Cette thèse interroge les effets combinés des enjeux d’un urbanisme durable et d’un impératif participatif grandissant des habitants – usagers – citoyens, dans le cadre de la fabrication métropolitaine contemporaine. Depuis le début des années 2000, des expériences alternatives d’habitat émergent en France sous l’impulsion de revendications sociales portées par la société civile. Le terme générique d’« habitat participatif », définit récemment par la loi pour l’Accès au Logement et à un Urbanisme Négocié (ALUR), publiée au Journal Officiel le 26 mars 2014, rassemble ainsi d’une même voix la variété de ces initiatives à l’œuvre, contribuant à pérenniser les dynamiques de structuration et de diffusion d’un mouvement de l’habitat participatif. Faisant référence aux expressions citoyennes contestataires des années 1970-1980, avec la critique d’un urbanisme moderne et des politiques publiques, les projets actuels marquent la renaissance des questionnements autour de la place de la maîtrise d’usage – incarnée par les habitants-usagers – dans la chaîne de production des logements et, plus largement, dans les processus décisionnels d’aménagement des territoires. Porteuse de pratiques participatives innovantes, la résurgence de l’habitat participatif révèle des logiques diverses d’engagements citoyens, militants ou professionnels, et des formes négociées de fabrication de l’habitat. Dès lors, s’opposent des dynamiques « bottom-up » – illustrées par des demandes et des initiatives habitantes, et des dynamiques « top-down » – portées par des instances politico-institutionnelles en plein renouvellement de leurs modes d’action et savoir-faire. Supportée par une trame multidimensionnelle de négociations, la thèse propose alors une analyse des interactions et des formes d’hybridation de cette production collective en cours à travers trois dimensions : la dimension valorielle, pour fixer le socle des transactions sociales ; la dimension organisationnelle et relationnelle, pour observer la micropolitique des groupes-projets ; la dimension processuelle, pour saisir les temporalités du projet et les moments clés de la négociation sur l’ensemble du processus. Pour cela, nous nous appuyons sur deux cas d’étude dans l’agglomération bordelaise, en pleine métropolisation : le cas de la coopérative d’habitants HNord, sur l’îlot Dupaty à Bordeaux ; et celui d’un projet d’habitat participatif multi-partenarial, La Ruche, sur la commune de Bègles au sein de l’Opération d’Intérêt National (OIN) Bordeaux-Euratlantique. Encadrée par un dispositif CIFRE avec l’Etablissement Public d’Aménagement Bordeaux-Euratlantique (EPA), la recherche repose sur une approche ethnographique, basée sur de nombreuses situations d’observation participante, des entretiens d’acteurs cibles et une analyse documentaire. Les enquêtes menées à différentes échelles offrent une vision macro, méso et microsociale des processus de production et de diffusion de l’habitat participatif. Les résultats de la thèse mettent alors en évidence les modalités de partenariats entre différentes sphères d’acteurs – les habitants, les institutions et les experts – dans la production de l’habitat participatif conduisant à un changement de paradigme sociétal et professionnel à travers le renouvellement des modes d’habiter, des savoirs et savoir-faire. Ainsi, nous proposons une réflexion sur les moyens et possibilités d’intégration de cette dynamique collective et citoyenne au sein des processus décisionnels d’aménagement urbain pour la fabrication métropolitaine et, de voir en quoi ce phénomène participatif et collaboratif peut-il constituer un outil de management territorial novateur préfigurant le futur de nos cités. / This PhD thesis questions the combined effects of the challenges of sustainable urban development and a growing priority for inhabitants – users – citizens, to participate in contemporary metropolitan production. Since the early 2000s, there is in France an emergence of alternative housing experiences as a result of social demands. The generic term of « participative housing », recently defined by the bill for access to housing and urban renovation (ALUR), published in the Official Journal on March 26, 2014, gathers with one voice, the variety of these initiatives at work, contributing to ensure the dynamic structuring and dissemination of the participative housing movement. Referring to the civil protests of 1970-1980, criticizing modern urban planning and public policy, the current projects tackle once again of how to combine the inhabitants expertise with professional expertise in the production of housing, and more broadly in the decision-making processes of regional planning. Producing innovative participatory practices, the resurgence of participative housing reveals different logics of social commitments