La vague actuelle de construction de nouveaux musées tend vers une utilisation spectaculaire de l'architecture. À l'image du Guggenheim de Bilbao, le musée est devenu une œuvre en soi. En 1977, trente ans avant l'émergence de ce courant nommé « effet Bilbao », le Centre Georges Pompidou s'érigeait au cœur de Paris, suscitant une véritable commotion dans le monde des musées et de l'architecture, soulevant au passage les passions dans l'opinion publique. L'ampleur de la polémique est symptomatique de l'audace de la proposition architecturale. Force est de constater que l'architecture est porteuse de discours. Cela dit, les tentatives d'analyse de ce discours se concentrent généralement sur la valeur esthétique du message et restent dans la sphère affective. À l'aide de théories issues du champ des communications, le présent mémoire vise donc à proposer une méthode alternative de lecture du discours de l'architecture, par l'étude d'un cas particulier : celui du Centre Pompidou de Paris. Appuyée sur la conception de la rhétorique de Michel Meyer et Olivier Reboul, ainsi que sur la sémiotique de Jean-Marie Klinkenberg, l'analyse entend faire ressortir les différents arguments encodés dans l'architecture. À ces théories s'ajoute celle des relations transtextuelles, telle que définie par Gérard Genette, qui permet d'observer des rapports dynamiques entre le discours du Centre Pompidou et celui d'autres monuments. Ce mémoire aborde le discours de l'architecture du Centre à travers ses dimensions spatiales et temporelles. En se présentant sous un angle d'approche pragmatique, l'analyse établit des liens entre le contexte de l'élocution et le sens du discours de l'architecture afin de comprendre la dynamique discursive de telles constructions. Nous soutenons la thèse selon laquelle les méthodes d'analyse du discours conventionnel sont applicables à l'objet en trois dimensions. En ce qu'elles permettent de dépasser le discours affectif, elles offrent la possibilité d'une compréhension plus objective et explicite du message exprimé par l'architecture et de ses effets sur les observateurs. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : architecture, rhétorique, sémiotique, transtextualité, musées, Centre Georges Pompidou, discours

Tras analizar la construcción del proyecto en el movimiento moderno y su relación con la promesa arquitectónica en algunas obras de sus maestros, se realiza un estudio sistemático de la construcción de la Ópera de Sydney y del Centro Pompidou de París. De este análisis surge una constelación de circunstancias que motivan la transformación del proyecto arquitectónico durante su proceso constructivo. La existencia de puntos en común y el carácter estructural de algunos de ellos permiten sospechar una situación en la arquitectura -al menos de la segunda mitad del siglo XX- en la que se pueda cuestionar el proyecto entendido como anticipación fidedigna y completa de su realización. El proyecto recurre a la doble tarea de separar y agrupar tareas y conocimientos en los múltiples agentes que confluyen en obra. Su eficacia residirá en la medida en la que sepa preparar las condiciones para la convergencia de todos estos especialistas que concurren en una obra cada vez más compleja. En particular se hace indispensable la participación de la figura de un ingeniero comprometido con el proyecto y al que es capaz de incorporar la complejidad técnica de una forma no sólo compatible sino también activa en su definición. Desde el punto de vista del objeto arquitectónico, del continente, el proyecto entendido como un documento técnico congelado ya no es ni completo ni infalible.El proyecto adquiere otra condición que es la de moldear y formular determinadas hipótesis sobresu uso y su contenido. Se trata de propuestas pioneras en su formulación programática. El proyecto no se limita a organizar y asignar espacios a un programa, sino que en sí, también actúa sobre la organización del edificio. La dificultad que conlleva la determinación unilateral por parte del arquitecto del uso colectivo y social repercutirá en la evolución posterior de la obra. El contenido, por tanto, también se escabulle de las certezas del proyecto. Como fenómeno económico, ya los primeros modernos abandonaron la aspiración de taylorizar la construcción, apostando por una industria semi-prefabricada en la que la relación de la arquitectura con la construcción es de denegación: nace de ella y la necesita para violentarla o llevarla al límite.Se trata de un fenómeno económico de difícil predicción y que genera conflictos en la obra porque la industria de la construcción busca su rentabilidad en la optimización de las soluciones y acude al catálogo para resolver problemas conocidos. La flexibilidad de esta industria para abordar problemas nuevos es casi excepcional y está poco estimulada y así la obra difícilmente se inscribe en una economía de la prescripción, condicionada además por factores de beneficio y velocidad.En definitiva, el análisis comparativo de estos dos ejemplos muestra como, la progresiva complejidad tecnológica, la especialización -que cuenta con un protagonismo activo y renovado dela figura del ingeniero-, la implantación de nuevos programas, la dificultad de anticipar el fenómeno económico de la construcción y la variabilidad de los clientes son algunos de los vectores de incertidumbre que acompañaron el desarrollo de sus respectivos procesos de materialización, en un marco colectivo de la creación arquitectónica y en un contexto público de su trascendencia. Ante esta nueva situación que se genera a partir de la segunda mitad del siglo XX, la arquitectura y en definitiva los arquitectos, buscan nuevos respuestas. La ópera de Sydney y el Beaubourg de París anuncian caminos de distinto carácter. Ante esta realidad hemos