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Le football, en tant que spectacle total, n’existe que par la présence fidèle et constamment réitérée de publics. Cette présence assidue et confirmée joue un rôle déterminant et fait de ce sport un phénomène social universel, fortement médiatisé. L’objectif de ce travail ne réside pas dans l’analyse et la portée du football en tant que tel, mais sur les spectateurs qui, par leur présence et leur prégnance, le singularisent ; plus précisément, nous insistons sur la représentation médiatique de ces publics. Du fait d’une sur-médiatisation, la question qui se pose concerne la place qu’ils occupent ainsi que le jeu qui se développe entre les acteurs du football et les médias, la manière dont ceux-ci représentent ceux-là. Il s’agit de mettre en œuvre une nouvelle lecture, une nouvelle façon de penser les publics de football en particulier et le spectacle sportif en général, notamment dans le cadre du concept de représentations médiatiques. Cette recherche diachronique s’inscrit dans un temps long, de 1946 à 2010 et l’objectif consiste à retracer l’évolution des représentations médiatiques des publics et du football. Cette approche historique permet d’aborder le football dans son ensemble, les publics en particulier, ainsi que la place d’un média sportif singulier : L’Équipe. Ce journal, institution du monde sportif français joue, durant cette période, un rôle important, à la fois dans la médiatisation du sport et dans sa construction et son évolution. A travers la question des représentations des publics de football, ce sont les évolutions et les transformations du monde du football que nous analysons. / Football, as total spectacle, exists only by the faithful and constantly repeated presence of the public. This diligent and confirmed presence plays an important role and makes the sport a universal social phenomenon, highly publicized. The objective of this work doesn’t lie in the analysis and the scope of football himself, but on the public which, by his presence and resonance, makes it special; we focus on media’s representation of these groups. Due to on-media, the question that arises is the place of such public as well as the game that develops between those involved in football and the media, how they represent each other. It is implementing a new reading, a new way of thinking about public especially football’s and sports’ in general, particularly in the context of the concept of media representations. This diachronic research is based on a long time period, from 1946 to 2010 and the objective is to trace back the evolution of media representations of public and football. This historical approach allows to tackle the football as a whole, public in particular, and instead of (also) a singular sports media: L'Équipe. This newspaper, a French institution on all the world’s sports, plays, during this period, an important role, both in the media coverage of the sport and its construction and development. Through the issue of public representations of football, it is developments and changes in the world of football that we are analyzing.

Cette thèse porte sur les interactions entre infirmières et usagères lors des suivis postnatals à domicile. À partir d’une enquête ethnographique réalisée sur le territoire de Bordeaux- Cartierville-Saint-Laurent à Montréal, je montre la façon dont les infirmières « négocient » leur pratique de soin. Ces « négociations » permettent l’accomplissement du mandat infirmier quelque soient les manifestations de la différence, à l’intersection de la rencontre entre la culture professionnelle infirmière et la culture profane de l’usagère. À partir d’une littérature de la sociologie des professions et de la sociologie de la santé et d’un cadre théorique construit autour du concept de négociation, cette étude montre que c’est principalement en modulant leur rapport aux normes de la santé publique que les infirmières parviennent à négocier leur pratique et ainsi à répondre aux besoins des populations qu’elles rencontrent. Cinq formes de négociation se dégagent : la négociation par coopération, par compromis, par détachement, par adaptation typifiée et par coercition. Faire le récit de ces différentes formes de négociation permet d’expliquer comment les infirmières concrétisent leur mandat infirmier alors qu’elles sont en interaction avec des usagères qui ne partagent pas les valeurs de prévention et de promotion des « saines habitudes de vie » proposées par la santé publique du Québec. / This thesis is an analysis of the interactions between nurses and service users in the context of post-natal home monitoring. Based on an ethnographic study I conducted in Montreal (Bordeaux-Cartierville-Saint-Laurent), I have defined how nurses negotiate care practice with their service users. These ‘‘negotiations’’ permit them to fulfill their mandate even with the manifestation of difference that can arise between the nurse’s professional and the service users’ profane culture. The theoretical framework that I have built around the concept of negotiation is also supported by sociological literature on profession and health. In order to cater to the service users’ needs, the nurses inherently modulate their relationship to the public health norms. Five types of negotiation have resulted form this study: Cooperation, Compromise, Detachment, Typified Adaptation and Coercion. This narrative of these different forms of negotiation tells us how nurses manage to fulfil their mandate with the service users who do not subscribe to the Quebec public health prevention and promotion of healthy living values.

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As an artist working with the female model, this practice-led research examines concepts of alterity and subjectivity while challenging the dominant role of male subjectivity in the western world. It revolves around the relationship between myself and the female subject, a specific woman who within the context of my work epitomises but at the same time transcends womanhood. This undertaking suggests that my representations of her body grow out of a dialectical tension between the feeling that the female other has almost become a metonymic extension of myself, and the awareness that such a feeling is at the same time illusory. The practical component of my investigations takes the form of body-themed box assemblages which are reminiscent of polyptychs, tabernacles and reliquaries. However, the sacred images which form part of these ecclesiastical items are replaced with others showing close-ups of the fragmented bodies of the model and myself. While this kind of profane artefact acts as a receptacle for our bodies which are broken down and enshrined together with other objects, it constitutes part of an ongoing process whereby the relationship between myself and the female figure is metamorphosed, re-shaped, and re-visioned. The significance of these creations is meant to extend beyond their artefactual existence and become mediums through which I re-visit female sexuality and eroticism and assess them within a spiritual context, albeit in the circumscribed framework of a particular woman. The artefact s ultimate objective is to appease my innate desire to access the other via a self-reflexive process which involves both mirroring and distancing at one and the same time. This process also includes an exploration into the spiritual with the aim of exploiting that which is other in the western theological tradition, namely God and the Divine. The gaze is also deeply involved in this exploration of the other. In fact, while our bodies are subjected to a re-visitation and trans-valuation in parts through multiplication and fragmentation, the gaze is in the process broken down into a series of glances which originate from myself, the viewer or the female subject. This process questions and disrupts the dominance of the male gaze, and its associated precepts, in Western visual culture. Finally, by correlating the model s body with the divine, my artefacts seek to give this woman, as an embodiment of the true other, a trans-corporeal identity. Rather than seeking to exert control over the other, they provide a pious space wherein the self and the other are able to encounter each other in a manner that initiates an equitable relationship, unhindered by presumptive knowledge. This is aided by the aesthetics and dynamics underlying the box assemblage which, while expressing gender fluidity and encouraging disengagement from preconceived dogmas a sort of reverse cognition also enhances the experience of its deific symbolism.

Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal. / Pour respecter les droits d'auteur, la version électronique de cette thèse ou ce mémoire a été dépouillée, le cas échéant, de ses documents visuels et audio-visuels. La version intégrale de la thèse ou du mémoire a été déposée au Service de la gestion des documents et des archives de l'Université de Montréal.

Diploma thesis with the topic Illustration cycle in print called Pán rady (1505) deals with issue of illustration in old printed books, but also in wider perspective with text, its history and its mediation via manuscripts and print. Art-historical background of the author is combined with informations from other disciplines like library science, history of literature and history. As woodcuts are known as an import from Strassbourg, formal analysis is focused on finding paralels in local illustrated books production. Surprisingly one of the models used for woodcuts is copperplate by Dutch engraver known as Master FVB. There are several specifics when iconography of woodcuts is concerned. In the first place are all the allegorical figures depicted as male - despite the fact that in most other artworks is Fortune and other figures traditionally shown as female. Other interesting aspect is lack of female element on the illustrations at all, with one exception where depicted woman is most likely prostitute. This can be explained as an awareness of the strict morals utraquistic townsmen in Prague. There are quite a few parallels with contemporary tendencies in this sort of moralising literature and its influence on art. Illustrations from Pán rady are preceding popular protestant imaginary warning from...

La ''caution dirigeante'' est une formule consacrée par la doctrine pour désigner le cautionnement donné par un dirigeant en garantie des dettes de sa société. L'emploi de ce syntagme n'est pas inutile dans la mesure où la caution dirigeante a toujours eu un statut intermédiaire : elle ne peut pas être appréhendée comme un simple consommateur puisqu'elle contracte pour les besoins de son activité professionnelle, elle ne peut pas davantage être considérée comme un professionnel contractant dans son domaine de compétences. Traditionnellement, la jurisprudence considérait pourtant les cautions dirigeantes comme des cautions averties, elles en incarnaient précisément l'archétype. Dès la fin des années 1970, des réformes législatives compliquèrent régulièrement cette conception prétorienne de la caution dirigeante. La loi pour l'initiative économique du 1er août 2003 annonça l'avènement d'une ère nouvelle pour les cautions dirigeantes, faisant d'elles des quidam du droit du cautionnement. Les interventions législatives ultérieures forcent même à constater que les dirigeants sont paradoxalement mieux protégés que les cautions non-dirigeantes, fragilisant ainsi la fonction de ce cautionnement qui est d'assurer le crédit aux entreprises. / "Director's Guarantee" is an expression reserved by doctrine to refer to the surety given by a director to secure the debts of his company. The employment of this phrase is useful insofar as the director's guarantee has always had an intermediary status : he cannot be considered to be either as simple consumer because he's contracted for the purposes of the director's professional activity, nor as a professional contracting in his or her field. Traditionally, case law has considered director's guarantees as informed sureties. In fact, they embody the archetype. Since the 1970's, legislative reforms have regularly complicated this court-made definition of the director's guarantee. The French Economic Initiative Act of 1 August 2003 launched a new era for director's guarantees, making them ordinary individuals of surety law. Later legislative actions even had to note that director's guarantees are paradoxically better protected than non-director's guarantees, thereby weakening the function of this surety that is to provide business credit.

O trabalho investiga a atividade musical da cidade de São Paulo no período de 1765 a 1822 e verifica como a circulação da música entre as esferas profana e sagrada e o consequente processo de laicização dos espaços contribuiram para a ampliação das práticas de sociabilidade da época. A relação entre o produtor, no caso compositor ou músico, e as instituições atendidas, tais como as igrejas e as irmandades, ou os indivíduos, será abordada. Junta-se a esta relação aquela existente entre a recepção por parte do público e os diferentes meios de reprodução da música. Com esse estudo, estabelecemos o circuito musical sacro e profano no período. Evidenciam-se as atividades da Casa da Ópera no governo de D. Luís Antônio de Sousa Botelho Mourão e como elas propiciaram à cidade de São Paulo uma integração cultural às principais cidades do Brasil colonial. / This work investigates the musical activities of São Paulo city from 1765 to 1822 and verifies how the music circulation in the sacred as well as profane circles and its following process of democratization of spaces contributed for the growth of the socialization practices of the colonial society. The relationship between the producer - the composer or musician in this case, and the attended institutions such as churches, brotherhoods or even private contracts, will be discussed. Besides this relationship there is also the reception of the society during the period and the different ways of music reproduction. Studying this relationship we establish the church and profane musical circuit of the period. The activities of the house of opera during the government of D. Luís Antônio de Sousa Botelho Mourão gave to the city of São Paulo a cultural integration to the principal cities of colonial Brazil.