Cette recherche, inscrite au sein des Sciences de l’Information et de la Communication, porte son attention sur le processus du « tout-voir », du « tout-exhiber » et du « tout-raconter » devenu central depuis les années 2000 dans la communication des responsables politiques à travers le dispositif sociotechnique de la peopolisation. Nous essayons de montrer ici comment la peopolisation s’est inscrite dans le dispositif de Genre à l’œuvre dans le tissu social et politique. Il s’agit d’analyser les formes de construction médiatique du Genre déployées par les responsables politiques eux-mêmes d’une part, à travers leurs stratégies de présentation qui conduisent à une réaffirmation des identités de Genre via un surinvestissement des marqueurs d’appartenance et/ou de différenciation, et par les médias dont la presse échotière d’autre part, à travers la pulsion scopique et le processus d’activation/réactivation des stéréotypes de Genre. Comprendre les liens objectifs qui se créent entre la production de ces images du pouvoir qui se donne à voir dans la presse people, et, tout un système de codages qui donne du pouvoir à ces images par l’impératif de transparence, le désir d’authenticité, la société cybernétique, les représentations sociales et la performativité de Genre, tel est l’enjeu essentiel de cette thèse. La technologie du pouvoir qu’est le Genre, agit sur les productions d’images politiques pour définir les pratiques de communication comme soumises à des conventions culturelles genrées. / The research, appearing in Information and Communication Sciences, focuses its attention on the « all-seeing », the « all-exhibit » and the « all-tell » process which become crucial since the 2000s in communication across the socio-technical device of Life politics. We show how Life politics enrolls in the Gender device at work in the social and political fabric. This is to analyze the forms of media construction of Gender deployed by politicians themselves through their presentation strategies that lead to a reaffirmation of Gender identities via overinvestment of belonging markers and or differentiation, and the media whose tabloid magazines through the scopic drive and process activation/reactivation of Gender stereotypes. Understand the objectives bonds created between the production of these images of power that is to be seen in the tabloids, and while a coding system that gives the power to these images by the need for transparency, authenticity, cybernetic society, social representations and performativity, such is the essential challenge of this thesis. What power of technology gender, acts on the political images productions to define communication practices as subject to gendered cultural conventions

Né en 1812 et mort en 1870, Charles Dickens assiste tout au long du XIXe siècle au développement de l’ère industrielle, de la société de consommation et de nouvelles pratiques de lecture qui transforment les usages du document. Ce sont ces nouveaux usages que Dickens commente continuellement dans ses romans ainsi que dans ses essais, en ne cessant d’en exposer toute l’ambivalence. Le romancier manifeste une inquiétude permanente quant au pouvoir de l’instance auctoriale qui n’est jamais pris pour acquis. Ce travail s’inscrit donc dans une réflexion sur le lecteur et la réception tels qu’ils se présentent dans les textes dickensiens. Le personnage dickensien est présenté comme un lecteur concret et un herméneute imparfait. Sa réception des textes écrits dépend de sa subjectivité d’une part, et d’autre part de la matérialité du support qui s’interpose entre lui et le texte. Ainsi, le sens construit ultérieurement par les lecteurs dickensiens peut se distinguer de l’intention originelle de l’auteur : contrairement à l’oral, l’écrit s’inscrit dans une communication différée et crée un écart dans lequel la subjectivité et la matérialité s’insère. En considérant ces deux paramètres dans le processus de la communication écrite, ce travail adopte les perspectives d’étude de ce que la critique anglo-saxonne nomme Book History. L’analyse de l’objet textuel qu’est le document rejoint également les constructions théoriques du courant Thing Theory. Dans la continuité de ces courants, nous nous intéresserons à “l’imagination matérielle” de l’œuvre dickensienne qui pense, rêve et vit dans la matière du document. Il s’agira de voir pourquoi et comment Dickens cherche paradoxalement à se défaire des matières inertes que sont le papier, la plaque et la pierre comme supports de l’écriture, pour ensuite examiner son rêve de textes vivants qui trouvent leur possibilité en l’homme, dans un au-delà de la matière. / From his birth in 1812 until his death in 1870, Charles Dickens was part of the industrial development era of the 19th century which brought about the consumer society and new forms of reading that transformed the use of documents. Dickens comments on these different forms and uses throughout his work, both in his novels and in his essays, in which he demonstrates a persistent uncertainty concerning the power of the author. This dissertation aims at reflecting on the role of the reader and the act of reading as they are presented in Dickens’s novels. Dickens’s characters are presented as concrete readers who imperfectly interpret the various texts they are presented with. The reception of written texts is subject on the one hand to the character’s subjectivity and on the other hand the materiality of the document which comes between the reader and the text. Thus whatever sense is construed by a Dickensien reader can differ from the original intent of the text’s author. Contrary to an orally delivered message, a written text is part of a differed communication into which subjectivity and matter irrupt. Considering these two parameters within the process of written communication, this work adopts the perspectives of the Anglo-Saxon critical study called Book History. The analysis of the textual object which is the document is connected with the theoretical reflections on objects as considered in Thing Theory. Together with these theories, this work is interested in “the material imagination” in Dickens’s work which thinks and dreams about the materiality of the document. We set out to understand why and how Dickens paradoxically attempts to deconstruct inert materials such as paper, signboards, stones as media for writing to then examine his dream of living texts which find its answer in man, beyond matter.

