Cette thèse de doctorat porte sur une forme contemporaine du vodou haïtien telle qu'elle est pratiquée dans la diaspora et plus particulièrement à Montréal. J'ai choisi de focaliser mon étude sur l'une de ses formes présentes en Haïti, appelée vodou asogwe. Ma thèse concerne ainsi l'étude d'une religion diasporique et transnationale dans le contexte de la globalisation. Les données empiriques de ma recherche amènent au constat que la pratique du vodou asogwe à Montréal repose autant sur des adaptations à son nouveau contexte que sur une continuité de sa logique profonde. J'ai élaboré ma méthodologie de manière à pouvoir saisir dans la mesure du possible le sens de la pratique de l'intérieur, en pratiquant régulièrement avec mes interlocuteurs. J'ai mené mes recherches de doctorat pendant deux ans au sein d'une famille spirituelle, tout en prenant également en compte le lignage religieux plus large dans lequel celle-ci s'inscrit. Cela m'a également amené à observer la ritualité et à faire des entretiens dans plusieurs lieux répartis entre Montréal et Haïti, connectés par ce lignage religieux transnational. L'analyse que je mène articule l'étude des religions transnationales à l'approche théorique de l'anthropologie ontologique. La démonstration vise alors à analyser la manière dont l'adaptation du vodou asogwe diasporique à la globalisation permet à celui-ci de se perpétuer tout en étant inséré dans la modernité mais en reposant toujours sur une ontologie distincte. Pour déployer cette analyse, la thèse est organisée autour de l'étude de la dynamique entre adaptations et continuités dans la pratique du vodou asogwe qui se manifeste notamment dans son inscription spatiale et ses processus de territorialisation. Mot-clés : Montréal, Haïti, diaspora, transnationalisation, religion, vodou asogwe, globalisation, ontologie. / This Ph.D. thesis deals with a contemporary form of Haitian vodou practiced in the diaspora and especially in Montreal. I chosen to focus my study on one of its version existing in Haiti, called vodou asogwe. Thereby my thesis analyzes a diasporic and transnational religion in the context of globalization. Empiric data of my research expose that the practice of vodou asogwe in Montreal lies as on adaptations to this new context than a continuity of its deep logic. I designed my methodology to grasp the meaning of the religious practice from the inside, regularly practicing with my interlocutors. I led my Ph.D. fieldwork during two years into a spiritual family, while taking into account the wider religious lineage in which it is embedded. This drove me to observe the rituality and to conduct interviews in several locations spread between Montreal and Haiti, all of them connected by this transnational religious lineage. The analysis I develop combines the study of transnational religions to the theoretical lens of ontological anthropology. The demonstration aims to analyze the way in which adaptation of diasporic vodou asogwe to globalization allows it to perpetuate itself while being inside a modern context but still lying on a specific ontology. In order to unfold this analysis the thesis is structured by the study of the dynamic between adaptations and continuities in the practice of vodou which appears in particular in its spatial insertion and its territorialization process. Keywords : Montreal, Haiti, diaspora, transnationalization, religion, vodou asogwe, globalization, ontology.

Ce mémoire de maîtrise vise à documenter et à expliquer le phénomène du blanchiment de l'apparence, celui-ci ayant été observé dans la communauté haïtienne de Montréal en 2010. Le blanchiment de l'apparence consiste en diverses techniques dont l'éclaircissement de la peau par l'utilisation de produits blanchissants, les transformations capillaires (produits défrisants, extensions de cheveux) ou encore le recours à la chirurgie esthétique afin d'obtenir des traits corporels fins. Dans le but de mieux comprendre les raisons explicatives du blanchiment de l'apparence, les discours de Montréalaises d'origine haïtienne ont été recueillis. Ce projet de recherche établit une relation entre le désir de se blanchir l'apparence et les séquelles entraînées par la période coloniale. Les préjugés de race et de couleur qui s'inscrivent dans la période coloniale sont présents encore aujourd'hui dans la communauté haïtienne et alimentent le besoin de se rapprocher corporellement des Blancs. De plus, le contexte de vie nord-américain modifie les perceptions des critères d'esthétisme présents dans la communauté haïtienne et entraîne un désir de se conformer aux normes de beauté en vigueur (axées sur le phénotype caucasien).

