Modeste intermédiaire ou personnalité publique, défenseur de la culture ou marchand de livres: la figure de l'éditeur se décline en de multiples facettes, révélant par là une ambiguïté qui prend racines [i.e. racine] dès son émergence sur la scène littéraire moderne, au XIXe siècle. Si le rôle de cet acteur du monde du livre est toujours empreint d'une profonde ambivalence, son existence même se voit aujourd'hui remise en question - on évoque littéralement la"mort" de l'éditeur - en raison des changements qui s'opèrent dans le milieu éditorial. Parallèlement, les représentations de l'éditeur se multiplient dans les oeuvres fictionnelles à partir des années 2000. Ce sont ces mises en fiction, dans le roman québécois contemporain précisément, qui constituent le sujet de la présente recherche. Les représentations fictionnelles du personnel littéraire constituent un champ d'étude de plus en plus exploré. Au-delà de la figure de l'écrivain, analysée entre autres par André Belleau et Roseline Tremblay, celle de son alter ego , l'éditeur, a été peu étudiée à ce jour. Ce mémoire a pour principal objectif de déterminer les scénarios éditoriaux dominants dans un corpus romanesque allant de 2000 à 2008. Nous y examinons notamment la relation qu'entretient l'éditeur avec l'auteur, de même qu'avec les autres agents de l'univers littéraire. Si notre analyse se concentre sur les figurations romanesques, nous nous permettons à l'occasion de réfléchir à l'autorité que s'octroie l'auteur réel dans le choix de ses représentations. Le premier chapitre porte sur l'éditeur caméléon, qui évolue essentiellement dans des contextes mondains. Figure centrale de l'institution littéraire, il se prête volontiers au jeu relationnel et peaufine son capital social, essentiel à sa reconnaissance en tant qu'éditeur. Outre sa posture de"chef d'orchestre" du milieu éditorial, sa recherche constante de légitimation et ses descriptions physiques sont abordées, en plus de son rapport glacial à l'auteur et à la littérature. L'éditeur artiste fait l'objet du second chapitre, qui débute par l'analyse du discours vocationnel et de l'autorité littéraire chez les personnages. Pratiquant une"édition à l'envers", ces derniers rejettent les aspects institutionnel, financier et mondain du métier ; ce clivage entre les valeurs de l'éditeur artiste et celles qui dominent dans l'univers éditorial représenté engendre une souffrance, corporelle et mentale, chez les protagonistes. Leur investissement total, en dépit de la douleur, leur opposition face à l'institution et leur relation ambiguë avec l'auteur sont également évoquées. Enfin, le troisième et dernier chapitre se penche sur l'éditeur vampire, métaphore de l'éditeur exploiteur et capitaliste, qui apparaît surtout dans ses rapports amoureux avec une écrivaine. Sournois, il entremêle avantageusement vie personnelle et vie professionnelle afin de satisfaire ses ambitions charnelles et mercantiles. Très caricatural, l'éditeur vampire se construit dans l'excès, qui se manifeste par exemple dans son comportement amoureux, son apparence, ses lieux fétiches ; les romans reproduisent même, sur le mode parodique, certains stéréotypes du genre sentimental. Sa relation avec l'écrivaine, fondée sur l'infantilisation et la manipulation, n'échappe pas à une certaine ironie et fait l'objet de la dernière section du chapitre. En somme, l'éditeur hérite du mauvais rôle dans les romans, comme le veut la traditionnelle équation associant écrivain et pureté, éditeur et argent: on écarte en effet l'aspect humain - le travail , avec l'auteur, sur le manuscrit - de la profession au profit d'une vision très entrepreneuriale de l'édition, que l'on dénonce toutefois.

