Séparé du Sud pastoral, de la capitale londonienne et d’Oxbridge par une frontière moins géographique que culturelle, le Nord de l'Angleterre a une géographie variable en fonction des besoins du discours. Une constante discursive parcourt cependant la littérature sur la région : marqué par ses rudes conditions climatiques, jadis peuplé de barbares, en butte aux invasions et ravagé par la Révolution Industrielle, le Nord serait en marge de la sphère poétique. Or, à partir des années 1960, dans le cadre d'une redécouverte des marges de l'ex-empire et d’une dissolution des frontières nationales due à la mondialisation, le Nord revendique son droit à figurer à part entière au cœur de la carte poétique. Les poésies de Basil Bunting, de Ted Hughes, de Tony Harrison, et de Simon Armitage nous invitent à parcourir ces Nords géographiques, historiques, culturels, mais avant tout poétiques. Ces quatre poètes, nés dans le Nord, ont en commun d’avoir pris une distance, sinon physique, du moins intellectuelle, avec la région, ce qui leur a permis de poser un regard critique. Le mouvement nostalgique de retour à la terre natale amorce une réappropriation sur le plan de l’imaginaire de cet espace colonisé par des discours dépréciatifs. Les poètes y découvrent une source intarissable de créativité et partent en quête d’une langue qui résorbe l’écart entre nordicité et poéticité : l'impur accent barbare devient axiome poétique. Comment cette poésie du Nord met-elle en question l'anglicité et la tradition poétique anglaise en même temps qu'elle la structure ? Si « poésie du Nord » il y a, quelles en sont les réalisations dans la voix, le rythme et la forme poétiques ? / Divided from the pastoral South, London and Oxbridge by a frontier that is less geographical than cultural, Northern England has been constructed through shifting discourses. One discursive feature though has been constantly present in the literature on the region : since the place is forbidding (not the least because of its grim weather), since it used to be populated with barbaric tribes and provided a buffer against even more barbarian invasions, since it was devastated by the Industrial Revolution, the North is excluded from the poetic sphere. Yet since the 1960s, in a context of peripheries emerging from the former empire and of national frontiers disappearing due to globalisation, the North has claimed its right to hold a central place on the poetic map. Basil Bunting, Ted Hughes, Tony Harrison and Simon Armitage have participated in reconfiguring geographical, historical, cultural, but, most importantly, poetic Norths. The nostalgic return to the region where they were born and bred reads as a creative and critical reappropriation of a space that has been colonised by derogatory discourses. The poets discover an inexhaustible source of inspiration and set on a quest for a language that would bridge the gap between northerness and poetry : their impure barbarian accent becomes a poetic axiom. How does this Northern English poetry question Englishness and the English poetic tradition while constructing them ? If « Northern English poetry » does exist, how does it show in terms of poetic voice, rhythms and forms ?