podido adivinar algunos mecanismos al alcance del proyecto y del arquitecto en el estudio de los ejemplos de referencia. El proyecto se fragmenta, adopta geometrías deformables, adquiere un carácter estratégico, anima a la recuperación de espacios de colaboración transversales entre los distintos agentes y fundamentalmente entre arquitectos e ingenieros... Todo ello se hace imprescindible para la coherencia final del objeto arquitectónico. La arquitectura entendida como realidad ya no podrá ser sólo concebida. A partir de la segunda mitad del siglo XX deberá ser, además, construida, porque sólo así habrá sido capaz de transformarse, sortear o incorporar las dificultades y posibilidades que han surgido durante su proceso constructivo. El cómo haya sido capaz de atravesar ese tránsito será, al menos, igual de importante para el resultado final que el punto de partida. Si Le Corbusier afirmaba que "l'important c'est le choix", la pérdida de control del proyecto sobre el producto arquitectónico obliga a ampliar esa condición para una arquitectura posible. / After the analysis of the construction of the project by the moderns and its relation with the architectural promise in some of the works built by its masters, the thesis makes a sistematic study of the constuction of the Sydney Opera House and the Pompidou Centre in Paris. From this analysis, we emphasise a whole host of circumstances that give rise to the transformation of the architectural project during its building process. Nevertheless, the existence of points in common and the structural character of some of them allow us to suspect a situation in architecture¾at least in the second half of the 20th century¾in which we might question the project understood as a worthy and complete anticipation of its realisation. The project foregrounds the twin task of separating and grouping assignments and kinds of knowledge in the multiple agents who come together on the building site. Their effectiveness will reside in the extent to which it is known how to establish the right conditions for the convergence of all these specialists. The participation becomes indispensable of the figure of an engineer committed to the project and who is capable of incorporating in the latter the technical complexity of a form not only compatible with, but also active in, its definition. From the point of view of the architectural object, of the container, the project understood as a fixed technical document is no longer either complete or infallible. The project acquires another quality, which is that of shaping and formulating certain hypotheses on its use and its content.The project is not restricted to organising and assigning spaces to a programme but rather it also acts in itself on the organisation of the building. The difficulty that comes with the unilateral fixing on the part of the architect of the collective and social use of the building will have repercussions in its subsequent evolution. The content, then, slips away from the certainties of the project. As an economic phenomenon the first Moderns gave up on their aspiration to Taylorise building work, in backing a semi-prefabricated industry in which the relationship between architecture and building work is one of denial: it is born of it and needs it in order to subject it to violence or take it to the limit. Consequently, this is an economic phenomenon that is difficult to predict and which generates conflict on the building site because the construction industry is after cost-effectiveness in the optimisation of solutions and relies on the catalogue in order to resolve known problems. The flexibility of this industry is all but exceptional and is little encouraged. All this means that notwithstanding attempts at normative and dimensional unification, the building site is hardly inscribed in an economy of prescription.To sum up, comparative analysis of these two examples shows how progressive technological complexity, specialisation (which relies on the active and renewed role of the figure of the engineer), the implantation of new programmes, the difficulty of anticipating the economic phenomenon of the construction work and the variability of clients are some of the vectors of uncertainty which accompanied the evolution of their respective processes of materialisation, in a collective framework of architectural creation and in a governmental context of their importance. Faced with this new situation, which is generated during the second half of the 20th century, architecture and finally architects look for new responses. The Sydney Opera House and the Beaubourg in Paris announce paths of a different kind. In the presence of this reality we have been able to intuit some mechanisms within reach of the project and of the architect in the study of the reference materials. The project fragments, adopts deformable geometries, acquires a strategic quality and encourages the reclaiming of spaces of transversal collaboration between the different agents, chiefly between architects and engineers... All this turns out to be essential to the final coherence of the architectural object.The architecture as reality will no longer be able to be just conceived. From the second half of the 20th century onwards it will have to be, moreover, built, because only thus will it be capable of transforming itself, getting round or incorporating the difficulties and possibilities that have arisen during its building process. The reasons for it being capable of making that changeover will be at least as important for the final result as the point of departure. If Le Corbusier stated that "l'important c'est le choix," the loss of project control over the architectural product obliges that condition to be extended for a possible architecture.