Dans ce mémoire, nous analysons le concept de citoyenneté du point de vue anthropologique à travers le cas des immigrants haïtiens installés à Québec. Nous utilisons à cette fin une analyse de type qualitative basée sur des entrevues semi-structurées ainsi que des observations d’évènements reliés aux activités des membres de l’Association haïtienne de Québec (AHQ). Nous observons la prévalence de certaines pratiques prédominantes dans le parcours des immigrants de cette communauté. De plus, le profil des immigrants arrivés à la ville de Québec explique la réussite de l’intégration de cette communauté dans la Capitale nationale. Nous constatons que la richesse des parcours préalables à l’arrivée en terre d’accueil élucide en grande partie la capacité à s’adapter de la population étudiée. Finalement, on note l’impact très positif de l’apport de chacun et chacune de ces individus en sol québécois. / This research analyzes the concept of citizenship from an anthropological point of view through the study case of the Haitian immigrants, in Quebec City. We use qualitative analysis based on semi-structured interviews as well as participant observations of the community events in the Quebec's Haitian Association (QHA). We observe, as well, the prevalence of certain practices in the path of immigrants of the Haitian community in Quebec City. In addition, we realize that the profile of the members of this community plays a key role in the explanation of their successful integration into the Capital National society. We notice that the kind of life and work experiences before their arrival explains largely the ability to adapt to the new environment. Finally, we assess the very positive impact of the contribution of each one of these individuals in Québec.

Entre transmission et médiation, les processus contemporains de mise en patrimoine et/ou de mise en médiation s'avèrent très complexes. Ce mémoire propose un questionnement ethnologique sur le statut du médiateur du patrimoine compte tenu de l'impact des médias actuels. La biographie d'Izidor Şerban, violoneux tsigane du village de Stâna (Roumanie), qui joue un rôle central dans le film Gadjo Dilo (1997) de Tony Gatlif, constitue le fondement empirique de ce mémoire. Cette biographie nous permet d'analyser de près l'évolution et les changements qu'un médiateur du patrimoine connaît suite à des interactions avec les moyens communicationnels modernes, - la radio, la télévision, le cinéma, le Web - et ce, pendant les dernières 50 années. Des logiques nouvelles de transmission actuelle du patrimoine sont affranchies, de même que certains concepts opératoires - plus adaptés aux réalités contemporaines du phénomène patrimonial - sont mis en discussion.

This study analyses the ways in which gender relations are expressed and articulated through the use of folk proverbs amongst Pashto-speaking people of Pakistan. Previous work on Pashto proverbs have romanticised proverbs as a cultural asset and a source of Pashtun pride and ethnic identity, and most studies have aimed to promote or preserve folk proverbs. However, there is little recognition in previous literature of the sexist and gendered role of proverbs in Pashtun society. This study argues that Pashto proverbs encode and promote a patriarchal view and sexist ideology, demonstrating this with the help of proverbs as text as well as proverbs performance in context by Pashto speakers. The analysis is based on more than 500 proverbs relating to gender, collected from both published sources and through ethnographic fieldwork in the Khyber Pakhtunkhwa province of Pakistan. Qualitative data was collected through 40 interviews conducted with Pashto-speaking men and women of various ages and class/educational backgrounds, along with informal discussions with local people and the personal observations of the researcher. The study is informed by a combination of theoretical approaches including folkloristics, feminist sociology and sociolinguistics. While establishing that patriarchal structures and values are transmitted through proverbs, the study also reveals that proverbs’ meanings and messages are context-bound and women may, therefore, use proverbs in order to discuss, contest and (sometimes) undermine gender ideologies. More specifically, it is argued that: (1) Proverbs as ‘wisdom texts’ represent the viewpoint of those having the authority to define proper and improper behaviour, and as such, rather than objective reality represent a partial and partisan reality which, in the context of the present research, is sexist and misogynist. (2) While proverbs as ‘texts’ seem to present a more fixed view of reality, proverbs as ‘performance in context’ suggest that different speakers may use proverbs for different strategic purposes, such as to establish and negotiate ethnic and gendered identities and power which varies on the basis of gender, age, ethnicity, and class of the interlocutors. The thesis concludes that, rather than considering folk proverbs as ‘factual’ and ‘valuable’ sources of cultural expression, scholars should pay more attention to their ‘performatory’, ‘derogatory’ and ‘declaratory’ aspects as these often relegate women (and ‘other’, weaker groups) to a lesser position in society.