on the part of citizens, activists and professionals, and negotiated forms of housing production. As a consequence, the « bottom-up » dynamic, based on the demands and initiatives of the inhabitants, opposes the « top-down » dynamic, based on the initiative of politico-institutional bodies in full renewal of their modes of action and know-how. Supported by a multi-dimensional framework of negotiations, the thesis analyzes the interactions and forms of hybridization of this ongoing collective production through a three dimensional approach : the value related dimension, to set the base of social transactions ; the organizational and relational dimension to observe the micro-political groups-projects ; the procedural dimension to grasp the temporality of the project and the key moments of negotiation of the whole process. For this, we build on two case studies in the Bordeaux area, being subject to processes of metropolization : the case of the residents cooperative HNord in the Dupaty housing block in Bordeaux ; and the multi-partnered participative housing project, La Ruche, in the town of Bègles within the framework of the « Operation of National Interest » (OIN) Bordeaux-Euratlantique. Governed by a CIFRE program with the « Local Planning and Development authority » (EPA) Bordeaux-Euratlantique, the research is based on an ethnographic approach : participant observation, interviews with target stakeholders and a literature review. The investigations conducted at different scales offer a macro, meso and micro-social understanding of the process of participative housing production and dissemination. The results of the thesis highlight the partnership conditions between different groups of stakeholders – inhabitants, institutions and expertsn – in the production of participative housing leading to a societal and professional paradigm shift through a renewal of ways of living, knowledge and expertise. Thus, we propose a reflection on ways and possibilities how to integrate this collective and civic dynamics in the decision-making processes of urban planning for metropolitan production and to see how this participatory and collaborative phenomenon can serve as an innovative tool in territorial management for our future cities.

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A short (11 page) plain language summary is available under the filename "Research Summary_Peer Support Institutionalization - Troubling Everyday Work.pdf" / This study explores how the everyday work of peer supporters working within institutionalized settings are shaped by institutional forces (“ruling relations”), through a series of four (peer support) focus groups and interviews with five peer support workers in Ontario. I explore peer supporters’ approaches to writing, reading, and verbally sharing information about their peers (“documentation work”), and reveal how their experiences and “felt troubles” relating to documentation are shaped by ideas of (clinical) confidentiality constructed in the Personal Health Information Protection Act (2004). I also explore how both lived experience and peer support are devalued through the ways organizations and clinicians determine and describe the value of healthcare roles (“de/valuing work”), and reveal how peer supporters’ experiences of being (de)valued are shaped by discourses of “professional/ism” which equate being a professional to having a post-secondary education and working through clinical frameworks. I describe the work that peer supporters, clinicians, and organizations (can) engage in to ground peer support workers within peer values and approaches (“values work”) through accessing peer community and fostering environments of peer culture. I draw on these suggestions and the findings of the study to provide recommendations for peer support workers, organizations and clinical workers, the peer support sector as a whole, and research/ers. / Thesis / Master of Social Work (MSW)

Объектом исследования стали психологические особенности процессов профессионализации в возрасте средней и поздней взрослости. Предметом исследования является биографическая рефлексия и готовность к освоению возрастно-временных изменений во взаимосвязи с самооценкой уровня работоспособности. Магистерская диссертация состоит из введения, двух глав, заключения, списка литературы (138 источников) и приложения, включающего в себя бланки применявшихся методик, описательные статистики, таблицы сравнительного и корреляционного анализа. Объем магистерской диссертации 109 страниц, на которых размещены 5 рисунков и 15 таблиц. Во введении раскрывается актуальность проблемы исследования, теоретическая и практическая значимость работы. разработанность проблематики, ставятся цель и задачи исследования, определяются объект и предмет исследования, формулируются