Th.--Lettres--Aix-Marseille 1, 1973. / Bibliogr. p. 845-849.

Au Sud-est du Massif Central, le Languedoc oriental englobe les trois départements français de l’Ardèche, du Gard et de l’Hérault. Avec près de 1600 dolmens répertoriés, en majorité localisés sur les petits causses calcaires, ce territoire recèle la seconde concentration mégalithique du pays, derrière la région des Grands Causses. L’étude des dolmens y est ancienne, puisque les premières hypothèses relatives à leur fonction remontent au début du 19e siècle. Dans le Midi de la France, elles ont abouti au classement des tombes en trois grands groupes typologiques. Aux prémices de notre réflexion, figurent un certain nombre d’interrogations relatives à la pertinence de cette typologie et à l’état des connaissances. La problématique centrale de notre travail a donc été, d’une part de mettre en évidence un savoir-faire mégalithique et d’autre part de tenter de résoudre les questions de chronologie relative et d’appartenance culturelle des tombes languedociennes. Dans cette optique, nous avons exploré les monuments au travers de trois axes principaux. Le premier a pris la forme d’une analyse morphologique et comparative des dolmens, débarrassée du présupposé typologique. Le second nous a conduits à porter l’interrogation dans le domaine des techniques, permettant ainsi de retracer une chaîne opératoire mégalithique. Le troisième point de vue est celui des implications symboliques, liées notamment au choix de l’orientation de la tombe. / To the southeast of the Massif Central, East Languedoc encompasses the three French departments of Ardèche, Gard and Hérault. With nearly 1,600 listed dolmens, mostly located on small limestone plateaus, the area contains the second megalithic concentration in the country, behind the Grands Causses region. The study of dolmens is ancient, since first hypotheses concerning their function back to the early 19th century. In the south of France, they have led to the classification of graves in three typological groups (Arnal 1963; Chevalier 1984). It appears, from recent publications, an embarrassment to adhere fully to the three main types, without questioning them. Therefore, the first fruits of our reflection included a number of questions regarding the adequacy of the current type and the state of knowledge in the west of the Rhone. The central issue of our work has been on the one hand to demonstrate expertise megalithic and secondly to try to resolve issues of chronology and cultural affiliation of Languedoc graves. In this context, we explored the monuments through three main axes. The first took the form of morphological and comparative analysis of dolmens, freed of typological presupposition. The second led us to bring the interrogation in the field of techniques. The recognition of the choices made by the builders can trace megalithic operating chain and identify possible differences in cultural. The third view is the symbolic implications of the choice of the orientation of the grave. The reasons which led to favor a particular orientation seem indeed related to worship or environmental factors, or a combination of these factors.

The master thesis The Langue d'oc in the Scholarly Discourse Before and After The Great French Revolution considers the image of the Occitan language in the lexico-graphical and grammatico-graphical works that have been written between the beginning of the 18th and the mid-19th century. During this epoch, in the framework of a diglossic model, the language in question had been suffering a status of a dominated language. At the same time, however, it had awaken an interest of many scholars whose motivations for their studies ranged from a will to contribute to a proliferation of Francization to an effort to save the Occitan language and restore its own dignity. It is precisely this motivation, as well as the denominations which our authors had given to the language in question and also their strategies for its valorization or devalorization, that this text engages with. The socio-linguistic situation in the Pays d'Oc and the impact of The French Revolution and of its linguistic politics on the presence and the representation of the Occitan are also being examined. These phenomena are studied in the framework of a theory of the formation of nations by Miroslav Hroch as the phase A of the Occitan movement which had remained, at least during this phase, a purely cultural phenomenon, that is to say a...