La politique espagnole de la France de 1957 à 1979 est abordée autour de trois périodes aux temporalités marquées. Trois étapes, trois étages : observation (1957-1963), marchandages commerciaux (1963-1970), engagements politiques et prise de risques (1970-1979). Face aux mutations du franquisme puis de la démocratie, Paris se repositionne sans cesse. La diplomatie espagnole s’avère très incisive : l’Espagne est un voisin instable et pugnace. Néanmoins, le Quai d’Orsay perçoit un atout pour la quête de grandeur gaullienne. Pays de haute croissance économique, l’Espagne reste un débouché propice aux exportations françaises. Pays méditerranéen, l’Espagne est susceptible de modifier le centre de gravité de l’Europe communautaire au profit d’une France dont le rôle de carrefour serait renforcé. Pays latin, l’Espagne est un relais des ambitions françaises en Amérique du Sud. Pays en développement, l’Espagne apporte un appui aux élans tiers-mondistes de la politique française. Sous l’angle bilatéral, cette thèse recentrer et d’actualiser des travaux qui balisent l’étude. Par ailleurs, il ne serait pas judicieux d’ignorer les griefs ou les attentes des Espagnols à l’égard de la France. Dans le domaine multilatéral : parrainage européen fourni par la France ; tactique espagnole de surenchères attisées entre Washington, Bonn, et Paris ; désirs d’une coopération méditerranéenne articulée autour de Madrid, Rome et Paris. Aussi cette recherche s’insère-t-elle dans trois champs historiographiques : l’histoire des relations franco-espagnoles, l’histoire politique de l’Espagne, l’histoire des représentations parmi les élites françaises. / France's Spanish policy from 1957 to 1979 is approached through three very distinct periods. Three steps, three levels : observation (1957-1963), trading negociations (1963-1970 ), political commitments and daring relationships (1970-1979). Confronted with the evolutions of Franco's dictature and then democracy, the French government is constantly adapting. The Spanish foreign policy turns out to be sharp: Spain is a restless and pugnacious neighbour. Yet the French Foreign Affairs Department considers this situation as an opportunity to enhance the prestige of de Gaulle's policy. With a high economic potential, Spain offers many opportunities for French exports. As a Mediterranean country, Spain is likely to change the centre of gravity of the European Community in favour of France, whose role of platform would be reinforced. As a Latin country, Spain represents a link between an ambitious France and South America. As a developing country, Spain provides a support for the French attempt to deal with the Third World. From both perspectives - Spanish and French - this PhD gathers and updates previous works which were used to build this study. Besides, one should not ignore Spanish grievances or expectations regarding France. From a larger perspective : France provides a European partnership, Spain tries to outbid between Washington, Bonn and Paris, while a Mediterranean cooperation structured around Madrid, Rome and Paris is highly wished for. This study is carried out into the frame of three different historiographic schools: the history of Franco-Spanish relationships, the political history of Spain and the history of representations among French elites.