основные гипотезы, указываются методы и эмпирическая база, а также этапы проведения исследования. В первой главе были определены теоретические основания исследования биографической рефлексии, готовности к освоению возрастно-временных изменений, самооценки уровня работоспособности на поздних этапах профессионализации. Был проведён теоретический анализ литературы по проблеме профессионализации на стадии средней и поздней взрослости, рассмотрены различные подходы к классификации профессионального становления специалиста. Выводы по первой главе представляют собой итоги по изучению теоретического материала. Вторая глава посвящена эмпирической части исследования. В ней представлено описание организации и методов проведенного исследования и результатов, полученных по всем использованным методикам: Опросник «Готовность к освоению возрастно-временных изменений» Т.Б. Сергеевой, Н.С. Глуханюк, опросник «Дифференциальная диагностика состояний сниженной работоспособности» (ДОРС) А.Б. Леоновой, С.Б. Величковской, Методика М.В. Клементьевой «Оценка уровня развития биографической рефлексии». Также в главе представлен сравнительный и корреляционный анализ результатов исследования. Выводы по главе 2 включают в себя основные результаты эмпирического исследования. В заключении в обобщенном виде изложены результаты теоретической и эмпирической частей работы, а также выводы по выдвинутым гипотезам, обоснована практическая значимость исследования и описаны возможные перспективы дальнейшей разработки данной проблематики. / The object of the study was the psychological characteristics of developmental processes at the age of middle and late adulthood. The subject of the research is biographical reflection and readiness to master age-time changes in relation to self-assessment of the level of operability. The master's thesis consists of an introduction, two chapters, a conclusion, a list of references (138 sources) and an appendix, which includes the forms of the methods used, descriptive statistics, tables of comparative and correlation analysis. The volume of the master's thesis is 109 pages, which contain 5 figures and 15 tables. The introduction reveals the relevance of the research problem, the theoretical and practical significance of the work. the elaboration of the problematics, the goal and objectives of the research are set, the object and subject of the research are determined, the main hypotheses are formulated, the methods and empirical base, as well as the stages of the research, are indicated. In the first chapter, the theoretical foundations of the study of biographical reflection, readiness to master age-temporal changes, self-assessment of the level of operability at the later stages of professionalization were determined. A theoretical analysis of the literature on the problem of professionalization at the stage of middle and late adulthood was carried out, various approaches to the classification of the professional development of a specialist were considered. Conclusions on the first chapter are the results of the study of theoretical material. The second chapter is devoted to the empirical part of the study. It contains a description of the organization and methods of the study and the results obtained by all the methods used: Questionnaire "Readiness to master age-time changes" T.B. Sergeeva, N.S. Glukhanyuk, questionnaire "Differential diagnosis of states of reduced performance" (DORS) A.B. Leonova, S.B. Velichkovskaya, M.V. Klementyeva "Assessment of the level of development of biographical reflection". The chapter also provides a comparative and correlation analysis of the research results. The findings of Chapter 2 are the main results of the empirical study. In conclusion, brief results of the theoretical and empirical parts of the work are presented, as well as conclusions on the hypotheses. The practical significance of the study is substantiated and possible prospects for further development of the problematics are described.

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Drawing on the methods of feminist art history and my own knowledge of the field, this PhD gives an overview of “Russian” (Russian Empire, Soviet, post-Soviet) art history with women at its center. Starting in the late 18th century and spanning to the present-day, I critically examine women’s artworks, the social contexts in which those women find themselves, as well as their biographies. Thus, this thesis extends beyond strict media analysis as a central concern of feminist criticism. This text consist of five chapters. Chapter One begins at the end of the 18th century and covers women artists working throughout the Russian Empire up through the beginning of the 20th century. Thesis looks at specific women artists and how the path to professionalization opened