La politique Trame verte et bleue [TVB], instituée en 2007 en France à la suite du Grenelle de l’Environnement, a pour objectif de contribuer à la préservation de la biodiversité par le maintien et/ou la restauration des continuités écologiques, et ce au-delà des zones protégées, dans les espaces de biodiversité « ordinaire » : espaces ruraux, périurbains et urbains notamment. Ce travail questionne l’appropriation de la TVB par les acteurs locaux, et les implications de sa mise en œuvre sur les pratiques de construction des territoires par leurs acteurs. Notre démarche repose sur un travail d’enquêtes qualitatives menées auprès de structures territoriales, d’élus locaux, d’agriculteurs et de particuliers, sur trois territoires situés au sud de la Région Midi-Pyrénées. Il a été démontré que le dispositif TVB, porté par un discours homogène et très institutionnalisé aux niveaux national et régional, se décline en situations adaptatives sur les territoires. D’un autre côté, le processus de construction de la TVB sur les territoires reste cantonné aux sphères politiques et techniques de l’Etat et des collectivités territoriales : les acteurs locaux, élus mais surtout acteurs privés (agriculteurs et particuliers) y sont peu associés. Néanmoins, ces acteurs se montrent intéressés par la question de la biodiversité, moins par le biais des discours politiques ou scientifiques que par celui des rapports à la biodiversité qu’ils construisent et nourrissent au quotidien. Par ailleurs, la convergence d’objectifs paysagers, socio-économiques et écologiques autour de la TVB peut favoriser son application locale, car pour des motivations différentes, les divers acteurs partagent des volontés d’action communes. Finalement, l’étude montre l’intérêt de connaître et de prendre en considération, dans les projets de mise en œuvre de la politique TVB, les motivations, les freins et les contraintes des acteurs locaux pour l’ancrer et la pérenniser sur les territoires. / The purpose of the Green and Blue Corridor (so called TVB) public policy, laid down in France at the “Grenelle de l’Environment” and established in 2007, is to contribute to the preservation of biodiversity by enhancing and/or restoring ecological continuity beyond the protected areas, in spaces of common biodiversity including rural, suburban and urban areas. This work questions the appropriation of TVB by local stakeholders and the consequences of its implementation in structuring territories. Our approach is based on qualitative surveys conducted together with territorial authorities, local elected officials, farmers and private individuals, in three zones of the southern Midi-Pyrénées Region. It has been shown that national TVB scheme, supported by an homogeneous and very institutionalized frame at national and regional levels comes in a range of adaptive situations in the territories. Moreover the construction process of TVB at the local scales remains confined to political and technical spheres of State and local authorities: local stakeholders, elected but mostly individuals (farmers and private people) are not very involved. Nevertheless these stakeholders are interested by the biodiversity matter, less through political or scientific discourses than in links with their own experience of biodiversity. Furthermore convergent aims (landscape, socio-economy and ecology) around TVB can facilitate its local setting up, because from spite of their diversity stakeholders share common action concerns, even if it is for different reasons. Finally, the study highlights the interest of knowing and considering motivations and constraints of local stakeholders in the TVB implementation plans, in order to root and perpetuate the TVB at the local level of the territories.

Mon sujet de thèse sur "La peinture à Montpellier de Sébastien Bourdon à Joseph- Marie Vien" tend à fédérer dans un premier temps les recherches qui ont été effectuées par bribes sur les peintres montpelliérains du XVIIe et XVIIIe siècles (Antoine Ranc (1634 - 1716), Jean de Troy (1638 - 1691), Etienne Loys (1724 – 1788) , Jean Coustou (1719 – 1791)...). Elles permettent de retracer le contexte artistique et historique du foyer culturel de la ville à travers les nombreuses commandes privées et publiques. Il est aussi intéressant de se demander s'il existe une école montpelliéraine dans laquelle la création des Académies aurait pu avoir un rôle. Enfin cette étude permettra de comprendre quelle est la place artistique de la cité montpelliéraine par rapport aux deux autres grandes provinces du sud que sont Toulouse et Marseille. / This study draws the history of painting in Montpellier in the 17th and 18th centuries, through the careers of Sébastien Bourdon (1616-1671) and Joseph-Marie Vien (1716-1809). Although these two masters are internationally recognized, their influences on local painting remained to be defined, just like those of three other academicians: Hyacinthe Rigaud (1659-1743), Jean Ranc (1674 - 1735) and Jean Raoux (1677-1734). This study not only aims at analysing works by painters now famous, but also at revealing other contemporary artists as well as local workshops, which were opened to multiple influences. These workshops and artists were at the forefront of the paintings done in Montpellier up to the end of the 18th century. Some were more important than others, as those of Flemish masters at the beginning of the 17th century, of Paul Pezet ( ? – 1687) and of Antoine Ranc (1634 - 1716) during the Classical Age or even those of Etienne Loys (1724 - 1788) and Jean Coustou (1719 - 1791) in the 18th century. The latter trained the great masters from Montpellier who became academicians. This study means to define the essence of this local painting and its models. The issue of academies also partakes of our domain of research. Several attempts at creations of academic schools marked out these two centuries: be they, that of Sébastien Bourdon in 1649, that of Jean de Troy (1638-1691) in 1679, that of Jacques Giral (1684-1749) in 1737 and finally “la Société des Beaux-arts” (the Company of the Fine arts) in 1779. They are studied along with other southern academies of art, in Toulouse and Marseille. Thus, this analysis of local workshops and academies interrogates the notion of school in Montpellier, thereby registering this research at a more global scale, by comparing its results with the matching productions of other artistic centers in the same area, but also of Parisian and European great masters.