Made available in DSpace on 2016-08-03T12:30:05Z (GMT). No. of bitstreams: 1 FabiolaTarapanoff2.pdf: 2694943 bytes, checksum: 002a21d7bc6b87a1334c528bc39e9806 (MD5) Previous issue date: 2014-10-21 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / In the context of communication media and their social and cultural mediations, the thesis brings as central proposal an analysis of representations of the journalist in the film and appropriations of these narratives by those who wish to pursue the career in the future. This work tries to show how cinema contributes in the profession s imaginary, creating stereotypes about doing journalism. In addition, it influences many to follow the career, collaborating in the way students believe will be their profession in the future. The research corpus consists of 50 films that features journalists and three movies are analyzed in depth by presenting recurring themes and creating mythology traces about the profession: The big carnival/Ace in the hole, All the presidents men and State of Play. Methodological parameters include: survey literature, in-depth analysis, movies exhibition, the holding of free debates and application of questionnaires. The theoretical framework includes authors such as Edgar Morin, Stella Senra, Brian McNair, Roland Barthes, Cornelius Castoriadis, Raymond Williams and Jesús Martín-Barbero. Specific objectives seeks to: 1) conduct a review of the Journalism movies and its evolution, determining types and recurring themes; 2) identify the possible creation of mythologies about Journalism through cinema; 3) identify tunings and dissonances in the way images are appropriated for Journalism students, contributing to the creation of an specific imaginary about the profession. / No contexto da comunicação midiática e suas mediações socioculturais, a tese traz como proposta central uma análise das representações do jornalista no cinema e das apropriações dessas narrativas por aqueles que desejam seguir a profissão no futuro. Buscou-se mostrar que o cinema contribui no imaginário sobre a profissão, trazendo estereótipos sobre o fazer jornalístico. Além disso, ele influencia muitos a seguirem a carreira, também colaborando na forma como os estudantes acreditam que será sua profissão no futuro. O corpus da pesquisa é constituído por 50 filmes que apresentam jornalistas, sendo que três foram analisados em profundidade, por trazerem temas recorrentes e criarem traços de mitologia sobre a profissão: A montanha dos sete abutres, Todos os homens do presidente e Intrigas de Estado. Os parâmetros metodológicos incluem: o levantamento bibliográfico, a análise em profundidade, a exibição de obras, a realização de debates livres e a aplicação de questionários estruturados. A fundamentação teórica inclui autores como Edgar Morin, Stella Senra, Brian McNair, Roland Barthes, Cornelius Castoriadis, Raymond Williams e Jesús Martín-Barbero.Como objetivos específicos, buscou-se: 1) realizar um panorama dos Journalism movies e sua evolução, determinando tipos e temas recorrentes; 2) identificar a criação de possíveis mitologias sobre o Jornalismo por meio do cinema; 3) identificar sintonias e dissonâncias na forma como as imagens são apropriadas por estudantes de Jornalismo, contribuindo na criação de um imaginário próprio sobre a profissão.