up new doors while women were still largely excluded from elite artistic circles. This overview demonstrates how this occurred both in explicit social exclusion as well as implicitly – specifically in the ways that the portrayals of women in professional art shifted throughout the 19th century. The ambivalent nature of women’s simultaneous inclusion and exclusion from leading art institutions and groups serves as a defining feature of the art world of the Russian Empire. Chapter Two examines women’s roles in the avant-garde at the beginning of the 20th century. As has been recognized in much popular scholarship, women served as key players in the so-called “Russian Avant-Garde”. For instance, while many Western European artists at the time turned to the colonies of their respective empires for stimulation, many Russian avant-garde artists turned to local peasants. Precisely because of their more differentiated relationships, Chapter Two argues that these women artists produced very dissimilar work from their Western European counterparts. This was due both to questions of gender as well as power and colonialism. From there, thesis shows the ways in which women avant-garde artists made use of various media – especially textiles, porcelain, and book design. Chapter Three revolves around women artists in the Soviet Union. At first it examines how women were portrayed in Socialist Realism, which followed largely three archetypes: the collective farm woman, the sportswoman, and the ballerina. In this chapter focus is on how women navigated the slippery terrain of the social world of Socialist Realism by highlighting the role of its most successful example – Vera Mukhina. Tracing through Mukhina’s path from the avant-garde to Socialist Realism’s most famous female artists, the text reveals continuities between the two genres that have typically been overlooked in the literature. Indeed, Mukhina’s development suggests much more in common between the avant-garde and Socialist Realism than most male artists’ careers would indicate. Finally, this chapter discusses women artists who rejected Socialist Realism and produced so-called “unofficial” art – focusing on the (in)famous Bulldozer Exhibition of 1974. Chapter Four illuminates how women artists negotiated the enormous socio-political changes during Perestroika through past the dissolution of the Soviet Union. In the 1990’s, three prominent all-women art collectives emerged: the Factory of Found Clothes, the Cyber-Femin Club, and the Fourth Height. Based largely on interviews with the women who participated in the groups, text sketches out a general history of how they formed, produced art, and confronted questions of gender and society. Then, chapter four turns to women artists who worked mostly individually throughout the same period. In this thesis women artists from the 90’s are categorized based on their concepts of gender – women who flipped gender dynamics through their art, women who took radical stances toward gender through their art, and women who did not clearly challenge ideas of gender. In the text they are called the “flip-floppers”, the “radicals”, and the “quietists”, respectively. In Chapter Five, there is a break with the chronological approach of the previous chapters. Instead, first part compares the trial of Iuliia Tsvetkova in 2019 and the trial of Natalia Goncharova in 1910. Both women were accused of producing pornography and thus subject to prosecution. Through this comparison, one can see the continuities and ruptures of the gender dynamics in broader society then and now, particularly in relationship to art and art production. Second part of the chapter five, compares the so-called “Leningrad Feminists” of the 1970’s and Pussy Riot from the 2010’s. By highlighting how these two collectives used the imagery of the Virgin Mary in their work, the text draws out parallels between the two that have gone unnoticed, even by the artists themselves. This dissertation is thus fundamentally about connections. Connections, both visible and invisible, define the social constellations in which women artists participate. By drawing out these connections, this thesis reimagines Russian art history and propose new, albeit imperfect, in the words of Amelia Jones, genealogies. Such genealogies open the space for a deep reckoning with the canon.:Table of Contents Introduction But What is a Russian Woman Artist Anyway? Literature Review & Methodology Chapter Outline Chapter 1: Woman as Artist in the Russian Empire Imperialism and Internal Colonization Bridging Art Histories: Between the Russian Empire and the Western Empires The “Russian Empire” periods of Marie-Anne Collot, Élisabeth Vigée Le Brun, and Kristina Robertson Independent Foreign Women Artists, Operating Beyond Royal Patronage: Maria