Il s’agit d’étudier l’inscription en politique de l’ancien résistant et déporté Edmond Michelet (1899-1970) accédant à la carrière politique sous la Quatrième et la Cinquième République. Passant du gaullisme de guerre au gaullisme d’opposition puis au gaullisme politique dès le retour aux affaires de l’Etat du général de Gaulle en 1958, E. Michelet traduit son engagement en lien étroit avec la figure tutélaire du chef libérateur de la France. C’est donc en posant le degré de filiation, de pratiques et de mise en réseaux d’Edmond Michelet avec Charles de Gaulle, ses collaborateurs et ses détracteurs au sommet du pouvoir comme à la base de l’appareil militant, que se pose l’intérêt de notre étude. On insistera dans cette étude sur l’importance des trajectoires culturelles et idéologiques opérantes au sein des appareils politiques et dans l’environnement des gaullistes de De Gaulle à G. Pompidou. C’est l’occasion d’interroger enfin le style politique d’E.Michelet et le degré d’imprégnation des moments clés de son existence (les militances catholiques sociales de l’entre-deux-guerres ; la Résistance ; la déportation) adaptés à l’exercice original de ses activités politiques (militant et dirigeant de parti ; parlementaire ; membre de gouvernement, etc.). / It is a question of studying the registration in politics of the former Resistance fighter and the transported convict Edmond Michelet (1899-1970) reaching in the political career under the Fourth and the Fifth Republic. Passer-by of the war Gaullism in the Gaullism of opposition then the political Gaullism from the return to the affairs of the State of the general de Gaulle in 1958, Michelet translates its commitment in the service of the Gaullism into narrow link with the guardian face of the leader liberator of France. Thus while putting the degree of filiation, practices and putting in Edmond Michelet's networks with Charles de Gaulle, his associates and his detractors at the top of the power as on the basis of the militant device, arises the interest of our study. This study will emphasize the importance of operational trajectories within political apparatuses and in the Gaullist environment from De Gaulle to G. Pompidou. This is the opportunity to finally question the political style of E. Michelet and the degree of impregnation of the key moments of his life (the Catholic social militants of the inter-war period, the Resistance, the deportation) adapted to the exercise of his political activities (militant and party leader; member of government, etc.).

A dissertação apresenta um estudo de Beaubourg, Centre d\'art et culture Georges Pompidou (1977), último filme dirigido por Roberto Rossellini. A produção registra o início das atividades da instituição cultural parisiense cuja concepção arquitetônica e conceitual é abordada no primeiro capítulo. Desse contexto, o estudo avança para uma análise detalhada que identifica a variação dos registros adotados pelo filme diante dos espaços e situações apresentados no museu. A mobilidade do ponto de vista se sobressai como uma das características do filme, o que leva, nos próximos capítulos, ao estudo do movimento e da mobilidade de câmera no cinema rosselliniano. Atenção especial é concedida à Viagem à Itália (1954) no segundo capítulo e O Renascimento (1973), no capítulo final. Também são tratados alguns conceitos empregados pelo diretor, como \"microscópio\". No desenvolvimento, observamos como a mobilidade do plano abandona o contato direto com a realidade para se dirigir a um passado histórico reconstituído na artificialidade dos cenários e da encenação. O zoom emerge como recurso de mobilização da visão que explora a informação histórica para extrair dela a abstração do pensamento e da ideia. A conclusão retoma, em tom mais livre e interpretativo, a discussão de Beaubourg. / Beaubourg, Centre d\'art et culture Georges Pompidou (1977), the last film directed by Roberto Rossellini, is the main subject of this master thesis. In the first chapter, I discuss the architectural and institutional concept of the Pompidou Centre. From this context, the study advances towards a detailed analysis of the filmitself, considering whole range of different strategies employed during the filming. Camera mobility is one of its major characteristics, which leads, in the following chapters, to a broader understanding of movement and point of view in relation to filmic image. This discussion is subsidized by a detailed and somewhat auteurist study of two sequences from Journey to Italy (1954), in Chapter 2, and The Age of the Medici (1973) in the final chapter. I also describe some of the director´s unique concepts, such as the \"microscope\" and elaborate on the relations between historical representation and Rossellini\'s employment of zoom and tracking shots. Aiming to encounter the essential image, the director found means of approaching the abstractness of ideas. In the conclusion, an interpretative analysis of Beaubourg is resumed taking into account themes developed in previous chapters.