Susan Glaspell : théâtre de la révolte / Susan Glaspell's drama of revolt

Ce mémoire aborde trois pièces du dramaturge québécois Olivier Choinière, Beauté intérieure (2003), Projet blanc (2011) et Manifeste de la Jeune-Fille (2017), dans le but d’en faire ressortir les possibilités d’émancipation spectatrice. Depuis ses tout débuts, Choinière tient un discours critique sur le spectateur de théâtre, et il cherche conséquemment à l’inclure et à l’impliquer dans ses créations. À la lumière des théories de la réception et surtout de celles de Jacques Rancière dans Le spectateur émancipé, ce mémoire a pour visée d’évaluer les possibilités émancipatrices de l’œuvre de Choinière en analysant les différents moyens qu’il utilise pour inclure le spectateur, tant sur le plan formel que sur le plan politique. Au cœur de la théorie de Rancière figure le paradoxe du spectateur, qui renvoie aux différents moyens utilisés par les dramaturges contemporains pour forcer l’activité spectatrice et qui, selon lui, nuisent à son émancipation. Ce mémoire analysera donc le travail de Choinière en portant une attention particulière à la possible reproduction de ce paradoxe dans le but d’établir un degré d’émancipation spectatrice probable dans les trois pièces choisies. / This master’s thesis addresses three works of the Quebec playwright Olivier Choinière, Beauté intérieure, Projet blanc and Manifeste de la Jeune-Fille with the aim of highlighting the possibilities of spectator emancipation. From his very beginnings, Choinière has held a critical discourse on the theater spectator, and he consequently seeks to include and involve him in his creations. In the light of the theories of reception and especially those of Jacques Rancière in Le spectateur émancipé, this master’s thesis aims to assess the emancipatory possibilities of Choinière's work by analyzing the different means he uses to include the spectator, both formally and politically. At the heart of Rancière's theory is the spectator paradox, which refers to the various means used by contemporary playwrights to force spectator activity and which, according to him, undermine his emancipation. This dissertation will therefore analyze Choinière's work, paying particular attention to the possible reproduction of this paradox in order to establish a degree of probable spectator emancipation in the three chosen pieces.

Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal.

Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal

Quanto mais nostálgicas e românticas se tornam as noções que apresentam sobre mundo idealizado de Austen, mais claramente podemos perceber as carências que fazem com que assim o percebam. Portanto, o objetivo desta tese é apresentar uma leitura de The Jane Austen Book Club através da aproximação com a obra de Austen, e assim entender o que as personagens de Fowler estão procurando, e por quê. A premissa é que essa busca revela muito a respeito do mundo contemporâneo. No âmbito da literatura, tomando Austen e Fowler como autoras que revelam os protocolos de leitura de suas épocas, espero explicitar algumas das razões do fascínio exercido por Austen sobre o leitor de hoje. Para tanto, utilizo como apoio teórico o contraste entre os conceitos de modernidade sólida e modernidade líquida propostos por Zygmunt Bauman, especialmente em relação às considerações sobre os termos fluidez, ética, velocidade, desimpedimento e medo. / Almost two hundred years separate Karen Joy Fowler from Jane Austen. The latter is a great English literary icon, author to six of the best treasured novels in English literature, admired for her style, wit and subtlety in the delineation of her characters and their social relations. The former is a contemporary awarded American Sci-fi and Fantasy writer, author to the novel The Jane Austen Book Club, which is the corpus of the present dissertation. In spite of the wide distance in time, subject matter, and even in literary stature that separates them, both authors are deeply involved in the investigation of human nature and human bonds. The Jane Austen Book Club not only pays homage to Jane Austen, it also offers a rich contrast between life as it was, in the 18th Century, in Austen’s rural England, and as it is now, in Fowler’s present-day sunny California. In Fowler’s novel we meet six interesting characters who undergo different kinds of personal crises. They form a book club and meet monthly, during half a year. In each meeting, they discuss one of Jane Austen´s novels. Each of them is in charge of leading the discussion on one of the novels. Fowler’s book is divided in six chapters, respectively: Jocelyn with Emma, Allegra with Sense and Sensibility, Prudie with Mansfield Park, Grigg with Northanger Abbey, Bernadette with Pride and Prejudice, and Sylvia with Persuasion. The way they interact with their assigned novels tells much not only about them and their circumstances, but also about the world in which they live. The more nostalgic and romantic their notion of Austen’s idealized past becomes, the clearer we can identify the circumstances in present-day life that provoke such reactions. The aim of this dissertation is to present a reading of The Jane Austen Book Club through an approximation with Austen’s work, so as to understand what Fowler’s characters are looking for, and why. The premise is that their quest tells about the world we live in nowadays, and about the difficulties we have in dealing with personal relations. To approach the contrast between the solid fictional world of Jane Austen and the liquid fictional world of Karen Joy Fowler, I rely on the theories presented by Zygmunt Bauman, especially on his use of concepts as fluidity, ethics, velocity, disengagement and fear.