Gomion and Julie Hagen-Schwarz Representations of Local and European Women Artists in the Russian Empire: Comparing article “Russkie Khudozhnitsy” [Russian Women Artists] and Somov’s article “Zhenshchiny Khudozhnitsy” [Women Artists] Paths to Professional Art for Women Artists in the late Russian Empire Variety of Professional Strategies for Women Artists in the Russian Empire Challenges Faced by Women in the Imperial Academy of Arts: Marfa Dovgaleva, Avdotia Mikhailovna Bakunina, Sofia Sukhovo-Kobylina, and Katerina Khilkova Women Artists from the Russian Empire in the Académie Julian: Maria Bashkirtseff, Princess Maria Tenisheva, Maria Iakunchikova, and Elizaveta Zvantseva Female and Male Paths to Becoming an Artist: The Cases of Elena Polenova and Vasilii Polenov Women in the Wanderers and the World of Art Two Women Wanderers: Emily Shanks and Antonina Rzhevskaia Women in the World of Art and Related Circles: Anna Ostroumova-Lebedeva, Elizaveta Kruglikova, Elena Polenova, Maria Yakunchikova, and Zinaida Serebriakova Between Artist, Mother, and Model: Self-Representations of Women Artists Insisting on the Professional Self: Katerina Dolgorukaia, Katerina Chikhacheva, Sofia Sukhovo-Kobylina, Maria Bashkirtseff, Elizaveta Kruglikova, Anna Ostroumova-Lebedeva, Marianne Werefkin, and Teresa Ries The Fe[male] Gaze: Ol’ga Della-Vos-Kardovskaia, Tamara de Lempicka, and Zinaida Serebriakova Chapter 2: Women Artists Shaping the Avant-Garde Conceptualizing Avant-Garde in the Russian Empire Framing the “Feminine”: Noble and Peasant Femininities Women Artists and Religion: Natalia Goncharova and Marianne Werefkin Women Artists and Lubok: Sofia Kalinkina, Elizaveta Bem, and Maria Siniakova The Case of Natalia Goncharova: Between Two Worlds Looking West: Goncharova and Gauguin Looking East: Goncharova and Peasant Culture Craft in the Foreground: Women in Textile, Porcelain, and Book Design Women in Textile Design, Embroidery, and Factory Production: Natalia Davidova, Sonia Delaunay-Terk, Nadezhda Udaltsova, Vera Pestel, Ol’ga Rozanova, Varvara Stepanova, and Lubov Popova Women in Costume Design in the Early Soviet Union: Natalia Goncharova, Nina Genke-Meller, Alexandra Exter, Nadezhda Lamanova, Varvara Stepanova, Sonia Delaunay-Terk, and Vera Mukhina Women Artists and Futurist Books: Elena Guro, Natalia Goncharova, and Ol’ga Rozanova Women Artists and Children’s Book Illustration: Vera Ermolaeva, Elena Safronova, Alisa Poret, Tatjana Glebova, Maria Siniakova, Galina and Ol’ga Chichagovy, and others Women artists and Small Sculptural Forms (porcelain and ceramics): Natalia Danko and Alexandra Shekotikhina-Potozkaia Chapter 3: Women Artists in Socialist Realism and Unofficial Art Aligning Art History of the Soviet Union and Gender Studies Official Images of Women in the Soviet Union Kolkhoznitsa [Collective Farm Woman] Sportsmenka [Sportswoman] Balerina [Ballet Dancer] Socialist Realist Women Painters Women Artists in the Moscow School of Socialist Realism: Vera Orlova, Ekaterina Zernova, and Serafima Riangina Women Artists and the Leningrad School of Painting: Nadezhda Steinmiller, Evgenia Antipova, Vera Nazina, and others Women Socialist Realist painters from the Soviet Republics: Tetiana Iablonska, Vaiiha Samadova, the Sisters Aslamazian, Elene Akhvlediani, and others Women Artists as Soviet Sculptors Women as Sculptors before the Soviet Union: Elena Luksch-Makovskii, Maria Dillon, Teresa Ries, and Anna Golubkina A Case Study: Vera Mukhina the Soviet Sculptor – Between the Street and the Household Women Artists in Unofficial Art Some Aspects of Canonization of Women Artists of the Bulldozer Exhibit: Nadezhda Elskaia and Lydia Masterkova Artistic Couples in Soviet Unofficial Art and Their Visions of Eden Chapter 4: Women Artists in the Late Soviet Union and after Its Dissolution The Emergence of Women-Only Groups in the Post-Soviet Space: the Factory of Found Clothes (FFC), Cyber-Femin Club, the Fourth Height The Factory of Found Clothes (FFC): Ol’ga Tsaplia-Egorova and Natalia Gluklia-Pershina-Yakimanskaia The Cyber-Femin-Club: Alla Mitrofanova, Irina Aktuganova, Lena Ivanova, and Ol’ga Levina Chetvertaia Vysota [The Fourth Height]: Ekaterina Kameneva, Dina Kim, and Galina Smirnskaia Resisting Erasure: Women Artists from the 1990’s The Mirror Game or the Flip-Floppers: Anna Alchuk and Tania Antoshina The Radicals: Alena Martynova and Elena Kovylina The Quietists: Marina Perchikhina and Liza Morozova Curating the “Gender Turn” in the post-Soviet art: Natalia Kamenetskaia and others Chapter 5: Creating Parallel Histories Unacceptable Bodies: Trials against Natalia Goncharova in 1910 and Iuliia Tsvetkova in 2019 Bogoroditsa stan’ Feministkoi? Comparing the Leningrad Feminists and Pussy Riot Conclusion Illustrations Bibliography Additional Materials. Interviews.