A dissertação apresenta um estudo de Beaubourg, Centre d\'art et culture Georges Pompidou (1977), último filme dirigido por Roberto Rossellini. A produção registra o início das atividades da instituição cultural parisiense cuja concepção arquitetônica e conceitual é abordada no primeiro capítulo. Desse contexto, o estudo avança para uma análise detalhada que identifica a variação dos registros adotados pelo filme diante dos espaços e situações apresentados no museu. A mobilidade do ponto de vista se sobressai como uma das características do filme, o que leva, nos próximos capítulos, ao estudo do movimento e da mobilidade de câmera no cinema rosselliniano. Atenção especial é concedida à Viagem à Itália (1954) no segundo capítulo e O Renascimento (1973), no capítulo final. Também são tratados alguns conceitos empregados pelo diretor, como \"microscópio\". No desenvolvimento, observamos como a mobilidade do plano abandona o contato direto com a realidade para se dirigir a um passado histórico reconstituído na artificialidade dos cenários e da encenação. O zoom emerge como recurso de mobilização da visão que explora a informação histórica para extrair dela a abstração do pensamento e da ideia. A conclusão retoma, em tom mais livre e interpretativo, a discussão de Beaubourg. / Beaubourg, Centre d\'art et culture Georges Pompidou (1977), the last film directed by Roberto Rossellini, is the main subject of this master thesis. In the first chapter, I discuss the architectural and institutional concept of the Pompidou Centre. From this context, the study advances towards a detailed analysis of the filmitself, considering whole range of different strategies employed during the filming. Camera mobility is one of its major characteristics, which leads, in the following chapters, to a broader understanding of movement and point of view in relation to filmic image. This discussion is subsidized by a detailed and somewhat auteurist study of two sequences from Journey to Italy (1954), in Chapter 2, and The Age of the Medici (1973) in the final chapter. I also describe some of the director´s unique concepts, such as the \"microscope\" and elaborate on the relations between historical representation and Rossellini\'s employment of zoom and tracking shots. Aiming to encounter the essential image, the director found means of approaching the abstractness of ideas. In the conclusion, an interpretative analysis of Beaubourg is resumed taking into account themes developed in previous chapters.

Cette recherche porte sur l’entourage institutionnel de Georges Pompidou, Premier ministre d’avril 1962 à juillet 1968, puis président de la République de juin 1969 à son décès le 2 avril 1974. Histoire politique de l’administration, elle étudie l’organisation, la structure, et le fonctionnement des deux institutions coutumières que sont le cabinet du Premier ministre et le Secrétariat général de la présidence de la République sous Georges Pompidou. Elle analyse les évolutions de ces organes sur le temps long et étudie les adaptations apportées par Georges Pompidou en terme de rupture et de continuité. Elle s’interroge notamment sur le poids des héritages gaulliens et sur le rôle de Georges Pompidou dans la stabilisation des institutions de la Ve République. Cette recherche retrace également l’histoire des hommes et des femmes qui ont travaillé à ses cabinets civils et militaires à Matignon puis au Secrétariat général de l’Élysée entre 1962 et 1974. À travers l’étude de leur formation, de leur profil, de leur carrière, elle précise les caractéristiques propres à cet entourage politique et enrichit les travaux sur le personnel politico-administratif au cours des années 1960-1970. Enfin, l’analyse des relations entre Georges Pompidou et son entourage, entre ses collaborateurs et d’autres entourages politiques, pose la délicate question de l’influence de conseillers du Premier ministre puis du chef de l’État sur lui-même, et sur le processus décisionnel. / This research is about the institutionnal entourage of Georges Pompidou during his mandates as a Primer Minister (April 1962-July 1968) and as a President of the French Republic (June 1969-April 2th 1974, when he prematurely died). It focuses on two institutions whose organisation, structure and internal functioning have been empirically shaped : the Prime Minister Cabinet and the Secretary-Generalship of the Presidency. It analyses their long-term evolution and the way Georges Pompidou modified them, from both points of view of rupture and continuity. It interrogates the impact of the gaullist legacy and Pompidou's personal influence regarding the global stabilisation of the Fifth Republic's institutions. This research also aims to depict the history of men and women that worked for Pompidou in its civilian and military cabinets, in Matignon and at the Elysee's Secretary-Generalship between 1962 and 1974. A thorough exploration of their professional background, their profile and career allows us to describe the specificities of this political entourage. Furthermore, it contributes to the understanding of the political and administrative high-level servants during the 1960's and the 1970's. Finally, by analysing the relations between Georges Pompidou and his staff, and between this staff and other political circles, we get onto the sensitive question of influence. This research then tries to assess the influence that the advisors may have exerted on their Prime Minister and President, and on the decision-making process.