Based on 10 months’ qualitative fieldwork and the filming of a documentary conducted on the islands of Lampedusa and Fuerteventura, this thesis examines ground-level Europeanisation, concentrating on two well-established Communitarian policy frames -- the Common Fishery Policy (CFP) and the management of the external border of the Schengen space of free movement of people – and two populations of artisanal fishers who were exposed to them. It analyses how governmental logics operated on the ground through individuals’ engagement with Communitarian policies, and it reconstructs the major transformations that the two islands’ fishing industries underwent in the duree of more than fifty years of European integration. While until less than thirty years ago the economy of the Italian island of Lampedusa was centred on bluefish fishing and canning industries, on the Spanish island of Fuerteventura most islanders lived from agriculture for centuries. Following the European integration of Italy and Spain, both islands turned into major tourist destinations and the centres of frequent European migration crises. By focusing on these two territories, this investigation explores how EU governance contributed to transforming the local sociocultural and economic fabric and the islanders’ everyday life. Following the overview of how both policies were played out on the ground, I analyse the effects that the CFP produced on the two islands, and those that the management of the European external border generated in Lampedusa. Giving centrality to the marine element, I push the study of Europeanisation towards the sea and reveal how European policies had reconfigured the islanders’ relation with the seawaters surrounding them. Concurrently, by exploring the ways in which individuals interacted with EU governmentalities, I also unearth the several unintended consequences of Communitarian governance – as conservation policies aiming at recovering overfished fish stocks actually generated the conditions for increasing and uncontrolled overexploitation, while border policies for the securitisation of the European space de facto de-securitized life in Lampedusa.