[ES] Esta tesis se centra en un análisis interdisciplinario de la gestión cultural en España, abordando su evolución histórica, el proceso de profesionalización y su adaptación a la era digital postpandemia. La investigación se divide en dos partes esenciales: la primera implica una revisión bibliográfica exhaustiva para establecer una base sólida, explorando tendencias, avances y lagunas en el campo. Dentro de este marco teórico, se destaca la persistente falta de conocimiento en el ámbito laboral y social sobre los gestores culturales, atribuida a la juventud del campo y a la carencia de un referente claro. La diversidad de perfiles profesionales y la amplitud del ámbito cultural también contribuyen a la confusión conceptual. A pesar de los esfuerzos de asociaciones y teóricos para esclarecer la profesión, la profesionalización de la gestión cultural sigue siendo un proceso desafiante e inacabado. La segunda parte de la investigación se enfoca en un análisis práctico que incorpora métodos cuantitativos y cualitativos a lo largo de tres fases distintas. Durante estas etapas, se desarrollaron instrumentos para la recopilación de datos, se seleccionó una muestra representativa y se analizaron los resultados para respaldar las hipótesis de investigación. La primera fase examina la oferta de programas universitarios, la segunda, a través de entrevistas semiestructuradas, profundiza en los desafíos de la gestión cultural. Finalmente, en la fase cuantitativa, se utiliza un cuestionario para obtener una visión completa y cuantificada del perfil del gestor cultural contemporáneo. Las conclusiones subrayan la necesidad de fortalecer la formación, elevar el reconocimiento y establecer una definición precisa de la figura del profesional de la gestión cultural. Estas acciones son fundamentales para impulsar su profesionalización en un entorno cultural que experimenta una evolución constante. / [CA] Aquesta tesi se centra en una anàlisi interdisciplinària de la gestió cultural a Espanya, abordant la seua evolució històrica, el procés de professionalització i la seua adaptació a l'era digital postpandèmia. La investigació es divideix en dues parts essencials: la primera implica una revisió bibliogràfica exhaustiva per a establir una base sòlida, explorant tendències, avanços i llacunes en el camp. Dins d'aquest marc teòric, es destaca la persistent falta de coneixement en l'àmbit laboral i social sobre els gestors culturals, atribuïda a la joventut del camp i a la manca d'un referent clar. La diversitat de perfils professionals i l'amplitud de l'àmbit cultural també contribueixen a la confusió conceptual. Malgrat els esforços d'associacions i teòrics per a esclarir la professió, la professionalització de la gestió cultural continua sent un procés desafiador i inacabat. La segona part de la investigació s'enfoca en una anàlisi pràctica que incorpora mètodes quantitatius i qualitatius al llarg de tres fases diferents. Durant aquestes etapes, es van desenvolupar instruments per a la recopilació de dades, es va seleccionar una mostra representativa i es van analitzar els resultats per a recolzar les hipòtesis d'investigació. La primera fase examina l'oferta de programes universitaris, la segona, a través d'entrevistes semiestructuradas, aprofundeix en els desafiaments de la gestió cultural. Finalment, en la fase quantitativa, s'utilitza un qüestionari per a obtindre una visió completa i quantificada del perfil del gestor cultural contemporani. Les conclusions subratllen la necessitat d'enfortir la formació, elevar el reconeixement i establir una definició precisa de la figura del gestor cultural. Aquestes accions són fonamentals per a impulsar la seua professionalització en un entorn cultural que experimenta una evolució constant. / [EN] This thesis focuses on an interdisciplinary analysis of cultural management in Spain, addressing its historical evolution, the process of professionalization and its adaptation to the post-pandemic digital era. The research is divided into two essential parts: the first involves a comprehensive literature review to establish a solid foundation, exploring trends, advances and gaps in the field. Within this theoretical framework, it highlights the persistent lack of knowledge in the labor and social sphere about cultural managers, attributed to the youth of the field and the lack of a clear referent. The diversity of professional profiles and the breadth of the cultural field also contribute to conceptual confusion. Despite the efforts of associations and theoreticians to clarify the profession, the professionalization of cultural management remains a challenging and unfinished process. The second part of the research focuses on a practical analysis incorporating quantitative and qualitative methods through three distinct phases. During these phases, data collection instruments were developed, a representative sample was selected, and the results were analyzed to support the research hypotheses. The first phase examines the supply of university programs, the second, through semi-structured interviews, delves into the challenges of cultural management. Finally, in the quantitative phase, a questionnaire is used to obtain a complete and quantified view of the profile of the contemporary cultural manager. The conclusions underline the need to strengthen training, increase recognition and establish a precise definition of the figure of the cultural manager. These actions are essential to promote their professionalization in a cultural environment that is constantly evolving. / Rodriguez Trigo, S. (2024). La profesión de la gestión cultural en España: análisis interdisciplinario sobre su evolución, formación y adaptación en la era digital postpandemia [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/206073

