousnesses, and freeing the music from the supplements that permeate the reception of the music in the novel, by making a sovereign gesture of liberation by exposing this process, so as to be able to take a critical approach to those ideological consciousnesses whose ideological theatricality prevents music, and in the long run involuntary memory, from mediating a true philosophical discovery of the nature of subjectivity