Au début des années 1960, émerge un nouveau courant d’expression artistique en Europe et particulièrement en France avec une peinture figurative appelée Nouvelle Figuration. Exposée dans des galeries parisiennes, elle prit un caractère plus officiel en étant présentée au Musée d’art moderne de la Ville de Paris, au sein de l’ARC créé en 1966 comme espace de recherche et d’expositions dédié à de nouveaux talents. Ces différentes manifestations encouragées par plusieurs critiques d’art permettent à ce nouveau courant de rayonner en dehors de la capitale. Parallèlement, à Bordeaux, toute une génération d’artistes explore à son tour ces nouvelles figurations, mais l’accueil qui leur est réservé apparaît des plus contrastés. Durant une dizaine d’années, quelques galeristes isolés encouragent la diffusion de cette peinture narrative en mettant en perspective les productions bordelaises et parisiennes. Les institutions muséales de la ville, quant à elles, ne leur accordent alors que très peu d’attention. Aussi, la plupart de ces artistes tentent de faire carrière à Paris. Certains y parviennent après avoir réussi à exposer dans des galeries et à obtenir une première reconnaissance critique. Auréolés de leur accueil parisien, certains d’entre eux parvinrent à mieux s’imposer sur la scène artistique bordelaise au début des années 1980, sans que le Centre d’arts plastiques contemporains, créé en 1974 à Bordeaux (et devenu Musée d’art contemporain en 1984), ne cherche davantage à les promouvoir. Cependant, portés par le mouvement de décentralisation artistique qui émerge dans les années 1980, plusieurs de ces peintres narratifs bordelais parviennent à se faire reconnaître dans d’autres villes de province et même hors des frontières nationales.Sortant d’une longue période de conservatisme, Bordeaux commence à peine à découvrir et à s’intéresser à la Nouvelle Figuration par l’intermédiaire du festival Sigma, dédié aux recherches artistiques contemporaines. En revanche, la programmation, plus internationale que française, que propose alors le Capc musée d’art contemporain ne favorise guère la promotion des artistes locaux. Cette situation contrastée semble pouvoir expliquer la réception mitigée qu’a connue la figuration des années 1960 et 1970 sur la scène artistique bordelaise. / Early 1960s, a brand new artistic movement was born in Europe and more particularly in France with figurative painting called Nouvelle Figuration. Shown in few galleries in Paris, it became a more official thing when presented to the Musée d’art moderne de la ville de Paris, within the ARC department created in 1966 as a room for artistic research and exhibition for young talents. These various exhibitions, supported by few critics, allowed this trend to expand beyond French capital’s borders. Simultaneously in Bordeaux, a whole generation of artists also explored all these aspects of Nouvelle Figuration. The reception of their art creations is more contrasted however. During almost ten years, few isolated gallery owners encouraged the diffusion of this narrative painting, putting in perspective productions from both Bordeaux and Paris. However, museum institutions in the city did not pay much attention to them. Hence, most of these artists tried their way in Paris. Few succeeded, after their first exhibitions in Paris galleries allowed them to gain recognition from critics. Glorified by this reception in Paris, some of them managed to better impose themselves onto Bordeaux art scene early 1980s. But the Centre d’Arts Plastiques Contemporain, created in 1974 (then renamed Museum of Contemporary of Art in 1984), did not try to promote them. Nevertheless, motivated by artistic decentralization emerging during these years, some narrative painters from Bordeaux succeed in being acknowledged in other towns and even outside France. Exiting a long period of conservatism, Bordeaux hardly started to discover and get interest in this Nouvelle Figuration through the Sigma festival, dedicated to modern art research. However, the programing, more international than French, offered at that time by the Centre d’arts plastiques, Museum of Contemporary of Art of Bordeaux, did not favour much local artists promotion. This contracted situation may explain the mitigated reception of this figuration in 1960s and 1970s in Bordeaux art scene.

This thesis is a sociogenetic investigation of terrorism that has been directed against Britain since the late eighteenth century. One of its most fundamental aims is to help lay the foundations of a figurational approach to the study of terrorism. Accordingly, I seek to answer two core and interrelated questions and apply the findings to develop an understanding of the processes and relationships that have contributed to the emergence of home-grown ‘jihadist terrorism’ in Britain. Those questions are: i) Under what figurational conditions have the concepts of terrorism and terrorist developed, in sociogenetic terms, since they were first coined during the first French Revolution in the late eighteenth century? ii) Under what figurational conditions do people act according to various designations of terrorism? In order to develop answers to these questions several kinds of terrorism figurations related to Britain are examined. The first three chapters are dedicated to exploring the research on terrorism that has grown in recent decades. Much of it fails to develop an understanding of terrorism that has sufficient detachment, and consequently can help, in some cases, to perpetuate terrorism figurations. Subsequent chapters move away from these mainstream approaches and show how terrorism figurations have developed in Britain from the time the concept ‘terrorism’ was first coined during the French Revolution. The core findings relate to how terrorism developed in antithesis to the concept of civilisation, and emerged as part of complex inter- and intra-state relationships and established-outsider figurations. As part of these processes, functional democratisation played a key role both in Britain and in Britain’s relations to other countries. Finally, I show that these processes have been central to the development of the habituses and identities of the July 7 2005 London bombers.