Cette thèse propose une analyse assistée par ordinateur des espaces imaginaires dans un corpus de littérature de jeunesse. Elle part du constat qu’il existe, dans ce genre littéraire particulier, une dualité dans la construction spatiale. En effet, on y trouve d’une part un espace quotidien (que Tolkien nomme monde primaire), et de l’autre un espace magique (le monde secondaire). Le périple du héros-enfant, qui prend la forme d’un ou de plusieurs aller-retours entre ces deux mondes, le conduit à grandir et à se métamorphoser. En ce sens, l’espace participe à sa transformation. Le parcours du protagoniste est jalonné de lieux et de motifs spatiaux récurrents dans le corpus tels que les maisons, les forêts, les jardins, les souterrains. Plus que de simples éléments de décors, ils apparaissent comme signifiants parce qu’ils traduisent à la fois les étapes nécessaires à la construction du héros et son état d’esprit. Il s’agit, dans cette perspective, de comprendre les enjeux symboliques de ces espaces imaginaires. L’étude de l’organisation des espaces narratifs à partir de données quantitatives montre qu’il existe une dualité entre les deux mondes, renforcée par une série de dichotomies. Malgré cet antagonisme structurel, le héros est capable de passer d’un univers à l’autre. L’analyse des modalités et des moments du passage de la frontière révèle que le monde secondaire est un espace mental et spirituel. En effet, il est à a fois l’espace du rêve, de la mort et du sacré. / This thesis is a computer-aided analysis of a corpus composed of twenty British children’s novels. It is based on the fact that, in this literary genre, space is organized by a structural opposition. Indeed, there is, on one hand, a daily environment (the primary world according to Tolkien) and, on the other hand, a magical space (the secondary world). The hero’s journey leads him to grow up and to metamorphose. In this respect, the narrative space is part of his transformation. The hero’s journey is marked out by a series of recurring places and motifs such as houses, forests, gardens and undergrounds. More than mere settings, they are meaningful because they reflect the protagonist’s state of mind. All these topographical elements are interdependent and constitute the spatial system of the narrative. The aim of this research is to understand what is symbolically at stake regarding imaginary spaces. The study of the spatial organization, based on quantitative data, shows a duality between the two worlds, emphasized by a series of dichotomies. Despite this structural antagonism, the hero is able to pass from one land to the other. Focusing on how and when the crossing of the border is possible reveals that the secondary world is a mental and spiritual space. Indeed, it is at the same time the land of dreams, of death and of the sacred.

Le débat architectural du début du XXe siècle semble sous-tendu par les oppositions entre les tenants d'une tradition comme transmission historique ou régionale et ceux d'une modernité comme revendication de la tabula rasa. Mais si la modernité « intervient comme une coupure entre le passé et l'avenir […], elle assure aussi la jonction qui permet au passé de s'enrichir et à l'avenir de se souvenir » (Gasselin, 2007). Elle peut ainsi être observée dans les rapports qu'elle entretient avec la tradition, l'intérêt pour les cultures traditionnelles et vernaculaires s'amplifiant simultanément à l'émergence de la modernité architecturale. La thèse interroge les processus de fabrication qui permettent à l'architecte de construire une idée de la modernité architecturale qui se réclame de la tradition. Les enjeux de reconstruction après les guerres mondiales radicalisent les débats, conférant à la presse et aux grandes expositions internationales des rôles stratégiques de diffusion des idées. Les architectes en sont les acteurs principaux. En considérant l'architecture dans toutes ses dimensions de production (édifiée, représentée, écrite et publiée), nous formulons l'hypothèse qu'elle peut être analysée comme médium (c'est-à-dire comme support d'un message) et comme média (c'est-à-dire comme vecteur de communication). Par ailleurs, nous supposons que dans le processus de publication l'architecte fabrique simultanément un imaginaire du passé et une pensée du monde moderne. Nous identifions trois mouvements dans le processus de fabrication de cette pensée de la modernité. Dans un premier temps, nous nous intéresserons au passage de l'architecture édifiée à l'architecture représentée en interrogeant la capacité des architectes à construire des filiations historiques et/ou géographiques, notamment à partir de l'observation de l'existant. Dans un deuxième temps, nous analyserons les relations entre architecture édifiée et architecture publiée en considérant, comme Beatriz Colomina, que le média imprimé permet un « nouveau contexte de production, existant en parallèle au terrain de construction » (Colomina, 1988). Enfin, en étudiant le passage de l'architecture publiée à l'architecture racontée, nous interrogerons le rôle des espaces de publication dans les processus de mise en récit de l'architecture. Afin de conduire cette étude, nous nous appuyons sur la production de l'architecte Albert Laprade (1883-1978). Acteur sur la scène architecturale moderne, il va participer également