Heuristic qualitative research techniques (Moustakas,1990) were used to explore the dynamic of the help-seeking / helping relationship in illegal drug use from the perspective of the professional. Six professionals, expert in helping people living with an addiction, shared their opinions and insights, analyzed problems, explained the rewards, and made recommendations for improvement, based on their own practices within the health care and social services systems. These professionals identify stigma as a major barrier to the provision of quality care in addictions, and analysis shows that a cultural predilection for scapegoating underlies the application of stigma. The many layered social purposes served by the designation of certain substances as illegal and the utility of scapegoating to hegemonic, vested interests is surveyed. This thesis reviews the true social costs of addictions, the entrenched and enmeshed nature of the alternate economy, and the many above ground institutions and professions sustained by the use of drugs designated as illegal. Prohibition and imprisonment as a response to illegal drug use is exposed as costly, inhumane, dangerous, and overwhelmingly counterproductive in terms of limiting harm from illegal drug use. A recent example of drug prohibition propaganda is deconstructed. Consideration is given to the role of the Drug War as a vehicle to accelerate social creep toward a fragmented self-disciplining surveillance society of consumer-producers in the service of economic elites. Classism is brought forward from a fractured social ground characterized by many splits: sexism, racism, age-ism, able-ism, size-ism, locationism, linguism, and others, to better track the nature of the social control that illegal drugs offer to economic elites. The moral loading that surrounds illegal drug use is deconstructed and the influence of religion is presented for discussion. The primitive roots of human understanding that endorse the ritual Drug War and its supporting mythology, leading to the demonization of illegal drugs and the people who use them, are uncovered. Direction is taken from Benner and Wrubel’s Primacy of Caring (1989) and other leaders in the professions as a means to move practitioners away from their roles as agents of social control into a paradigm of social change.

Heuristic qualitative research techniques (Moustakas,1990) were used to explore the dynamic of the help-seeking / helping relationship in illegal drug use from the perspective of the professional. Six professionals, expert in helping people living with an addiction, shared their opinions and insights, analyzed problems, explained the rewards, and made recommendations for improvement, based on their own practices within the health care and social services systems. These professionals identify stigma as a major barrier to the provision of quality care in addictions, and analysis shows that a cultural predilection for scapegoating underlies the application of stigma. The many layered social purposes served by the designation of certain substances as illegal and the utility of scapegoating to hegemonic, vested interests is surveyed. This thesis reviews the true social costs of addictions, the entrenched and enmeshed nature of the alternate economy, and the many above ground institutions and professions sustained by the use of drugs designated as illegal. Prohibition and imprisonment as a response to illegal drug use is exposed as costly, inhumane, dangerous, and overwhelmingly counterproductive in terms of limiting harm from illegal drug use. A recent example of drug prohibition propaganda is deconstructed. Consideration is given to the role of the Drug War as a vehicle to accelerate social creep toward a fragmented self-disciplining surveillance society of consumer-producers in the service of economic elites. Classism is brought forward from a fractured social ground characterized by many splits: sexism, racism, age-ism, able-ism, size-ism, locationism, linguism, and others, to better track the nature of the social control that illegal drugs offer to economic elites. The moral loading that surrounds illegal drug use is deconstructed and the influence of religion is presented for discussion. The primitive roots of human understanding that endorse the ritual Drug War and its supporting mythology, leading to the demonization of illegal drugs and the people who use them, are uncovered. Direction is taken from Benner and Wrubel’s Primacy of Caring (1989) and other leaders in the professions as a means to move practitioners away from their roles as agents of social control into a paradigm of social change.