The numerous piano figurations, exercises and experimental ideas that are found throughout the leaves of Beethoven’s sketchbooks remain a largely unexplored area within the field of Beethoven sketch-scholarship. Their existence is commonly known, but the purpose for which they served the composer has not been explored fully. Moreover, there has been little attempt to catalogue these ideas in order to make them more accessible and approachable. This study is divided into two parts. Part one provides the biographical context in which the subsequent analysis of the figurations is based. It presents an assessment of Beethoven as a student, performer and teacher by evaluating contemporary sources and including a discussion on performance anxiety. This evidence is used to demonstrate that Beethoven could be prone to lapses in technique; that he undertook his studies with complete dedication; and that he also created exercises for some of his pupils, which supports the notion that a number of the figurations could have been designed as piano exercises. Part two analyses the figurations, classifying them by type and grouping them into themes related to specific areas of piano technique. The analysis establishes that many of the figurations are highly inventive; that occasionally developments can be traced (in particular the evolution of the ‘Beethoven’ trill); and that in many cases there are parallels with Beethoven’s published works for piano, which proves that a single classification for the figurations is often problematic. The analysis further reveals that a significant number of the figurations were written in 1793 and, in conjunction with the earlier biographical study, strongly suggests that Beethoven’s move to Vienna was a major impetus for their creation. Volume two presents a separate catalogue of the transcribed piano figurations, some of which are previously unknown. Within the catalogue, the figurations are arranged by type to correspond with the categories discussed in the analysis and ordered chronologically to enable them to be examined alongside the accompanying text.

La thèse isole un corpus particulièrement large dans l'Europe romantique, constitué de fictions à récit-cadre oral nocturne organisées en « veillées », « nuits » ou « soirées ». Ce constat bibliographique fait apparaître un paradoxe : la littérature de l'époque romantique rêve-t-elle encore de pratiques orales alors que s'inaugurent au même moment le fonctionnement moderne de l'ordre des livres et sa régulation par des techniques commerciales ? Comment conjuguer l'idée du sacre de l'écrivain et la nostalgie apparente pour le récit de vive voix ? Le cycle de fictions nocturnes semble d'abord une survivance ou une nostalgie des formes plurimillénaires de narration orale (Le Pantchatrantra, Les Mille et une nuits) : les auteurs ressusciteraient la technique du récit encadré pour mieux profiter de la vitalité associée à l'échange direct ainsi simulé dans ces textes. Pourtant, l'étude de ce corpus montre que la relecture romantique n'a rien d'un archaïsme. D'abord, le cycle nocturne est en réalité une forme intermédiaire entre la tradition littéraire et les modifications contemporaines du champ : parfaitement adaptées à la publication journalistique, les fictions nocturnes rétablissent néanmoins une forme d'aura auctoriale en instaurant une ambivalence orale qui suggère une présence directe du conteur. Les « nuits » permettent donc de tirer parti de la mercantilisation croissante du monde des lettres, tout en continuant à bénéficier du prestige des mages romantiques et autres poètes de la nuit... / This dissertation isolates in European romantic literature a particularly broad corpus of fictions with an oral frame organized in "watches", "nights" or "evenings". This bibliographic presence underlines a paradox: why does romantic literature still dream of oral practices whereas at the same time are inaugurated the modern textualisation of literature and its regulation by commercial techniques? How to combine the idea of the sacre of the writer and the nostalgia for direct speech ? The cycle of night fictions seems initially a survival or a sign of nostalgia of the antique forms of oral narration (Panchatrantra, Thousand and One Nights) : the authors appear to resurrect the technique of the frame narrative to benefit from the vitality associated with the direct exchange simulated in these texts. However, the study of this corpus shows that this romantic intertextual reading has nothing to do with a taste for archaism. Initially, the nocturnal cycle is actually an intermediate form between the literary tradition and the contemporary modifications of the literary context : it is perfectly adapted to publication in the press, but nevertheless makes it possible to restore a form of auctorial aura auctoriale by establishing an oral ambivalence which suggests a direct presence of the storyteller. The "nights" thus allow the author to adapt to the increasing mercantilisation of the literary world, while continuing to profit from the prestige associated to the romantic magi and other « poets of the night »...