à la reconnaissance de l'architecture traditionnelle. La diversité de sa production nous permet de constituer un corpus édifié, dessiné et écrit qui s'élabore à partir de la forme publiée de son travail : articles parus sur sa production bâtie (publiés par d'autres architectes),articles écrits par Albert Laprade (presse professionnelle ou non),ouvrages de l'architecte tels que les Albums de croquis. / In the early XXth century, the architectural debate in France seems underpinned by the opposition between the proponents of a tradition, as historical or regional transmission, and those of modernity, as a claim of tabula rasa. But if modernity “comes as a cut between past and future […]”, it also ensures the junction that allows the past to enrich itself and the future to remember” (Gasselin, 2007). Thus, tradition can be observed through its relations with tradition, as the interest in traditional or vernacular cultures amplifies simultaneously with the emergence of architectural modernity. The PHD examines the manufacturing processes that allow the architect to build an idea of architectural modernity that claims of tradition.Reconstruction issues after the World Wars radicalized the debate, giving the press and international exhibitions a strategic role of dissemination of ideas, the architects being the main players. Considering architecture in all its production aspects (built, represented, written and published), we hypothesize that it can be analysed as a medium (that is to say, a carrier of a message) and as a media (that is to say, a communication vector). Furthermore, we assume that in the process of publishing, the architect simultaneously produces an imaginary past and a thinking of the modern world.We identify three movements in the manufacturing process of the thought of modernity. First, we will look at the transition from built architecture to represented architecture by querying the architects ability to build historical and / or geographic affiliations, especially from the observation of the existing. Secondly, we analyse the relationship between built architecture and published architecture, considering, as Beatriz Colomina, that the print media enables a “new context of production, existing in parallel to the construction site” (Colomina, 1988). Finally, studying the transition of published architecture to narrated architecture, we will question the role of publication spaces in the architecture storytelling process.To conduct this study, we rely on the production of the architect Albert Laprade (1883-1978). Player on the modern architectural scene, he participated in the recognition of traditional architecture. The diversity of its production allows us to establish a corpus, built, designed and written, that develops from the published form of his work:articles about his builts (published by other architects)articles written by Albert Laprade (trade press or not)books published by the architect as his Albums de croquis.

O presente trabalho se ocupa das questões relativas à noção de estrutura no escopo teórico da psicanálise de Jacques Lacan (1901-1981), em específico sobre o objeto de estudo definido por estruturas clínicas, segundo a divisão clássica neurose, perversão e psicose. A questão que norteou a pesquisa foi: Como definir a noção de estruturas clínicas na obra lacaniana? Diante da hipótese de permanência teórica do conjunto estrutural na obra de Lacan, o objetivo da tese foi definir as estruturas clínicas por meio da correlação de tais conjuntos com os três registros Real, Simbólico e Imaginário (RSI) e suas escritas topológicas pelos enodamentos possíveis do Nó-borromeano. O método proposto foi estruturado em quatro capítulos: (1) Análise das bordas epistemológicas para o conceito de estrutura em Lacan, desde o estruturalismo, com a linguística com Ferdinand de Saussure (1857-1913) e Roman O. Jakobson (1896-1982), a antropologia com Claude Lévi-Strauss (1908-2009) e a lógica e a matemática com Aristóteles (384 a.c. -322 a.c.), Gottlob Frege (1848 1925) e indicações gerais da topologia; (2) Proposição da noção de estruturas clínicas, a partir das três principais teorias da constituição do sujeito em Lacan, teoria do estádio do espelho (1949 1964), teoria do complexo de édipo (1950-1970) e teoria da alienação (1964 1970), das quais é possível extrair as indicações dos três registros RSI; (3) Desenvolvimento das operações primordiais Bejahung e Verwerfung - de inscrição no campo da linguagem e seus efeitos de retorno em operadores estruturais específicos a cada conjunto, tais quais na divisão ser, sujeito e eu na montagem da estrutura pelo corte significante; (4) Considerações sobre os arranjos particulares definidos por neurose - o efeito do suporte simbólico ao significante, perversão - posição de recobrimento Imaginário do objeto e psicose - a função imaginária de borda para o Real. Portanto, a tese defendida está pautada numa proposição estrutural da subjetividade pela articulação de operações fundamentais de inscrição no campo da linguagem, e de operadores específicos pela amarração dos três registros RSI, escritos nos enodamentos do Nó-Borromeu RSI, que se atualizam sob transferência enquanto hipótese diagnóstica na particularidade de um tratamento / The present work deals with the questions related to the notion of structure