Le musée contemporain ne se caractérise plus seulement comme un lieu voué à préservation, conservation et présentation des collections mais comme un lieu inscrit dans des réseaux, comme le montre l’étude de la politique de diffusion : celle-ci est l’objet de ma thèse en sciences de l’information et de la communication intitulée « La diffusion culturelle à l’échelle internationale : les enjeux de la politique du prêt des œuvres et des expositions du Mnam-Cci (Centre Georges Pompidou) pendant la période 2000-2007 ».Le Mnam-Cci est l’un des plus importants musées au monde grâce à sa collection d’art moderne et contemporain. Il offre non seulement des expositions temporaires mais aussi de nombreuses activités culturelles : cinémas, conférences, concerts, spectacles. Sa collection se compose de 60 000 œuvres, est empruntée auprès des musées du monde entier.Compte tenu de la richesse de la collection, la politique du prêt des œuvres est l’une des stratégies importantes du musée. Dans la perspective d’une étude muséologique, l’analyse de la politique du prêt des œuvres nous paraît des plus pertinentes.La première partie de la thèse met en évidence les mécanismes de la circulation des œuvres et celles des expositions dans un contexte des territoires à l’échelle internationale. La deuxième partie de la thèse décirt la circulation des biens culturels à l’heure de la mondialisation. La dernière partie de la thèse montre le développement de la stratégie communicationnelle à l’échelle internationale à travers la politique de diffusion.C’est ainsi que ce travail montre la diffusion culturelle à l’échelle internationale par l’intermédiaire de la politique du prêt des œuvres et des expositions du Mnam-Cci. / A contemporary museum isn’t any longer a place that is only dedicated to collecting, preserving, and presenting the collections, but a place which is integrated into a network, as the studies of strategies of diffusion are showing. This is the subject of my thesis worked in the field of communication and information science with the title: “International diffusion of culture: the lending strategies of works of art and exhibitions at the National Museum of Modern Art (Georges Pompidou Center) during 2000 and 2007”.The National Museum of Modern Art (Pompidou Center) is one of the most important museums of the world thanks to its modern and contemporary collections. The Pompidou Center does not only present temporary exhibitions, but also a range of other cultural activities: cinema shows, concerts, conferences and spectacles. Its collection comprises 60, 000 pieces of works of art which are borrowed by museums all over the world.Taking its rich collection into consideration, the lending strategies of works of art are one of the important drivers of the museum. The analysis of these lending strategies is crucial from a museology standpoint.The first part of the thesis deals with the circulation mechanism of works of art and the exhibitions in the context of international territories. The second chapter of the thesis looks at the circulation of cultural goods in the context of globalization. The last part of the thesis deals with the development of international communication strategies via the strategy of diffusion.That is how this work shows an international diffusion of culture via the lending strategies of works of art and exhibitions at the National Museum of Modern Art (Pompidou Center).