During the COVID-19 pandemic, many organizations and employees suddenly became increasingly reliant on digital technologies to safely continue work. In this master’s thesis, I tried to understand how such rapid change could be understood when compared to wider, more gradual processes of intensifying media reliance. This was a case study of a department within a Swedish municipality administration. Through employee interviews and a thematic analysis, and by drawing from mediatization theory and the figurational approach, I aimed to explore how a sudden increase in digital distance work had affected experiences of figurational togetherness, and how this related to wider processes of mediatization. More specifically, I assessed how practices of communication were perceived to have changed with digital distance work, and how the latter had affected aspects of power and the self.  In sum, there had been a formalization and individualization of ‘figurational togetherness’ – the social experience of being with others in one or more figurations. Communication was generally perceived to have become more formal, structured, and efficient, but also more detached than before. At the same time, digital distance work appeared to have facilitated self-empowerment and individuality. Such processes had a partial and sometimes contradictory relation to wider processes of mediatization. The findings of this study were conceptualized as a ‘loss of chaos’. Given a newly gained perspective on physical copresence, I argued that one could start to make out the attributes of its materiality. Physical space involved chance, messiness, and contingency, but also inspiration, information richness and subtle yet complex social dynamics. Such aspects of chaos did not always translate well into the digital realm, something that was attributed to the characteristics and capacities that current digital collaboration tools did and did not have. Ultimately, the argument was made that this calls for further inquiries into the materiality of digital office technologies and that of physical copresence itself.

<p>The purpose of this thesis is to investigate if there exists a superiority between developed and developing countries, which then in turn effects the negative consequences, for the local inhabitants of Thailand, that follow from mass tourism.</p><p>To be able to answer the questions that we have selected for this thesis, we chose to perform open interviews with six respondents which were all involved in the tourism industry in Thailand. Four of the interviews were carried out on location in Thailand. In order to deepen our understanding of the selected questions even further literary studies have been made as well. The theories we have chosen concern the topics of imperialism and figurations.</p><p>Our empirical material gave significant results. It showed that there is indeed an imbalance of power between the western world and Thailand. The relationship between the two exists due to an uneven distribution of economic resources, the majority of which can be found in the western world today. This means that tourists who possess these resources have the opportunity to travel to Thailand on their own terms, they get to dictate the journey to suit themselves. The desire to earn money is so great for the Thai people that there is hardly any concern for what consequences the tourism might cause. The relationship of power that exists between Thailand and the western world today is constantly reproduced. This leads to devastating consequences for Thailand and its inhabitants. Mass tourism generates consequences such as pollution of the environment, revenue leakage and prostitution.</p> / <p>Syftet med uppsatsen är att undersöka om det existerar en överordning mellan utvecklade och utvecklingsländer vilken i så fall påverkar de negativa konsekvenser som uppstår, för lokalbefolkningen, till följd av massturismen i Thailand.</p><p>För att finna svar på våra frågeställningar har vi valt att utföra öppna intervjuer med sex stycken respondenter som alla är verksamma inom turistindustrin i Thailand. Fyra av intervjuerna genomfördes på plats i Thailand. För att ytterligare fördjupa förståelsen för våra valda problemställningar har litteraturstudier genomförts. De teorier vi har valt att utgå från behandlar ämnena imperialism och figurationer.</p><p>Det insamlade materialet var mycket talande och visade att det råder ett maktförhållande mellan västvärlden och Thailand. Maktförhållandet existerar på grund av den ojämna fördelningen av ekonomiska tillgångar som råder i världen, tillgångar som idag till stor del återfinns i västvärlden. Detta innebär att turister som innehar dessa resurser har möjlighet att resa till Thailand och diktera villkoren för hur de önskar att resan bör se ut. Önskan om att tjäna pengar är, för thailändarna, så pass stor att det knappt förekommer någon reflektion över vilka konsekvenser turismen för med sig. Maktförhållandet som idag råder mellan Thailand och västvärlden reproduceras ständigt. Detta leder till förödande konsekvenser för Thailand och dess befolkning. Massturismen ger konsekvenser såsom miljöförstöring, inkomstläckage och prostitution.</p>