in the theoretical scope of the psychoanalysis of Jacques Lacan (1901-1981), specifically on the object of study defined as clinical structures, according to the classic neurosis, perversion and psychosis division. The question that guided the research was: How to define the notion of clinical structures in the Lacanian work? In view of the hypothesis of theoretical permanence of the structural set in Lacan\'s work, the aim of this thesis was to define the clinical structures by means of the correlation of such sets with the three registers Real, Symbolic and Imaginary (RSI) and their topological writings by the possible intertwinement of the Borromean knot. The proposed method is structured in four chapters: (1) Analysis of epistemological edges to the concept of structure in Lacan, from the structuralism, with Linguistics with Ferdinand de Saussure (1857-1913) and Roman O. Jakobson (1896-1982), anthropology with Claude Lévi-Strauss (1908-2009) and logics and mathematics with Aristotle (384 BC-322 BC), Gottlob Frege (1848-1925) as well as General topology; (2) Proposal of the concept of clinical structures, from the three main theories of the constitution of the subject in Lacan, theory of the mirror stage (1949 1964), theory of the Oedipus complex (1950-1970) and theory of alienation (1964-1970), from which it is possible to extract the indications of three registers RSI; (3) The development of main operations - Bejahung and Verwerfung - on the inscription in the field of language and their returning effects on specific structural operators to each set, such as in the division being, subject and I in the assembly of the structure by the signifier cutting; (4) Consideration of the particular arrangements defined as neurosis - the effect in the symbolic support to the signifier, perversion - position of the imaginary object covering and, psychosis - the imaginary function of edge for the Real. Therefore, the thesis defended is based on a structural proposition of subjectivity by the articulation of fundamental operations of inscription in the field of language, and of specific operators in the tying of the three RSI registers, written in the intertwinements of the Node-Borromeo RSI, that are updated under transfer while diagnostic hypothesis in the particularity of a treatment

Depuis la fin des années 1960, la scénographie suscite un intérêt croissant, surtout au théâtre mais aussi dans les autres arts, dans l'exposition, au cinéma, ou encore dans les meetings politiques, etc. En France, le nombre de thèses touchant au sujet a augmenté considérablement depuis 1985, pour atteindre le chiffre de 182 début 2017. Or, sa définition reste pour le moins floue et suscite des débats et des positionnements forts, voire radicaux, surtout quant à sa dépendance au théâtre et à sa qualité d'espace. Il s’avère alors d'un grand intérêt de proposer une approche théorique et scientifique pertinente de la scénographie contemporaine, afin de lui donner une définition claire qui pourrait servir de matériau commun aux théoriciens comme aux praticiens ou encore aux étudiants.La démarche de cette recherche relie l'élaboration d'une théorie systémique de la scénographie, dans un premier temps, avec son itinéraire historique depuis la Grèce antique enrichie de nouvelles traductions des textes de référence, dans un second temps. Elle intègre aussi, comme cas d'expérimentation de la théorie dans un troisième temps, l'analyse d'un corpus particulier qui retrace le mouvement de «déreprésentation» du Courant 0 au XXe siècle. Elle termine enfin son parcours, dans un quatrième temps, avec l'approfondissement des véritables enjeux humains de la théorie à travers le prisme de l'émotion. Un quatrième temps d'expérimentation « en laboratoire », analyse une production pratique. L'approfondissement du rapport humain ménagé par la machine dans l'investissement émotionnel de l'être humain récepteur, rend compte d'une place fondamentale laissée à autrui. Elle termine enfin son parcours, par l'observation de capacités particulières de la machine (attribution d'intégrité et médiation) à travers l'étude d'applications spécifiques (marionnette et exposition). Avec la récurrence de la notion de représentation, c'est la machine à représenter qui se découvre. Elle déborde de loin l'idée d'espace pour se définir comme création et maniement de représentations, d'images et d'imaginaires. Ce qu'on pourrait aussi appeler conception de mise en situation d'image, repose sur une gradation du rapport entre image, usage, support et expérience. Elle crée et structure une idée de rapport. Elle se pose ainsi comme média en conditionnant la relation de l'humain au monde de part son rapport et sa représentation à travers l'émotion. / Since the late sixties, scenography became a trend in France, the majority being for the theater but also featured in art, exhibition, movies, or political summits, etc. In France, the number of Ph. D. theses touching this subject rose exponentially since 1985, and boasting a total of 182 pieces in early 2017. Nevertheless, its definition remains blurred, leading to debates and strong statements, particularly about the inherent dependency to the theatrical domain and its spatial essence. Thus, the goal of this research is to provide an accurate theoretical and scientific approach to contemporary