Die Dissertation untersucht Uwe Kolbes Frühwerk und dessen zeitgenössische Rezeption in der DDR und der BRD sowie sein (semi)öffentliches Handeln und Wirken während der Vorwendezeit,d.h. eines spezifischen, von Transformationsprozessen geprägten Zeitraums. Dieser reicht von Kolbes erster Zeitschriftenpublikation 1976 bis zu seiner Übersiedlung in die BRD 1987. Kolbes literarische Produktion in der bezeichneten Zeitspanne und die damit zusammenhängenden sozialen Faktoren seiner Autorenbiographie – politische Privilegien, ökonomische Möglichkeiten und soziale Beziehungen als Voraussetzungen für sein Schreiben und seine Veröffentlichungen sowie sein (semi)öffentliches Handeln und Wirken – und seine Rezeption in von spezifischen Machtverhältnissen geprägten literarischen Aktionsräumen werden in der vorliegenden Arbeit als ein zusammengehöriges Ganzes untersucht und punktuell auf ihren Aussagewert für Situationen und Entwicklungen in den literarischen Feldern der Vorwendezeit befragt. Die Arbeit fokussiert mit Hineingeboren auf den Eintritt Uwe Kolbes in das literarische Feld unter der Mentorschaft Franz Fühmanns, seine davon ausgehende Rezeption als generationsspezifischer Repräsentant der jungen DDR-Autorengeneration und die damit verbundenen Wahrnehmungs- und Bewertungsmuster in den literarischen Feldern DDR und BRD. Des Weiteren untersucht sie Kolbes Rolle in der inoffiziellen Szene am Prenzlauer Berg. Sie analysiert seine zeichentheoretisch fundierte Sprach- und Machtkritik in Abschiede und seine politische Poetologie in Bornholm II und Das Kabarett. Darüber hinaus arbeitet sie Kolbes Rolle des widerspenstigen und politisch kritischen Vorzeigeautors heraus, infolge derer er in der BRD als außenpolitisches Aushängeschild einer vermeintlich toleranten DDR-Kulturpolitik fungierte. Sie erforscht schließlich seine Rezeption in der BRD u.a. durch seine Position in verschiedenen Anthologien junger DDR-Literatur und analysiert seine Integration in den bundesdeutschen Kanon. / This dissertation examines Uwe Kolbe’s early work and its reception in East and West Germany as well as his (semi-)public activities and their impact in the pre-Wende era, i.e. over a distinct time frame characterised by transformation processes. It spans the period from Kolbe’s first publication in a literary journal in 1976 to his relocation to West Germany in 1987. The present study views Kolbe’s literary production, the associated social factors of his literary career – political privileges, economic opportunities and social relationships as prerequisites for his writing and publications as well as his (semi-) public activities and their impact – and his reception as inextricably linked, and, by way of selected examples, shows their significance for situations and developments in the literary fields of the pre-Wende era. In the case of the poetry volume Hineingeboren, the study focuses on Kolbe’s entry into the literary field with the support of his mentor Franz Fühmann, his subsequent reception as a representative of the young generation of GDR authors, and the patterns of perception and evaluation associated with that in the literary fields of the GDR and West Germany. Kolbe’s role in the unofficial literary scene in Prenzlauer Berg is also investigated. The study analyses his semiotic critique of language and power in Abschiede and his political poetics as revealed in Bornholm II and Das Kabarett. In addition, it explores Kolbe’s role as a recalcitrant and politically critical author who became the poster boy of a supposedly tolerant East German cultural policy in West Germany. Finally, it examines Kolbe’s reception in West Germany, among other things through publications in various anthologies of contemporary GDR literature, and analyses how his work has been integrated into the German literary canon since Reunification.

Die vorliegende Arbeit eröffnet einen weit über den „unmittelbaren“ Gegenstand Bildbeschreibung hinausweisenden allgemeinen theoretischen Horizont. Heiner Müllers Text wird als Fallstudie eines Umgangs mit dem antiken Mythos und in Hinblick auf seine Intertextualität weitgefächert untersucht. Die intensivierte Auseinandersetzung Müllers mit der Bildenden Kunst, besonders der Arbeitstechnik der Übermalung, welche sich in dem Stück Bildbeschreibung wiederfindet, wird aufgezeigt und anhand von Fallbeispielen aus der Bildenden Kunst in Zusammenhang gestellt. Die von Müller sorgfältig ausgelegten Zeichen werden durch ein close reading erschlossen: Auf der Grundlage der Prätexte und Bilder wird nach jenen Codes gesucht, die sich in Müllers Arbeiten in einer „Sprache, die niemand lesen kann“ auffinden und beschreiben lassen. Die Arbeit liefert Proben solcher Möglichkeiten der Annäherung an das Material. Der Untersuchungsbogen reicht von dem minoischen Totenkult bis zur japanischen Theatertradition des Nô-Theaters. Dabei wird über Exkurse zur Geschichtlichkeit der Mythenbilder, zur Kunst- und Filmgeschichte ein neues Erkenntnisfeld literaturwissenschaftlicher und geschichtsphilosophischer Erörterungen zum Werk Heiner Müllers eröffnet. / In this paper a new theoretical horizon is opened that goes far beyond a mere analysis of Mueller’s “Bildbeschreibung”. The text though is meticulously examined in terms of its intertextuality and serves mainly as a case study of a new approach to the ancient myth. Mueller’s work has a strong affinity to the visual arts, especially the “overpainting” technique, which is thoroughly used in “Bildbeschreibung”. In this paper this particular relationship is highlighted and through the use of specific examples from the visual arts is made explicit and put into context. Mueller’s carefully selected “signs” are decodified through a close reading. There is the attempt to find the codes of Mueller’s oeuvre, using the prototypical texts and images. These codes are located and described in “a language that no one can read”. The present paper provides concrete proof that such an approach to the material is possible. The analytical framework ranges from the Minoan death cult to the traditional Japanese No-theatre. The paper also makes use of the historicity of the mythical imagery and of elements of the history of art and cinematographic studies. The result is a new theoretical field into Heiner Mueller’s work that is mainly anchored in the disciplines of literary studies, history and philosophy.