The purpose of this thesis is to investigate if there exists a superiority between developed and developing countries, which then in turn effects the negative consequences, for the local inhabitants of Thailand, that follow from mass tourism. To be able to answer the questions that we have selected for this thesis, we chose to perform open interviews with six respondents which were all involved in the tourism industry in Thailand. Four of the interviews were carried out on location in Thailand. In order to deepen our understanding of the selected questions even further literary studies have been made as well. The theories we have chosen concern the topics of imperialism and figurations. Our empirical material gave significant results. It showed that there is indeed an imbalance of power between the western world and Thailand. The relationship between the two exists due to an uneven distribution of economic resources, the majority of which can be found in the western world today. This means that tourists who possess these resources have the opportunity to travel to Thailand on their own terms, they get to dictate the journey to suit themselves. The desire to earn money is so great for the Thai people that there is hardly any concern for what consequences the tourism might cause. The relationship of power that exists between Thailand and the western world today is constantly reproduced. This leads to devastating consequences for Thailand and its inhabitants. Mass tourism generates consequences such as pollution of the environment, revenue leakage and prostitution. / Syftet med uppsatsen är att undersöka om det existerar en överordning mellan utvecklade och utvecklingsländer vilken i så fall påverkar de negativa konsekvenser som uppstår, för lokalbefolkningen, till följd av massturismen i Thailand. För att finna svar på våra frågeställningar har vi valt att utföra öppna intervjuer med sex stycken respondenter som alla är verksamma inom turistindustrin i Thailand. Fyra av intervjuerna genomfördes på plats i Thailand. För att ytterligare fördjupa förståelsen för våra valda problemställningar har litteraturstudier genomförts. De teorier vi har valt att utgå från behandlar ämnena imperialism och figurationer. Det insamlade materialet var mycket talande och visade att det råder ett maktförhållande mellan västvärlden och Thailand. Maktförhållandet existerar på grund av den ojämna fördelningen av ekonomiska tillgångar som råder i världen, tillgångar som idag till stor del återfinns i västvärlden. Detta innebär att turister som innehar dessa resurser har möjlighet att resa till Thailand och diktera villkoren för hur de önskar att resan bör se ut. Önskan om att tjäna pengar är, för thailändarna, så pass stor att det knappt förekommer någon reflektion över vilka konsekvenser turismen för med sig. Maktförhållandet som idag råder mellan Thailand och västvärlden reproduceras ständigt. Detta leder till förödande konsekvenser för Thailand och dess befolkning. Massturismen ger konsekvenser såsom miljöförstöring, inkomstläckage och prostitution.

The purpose of the present essay is to illuminate to which extent figurations of victims in cases of intimate partner homicide is conditional upon the sexes of these individuals. Furthermore, the aim of this study is to determine whether or not these gendered discrepancies reproduce or transform the existing gender-related social systems? The theoretical as well as methodological basis consists of Norman Fairclough’s critical discourse analysis (CDA), which is combined with Judith Butler’s concept of performative acts. To answer the abovementioned questions I have requested/collected an empirical material consisting of 20 district court judgments (ten for male victims and ten for female victims).The results of this essay indicate, according to my interpretation, that the established figurations of the victims in these cases are determined by the victim’s sex in several but not all discourses. Furthermore, I establish that the demonstrated gender determined discourses contribute to re- produce prevailing standards regarding sex/gender in which male victims are associated with a guilt-burdened role while female victims are considered innocent.