scenography, outlining a clear definition that can serve as common material for professionals, theorists and students.Firstly, this research elaborates upon the concept of a systemic theory of scenography, baring the historical path that scenography went threw since the time of ancient Greece. Secondly it introduces new translations of referential texts. The third point is about a special corpus analysis which traces the movement of the unmaking representation by the Stream 0 (Courant 0) during the XXe century as an experimental case for testing the theory’s validity. The fourth point opens a practical laboratory. The human paradigm is deepened through an emotional investment as the theory’s real life challenge. Lastly, this research studies three special habilities of the machine related to the emotional investment (integrity attribution and mediation) trhough three specific applications (puppetry and exhibition).The prevalence of the notion of representation is what ultimately reveals the representation making machine. It goes far beyond the idea of space to define itself as creation, as well as the manipulation of representations, images and imagination. What could be known as image situation design is based on a gradation of the relationship between image, use, support and experience. The machine orchestrates and structures the idea of a relation ratio. It positions itself then as a tangible medium by conditioning the link between humanity to the world - by its relation and its representation - through emotion.

In India, globalized flows of bio-medical discourse, practices and technologies are reshaping the field of reproductive healthcare, and the performance of childbirth more specifically. These projects aim to produce institutional delivery rooms that are "safe and modernized" by equating the utilization of westernized, obstetric techniques for managing delivery with better birth outcomes. Yet, these projects often evoke dynamic tensions between the imagined labor rooms NGOs seek to produce and the lived realties of labor in a local context. In this thesis, I examine the ways NGOs market and disseminate state and global discourses around safe, institutional delivers to local communities through a case study of one NGO working in rural southern Rajasthan. Drawing on data from participant observation and in-depth, semi-structured interviews with NGO staff and skilled-birth attendants employed by community health centers, I argue that at the interface of NGO, state, and global relations of power, a commodified discourse in the form of Evidenced-based Delivery (EBD) practices is emerging. This discourse is marketed through a political economy of hope that promotes EBDs as essential for safe delivery. In this system, NGOs function as conduits for transmitting idealized notions of the safe and modern delivery room, and thereby affect a shift in what skilled-birth attendants and communities come to expect from their childbirth experiences -- expectations that I argue are often difficult to meet given current training levels, limited economic resources, and a diverse set of cultural values around childbirth. My findings indicate that while Evidence-based Delivery practices may improve birth outcomes in some contexts, in the delivery rooms of rural Rajasthan, they are functioning essentially as technologies that capitalize on the political economy of hope by evoking the medical imaginary. / Graduation date: 2012

This thesis examines how the first 10 seasons of CSI: Crime Scene Investigation (CBS, 2000–) engage with discourses on science. Investigating CSI’s representation of scientific practices and knowledge, it explicitly attempts to look beyond the generic assumption that forensic crime dramas simply ‘celebrate’ science. The material is analysed at three different levels, studying CSI’s wider cultural discursive context, genre linkages, and audio-visual form. In order to fully account for the series’ specificity, the thesis undertakes comparative analyses of earlier forensic crime dramas and other relevant audio-visual material. Close textual readings of certain thematic tropes, narrative devices and visual imagery in CSI are thus supplemented by historical studies of their extended generic backgrounds. This textual-historical approach generates a general argument that CSI dramatizes and evokes a number of different, and often contradictory, scientific ideas, perspectives and discursive shifts. The thesis concludes that CSI stages a transnational cultural forum, simultaneously engaging with residual, dominant and emergent discourses on science.  Throughout, close attention is paid to the multiple perspectives and viewpoints that allow the series to appeal to a wide and heterogeneous global audience. Furthermore, the thesis asserts that CSI specifically articulates a post-genomic structure of feeling, which begins to express the wider cultural implications of an emergent discursive shift whereby the instrumentalisation of molecular science seemingly offers more possibilities for human intervention into biological processes. Thus, the study demonstrates how CSI’s discourse on science treats recent scientific developments as engendering a cultural process of redefinition, questioning foundational concepts such as truth, identity, body, kinship and emotions.