Si la France n’est plus qu’une puissance moyenne en déclin relatif, la RFA est dans une phase de take off économique et amorce un rayonnement international. Dès son investiture, Brandt lance l’émancipation de l’Allemagne. L’Ostpolitik pourrait-elle avoir la priorité pour le gouvernement fédéral sur la politique communautaire ? La menace soviétique sur l’Allemagne est à prendre très au sérieux pour Pompidou. Réunification ; Neutralisation. Face à cette situation pluriellement très préoccupante, Pompidou a besoin de l’Europe ; mais en 1969, la construction européenne est dans l’impasse. 1971, Pompidou lance son modèle de construction de l’Union Européenne : le ‘gaullisme européen’. Son atout, Edward Heath, un ‘Européen sincère’. « On œuvre en commun, même avec l’Allemagne », affirme le Président. Le traité de l’Elysée : essentialité majeure dans l’apprentissage de l’autre ; embrayage du moteur franco-allemand ; banalisation des relations franco-allemandes. Ses enjeux : Pôle monétaire européen ; Coopération politique extérieure commune (Moyen-Orient) ; Programme ambitieux de la Conférence de Paris ; Identité Européenne ; Politique extérieure commune franco-allemande face à Moscou. Mais une politique autonome européenne pouvait-elle exister pour Washington ? Nixon et Kissinger manœuvrent pour imposer le partnership atlantique aux Européens. Crises du dollar (1971, 1973) ; Condominium américano-soviétique ; Conférence sur l’énergie. Bonn s’évertue en vain à œuvrer comme médiatrice entre Paris et Washington. / While France is only a middle power in relative decline, the FRG is in a phase of economic take off and begins an international influence. Upon his nomination, Brandt launches the emancipation of Germany. Could Ostpolitik have priority for the federal government over European Community policy? The Soviet threat to Germany is to be taken very seriously for Pompidou. Reunification; Neutralization. Faced with this plurially worrying situation, Pompidou needs Europe; but in 1969, the construction of Europe is deadlocked. 1971, Pompidou launches its construction model of the European Union: 'European Gaullism'. His asset, Edward Heath, a 'sincere European'. "We work jointly, even with Germany," says the President. The Elysée Treaty: major essentiality in the learning of the other; clutch of the Franco-German engine; normalization of Franco-German relations. Its challenges: European Monetary Pole; Common foreign policy cooperation (Middle East); Ambitious program of the Paris Conference; European identity ; Franco-German Common Foreign Policy against Moscow. But could an autonomous European policy exist for Washington? Nixon and Kissinger maneuvered to impose Atlantic partnership on Europeans. Dollar crises (1971, 1973); US-Soviet Condominium; Conference on Energy. Bonn strives in vain to work as a mediator between Paris and Washington.

1- En primer lugar se ha elaborado sucintamente la perspectiva histórica del museo de arte moderno, es decir desde que nace la ayuda institucional al artista con la celebración de los Salones y la creación del primer museo de artistas vivos del mundo en el palacio Luxemburgo de París. 2- Posteriormente, nos centramos en el nacimiento del Museum of Modern Art de Nueva York, Moma, creado en 1929 con apenas 13 obras, el cual se convirtió en referencia obligada desde el punto de vista museológico para la creación de los futuros museos de arte moderno en el mundo durante casi seis décadas. Termina el trabajo con el modelo creado en los años setenta, la factoría beaubourg, el museo de la época postindustrial, y el museo postmoderno de los ochenta y sus repercusiones en la nueva museología. Si el Moma de Nueva York, creó una colección enciclopédica del arte del siglo XX, el Musée National d'art Moderne, consiguió implicar a la ciudadanía en el arte moderno. Tan importantes eran las colecciones que se mostraban en su interior como el flujo de visitantes y curiosos que se agolpan en el exterior. Finaliza con una aproximación a los Fonds Regionaux d'art Contemporain y el nacimiento de los Centros de Cultura Contemporánea. / 1- In the first place, a historic perspective of the modern art museum has been concisely elaborated, that is to say, since institutional grants to artists are created with the celebration of the Halls and the creation of the first museum of living world artists at the Luxembourg Palace of Paris.2- Subsequently, we focus on the birth of the Museum of Modern Art in New York, MOMA, created in 1929 with only thirteen pieces of art. This museum became an obliged reference from a museological point of view for the creation of the future modern art museums all over the world for almost six decades. The work concludes with the model created in the 1960s, the factory "Beaubourg", the postindustrial period museum, and the postmodern museum of the 1880s and its repercussions in the new museology. If the MOMA in New York created an encyclopedic collection of the art of the 20th Century, the "Musée National d'art Moderne", achieved to involve the citizens with the modern art. The collections showed inside were as important as the flow of visitors and curious that crowded outside. It ends with approximation to the "Fonds Regionaux d'art Contemporain" and the birth of the Centres of Contemporary Culture.