Devido à sua natureza, o gás natural (GN) tem na distância aos pontos de consumo um obstáculo para sua utilização, a qual vai além simples queima para geração de energia ou obtenção de calor. Portanto, é importante que sejam discutidos novos métodos para distribuí-lo e transformá-lo em fontes de energia de maior valor agregado ou em matéria-prima para fabricação de produtos a serem utilizados na indústria química. Uma opção é a conversão do GN em combustíveis líquidos de pronto uso como óleo diesel, gasolina e querosene de aviação através da rota Gas-To-Liquids (GTL). O presente trabalho avalia o potencial da tecnologia GTL no contexto do crescimento da oferta de gás natural no Brasil pelos gasodutos Rota 2 e Rota 3, contextualizando o cenário brasileiro desse energético, as perspectivas futuras e o estado da tecnologia GTL com o processo Fisher-Tropsch. Para tanto, é simulado e analisado o desempenho econômico de uma planta de diesel GTL operante por 30 anos em cenários de preços de insumo e produto obtidos por projeções de reconhecimento internacional. / The usage of natural gás (NG) is related to the distance to the final customers, that is a real obstacle to its full utilization which is beyond the usage as fuel for electricity or heat generation. It is important to prospect, analyze and propose new methods for distribution and transformation of this important energy suppy to more value added products or special raw material for the chemical industry. The transformation in ready for use liquid fuels like diesel, gasoline and kerosene through the gas-to-liquid route (GTL) is one of the options. This dissertation evaluates the GTL technology in a context of the NG additional volume available through 2 new pipelines coming from offshore, Rota 2 and Rota 3 in the Brazilian context of NG current usage and its future perspectives taking advantage of this additional availability via the traditional and long term tested GTL Fischer-Tropsch (FT) technology. A GTL FT Diesel plant operating for 30 years was taken as an example considering different scenarios for NG and Oil prices retrieved from the IEA data base that is internationally considered as a consistent source of information.

Capturing Appalachia: Visualizing Coal, Culture and Ecology, draws on extensive ethnographic, archival, and ecographic research conducted across Appalachia between 2014-2016 to develop an empirically informed sociological image of the interactions between culture, geography, and industry. Of particular interest are the ways that extractive cultures in Appalachia are constructed and communicated, and so the project includes archival work researching historical images as well as fieldwork focused on the production of images. Drawing on the traditions of cultural and ‘green’ criminologies, geography, and critical ecotheory, concluding that the cultural, political, and ecological worlds of Appalachia exist in a dialectical relationship with one another, and that at the center of each is an intense cultural relationship with the region’s historic and contemporary capture (cultural, economic, and ecological) by resource extraction. These dialectical relationships are made clear in the visuality of Appalachia, with paradigms frequently challenged by the production of countervisual narratives in productions spanning photography, literature, cinema, and media. The project constitutes the first extensive empirical application of the suggestions of an emergent green-cultural criminology. This research contributes significantly to the existing theoretical literature on extractive cultures through the development and application of the concept of ‘capture’, which is employed in throughout and which constitutes a central concept the project. The concept of ‘regulatory capture’ informs much of the existing sociological literature on harmful industry. Expanding on the concept of ‘capture’, I consider the capture of Appalachian economies by a single industry (economic capture), the capture of cultural production by the dominant industry (cultural capture), the legal capture of material landscapes by industry (ecological capture), the visual-mechanical capture of images of ecology and culture (photographic capture), and finally, the capture of ecology and people by an emerging industry of incarceration (carceral capture).