The aim of the present study is to analyze the conception of time in six books of poems by José Hierro (1922-2002): Tierra sin nosotros (1947), Alegría (1947), Con las piedras, con el viento… (1950), Quinta del 42 (1952), Cuanto sé de mí (1957) and Libro de las alucinaciones (1964). It is suggested that the theme of time in Hierro´s poetry can be approached from three different points of view: existence, essence and consciousness. Furthermore, these three different perspectives are reflected in a chronological division of Hierro´s books of poems into three periods: existential poetry, intimist poetry and hallucinatory poetry. In order to develop and reinforce the thematic study, on the one hand, a comparative study is carried out that focuses on the relationship between poetry and philosophy, and, on the other, the thematic configuration on the surface level is considered. The methodological foundations that make it possible to achieve this objective are provided by Jean-Pierre Richard´s thematic criticism, Edmund Husserl´s phenomenology and Paul Ricoeur´s phenomenological hermeneutics. The dissertation concludes that Tierra sin nosotros and Alegría represent Hierro´s existential poetry, written during the post-war period and the reigning atmosphere of existentialism. Alegría, Con las piedras, con el viento… and Quinta del 42 constitute his intimist poetry. The second book, Alegría, is described as a “bridging book” between the first two periods. When the immediacy of the Civil War begins to fade, the literary scene shifts towards the more intimate theme of knowledge, and in Hierro´s poetry especially the phenomenon of time. In Quinta del 42, Cuanto sé de mí and Libro de las alucinaciones the reader encounters Hierro´s hallucinatory poetry. Quinta del 42 is another example of a “bridging book” between two periods. His hallucinatory poems transmit an extreme form of the search for inner truth which entails the deconstruction of time and space.

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This dissertation considers how the party-state of the People’s Republic of China has been mobilizing various forms of interpellation in an attempt to sustain a continuous imagination of a particular community defined on the terms of a shared “Chinese” national identity. As well, the research considers how these forms of interpellation have been challenged by a range of complex diasporic viewer responses. Taking media productions of the Mainland China television industry as my point of reference, I have studied in detail, multiple productions of the widely popular, complex program, the Spring Festival Gala (SFG) produced by China Central Television. Though not without its contradictions, this show has employed various interpellative strategies, persistently and continuously hailing viewers into the subject position of loyal members of an enduring “Chinese Nationality.” However, interpellation is one thing, subjectification within it is another. To better grapple with the cultural citizenship of transnationalized Chinese, this dissertation also considers observations regarding the receptions of the SFG by diasporic “Chinese subjects” who now live in Canada. While their continuous imagining of the “Chinese Nationality” helps to better understand the complex mechanisms which contribute to the retaining power of interpellation, their moments of “de-imagining” also shed light on the problems and difficulties of such interpellation. These moments are considered as possible openings to the formation of fluid, multiple Chinese subjectivities that lay the groundwork for a “flexible citizenship” (Ong, 1993; 1999) for all “Chinese,” furthering the endeavor to go beyond certain nationalist and/or statist visions of identity, subjectivity, and citizenship.