Submitted by Leonardo Cavalcante (leo.ocavalcante@gmail.com) on 2018-05-11T13:53:00Z No. of bitstreams: 1 Arquivototal.pdf: 2016983 bytes, checksum: ff24327252071d774f9b58a59dec56b3 (MD5) / Made available in DSpace on 2018-05-11T13:53:00Z (GMT). No. of bitstreams: 1 Arquivototal.pdf: 2016983 bytes, checksum: ff24327252071d774f9b58a59dec56b3 (MD5) Previous issue date: 2017-02-22 / Like society, school in a very specific way has been changing over time in terms of the public and conceptions, becoming more and more comprehensive in the present day, the disabled person has not only conquered Its participation in this social space, but also has generated new figurations. Thus, we present the study that is characterized as our master's dissertation, being this a qualitative research whose methodology is established in a case study (Yin, 1994). We are confronting here the school that announces inclusive in relation to the school that is evident in the practice, aiming, mainly, to analyze the discourse of the professionals of the education of a school on public network in the city of Bayeux - PB on the inclusive education, in the concepts of German sociologist Norbert Elias: Individualization, Socialization and Figuration. We execute our research in three different moments: initial considerations, which we place our look as a researcher, indicating the place where we speak as well as fundamental concepts that will be deepened throughout the term paper. In a second moment, we established our methodological decisions guiding the research, presenting from the characteristics of our subjects and the field of research, until the analysis of content proposed by Bardin (2011) as a propulsive methodology to analyze the data collected as qualitative form. Then, we study a theoretical-analytical chapter that we discuss the conceptions related to special education, from the perspective of inclusive education and the process of individualization / socialization of the disabled person, approaching the concepts presented by Norbert Elias (1994, 2000, 2006, 2011, 2012) and also through the theoretical contributions, to analyze the statements collected in the semi-structured interviews. Among the authors who base our discussion, we emphasize the researchers of inclusive education: Sassaki (2006), Mantoan (2015), Santos (2002), Campbell (2009); Eliasian researchers such as Quintaneiro (2010) and Xavier and Sarat (2012), as well as Sobrinho and Alves (2013), as well as authors of the field of Education Cultural Studies, such as Silva (2000) and Hall (2000). Finally, we observe that the data collected in our research point to a school in the process of change, whose conceptions and practices still need to be rethought and reflected if we really want to build an inclusive school. / Assim como a sociedade, a escola de modo bastante específico vem se modificando ao longo do tempo, no tocante ao público e às concepções, tornando-se cada vez mais abrangente, de modo que nos dias atuais, a pessoa com deficiência não apenas tem conquistado sua participação neste espaço social, como também tem gerado novas figurações. Desse modo, apresentamos o estudo que se caracteriza como nossa dissertação de mestrado, sendo este uma pesquisa qualitativa cuja metodologia firma-se em um estudo de caso (Yin, 1994). Confrontamos aqui a escola que se anuncia inclusiva em relação à escola que se evidencia na prática, objetivando, sobretudo, analisar o discurso dos profissionais da educação de uma escola da rede pública do município de Bayeux – PB sobre a educação inclusiva, à luz dos conceitos do sociólogo alemão Norbert Elias: Individualização, Socialização e Figuração. Estruturamos nossa pesquisa em três momentos distintos, sendo eles: as considerações iniciais, na qual situamos nosso olhar enquanto pesquisadora, apresentando o lugar de onde se fala, bem como conceitos fundamentais que serão aprofundados ao longo do trabalho. Num segundo momento, firmamos as nossas decisões metodológicas norteadoras da pesquisa, apresentando desde as características de nossos sujeitos e o campo da pesquisa, até chegar à análise de conteúdo proposta por Bardin (2011) como metodologia propulsora para analisar os dados coletados qualitativamente. Em seguida, adentramos em um capítulo teórico-analítico no qual discutimos as concepções relacionadas à educação especial, na perspectiva da educação inclusiva e ao processo de individualização/socialização da pessoa com deficiência, nos aproximando dos conceitos apresentados por Norbert Elias (1994, 2000, 2006, 2011, 2012), além de, por meio das contribuições teóricas, analisar as falas coletadas nas entrevistas semiestruturadas. Entre os autores que ancoram nossa discussão, ressaltamos os pesquisadores da educação inclusiva: Sassaki (2006), Mantoan (2015), Santos (2002), Campbell (2009); pesquisadores eliasianos como Quintaneiro (2010), Xavier e Sarat (2012), assim como Sobrinho e Alves (2013), além de autores do campo dos Estudos Culturais da Educação, tais como Silva (2000) e Hall (2000). Por fim, observamos que os dados coletados em nossa pesquisa apontam para uma escola em processo de mudança e cujas concepções e práticas ainda precisam ser repensadas e refletidas se de fato quisermos construir uma escola inclusiva.