Quanto mais nostálgicas e românticas se tornam as noções que apresentam sobre mundo idealizado de Austen, mais claramente podemos perceber as carências que fazem com que assim o percebam. Portanto, o objetivo desta tese é apresentar uma leitura de The Jane Austen Book Club através da aproximação com a obra de Austen, e assim entender o que as personagens de Fowler estão procurando, e por quê. A premissa é que essa busca revela muito a respeito do mundo contemporâneo. No âmbito da literatura, tomando Austen e Fowler como autoras que revelam os protocolos de leitura de suas épocas, espero explicitar algumas das razões do fascínio exercido por Austen sobre o leitor de hoje. Para tanto, utilizo como apoio teórico o contraste entre os conceitos de modernidade sólida e modernidade líquida propostos por Zygmunt Bauman, especialmente em relação às considerações sobre os termos fluidez, ética, velocidade, desimpedimento e medo. / Almost two hundred years separate Karen Joy Fowler from Jane Austen. The latter is a great English literary icon, author to six of the best treasured novels in English literature, admired for her style, wit and subtlety in the delineation of her characters and their social relations. The former is a contemporary awarded American Sci-fi and Fantasy writer, author to the novel The Jane Austen Book Club, which is the corpus of the present dissertation. In spite of the wide distance in time, subject matter, and even in literary stature that separates them, both authors are deeply involved in the investigation of human nature and human bonds. The Jane Austen Book Club not only pays homage to Jane Austen, it also offers a rich contrast between life as it was, in the 18th Century, in Austen’s rural England, and as it is now, in Fowler’s present-day sunny California. In Fowler’s novel we meet six interesting characters who undergo different kinds of personal crises. They form a book club and meet monthly, during half a year. In each meeting, they discuss one of Jane Austen´s novels. Each of them is in charge of leading the discussion on one of the novels. Fowler’s book is divided in six chapters, respectively: Jocelyn with Emma, Allegra with Sense and Sensibility, Prudie with Mansfield Park, Grigg with Northanger Abbey, Bernadette with Pride and Prejudice, and Sylvia with Persuasion. The way they interact with their assigned novels tells much not only about them and their circumstances, but also about the world in which they live. The more nostalgic and romantic their notion of Austen’s idealized past becomes, the clearer we can identify the circumstances in present-day life that provoke such reactions. The aim of this dissertation is to present a reading of The Jane Austen Book Club through an approximation with Austen’s work, so as to understand what Fowler’s characters are looking for, and why. The premise is that their quest tells about the world we live in nowadays, and about the difficulties we have in dealing with personal relations. To approach the contrast between the solid fictional world of Jane Austen and the liquid fictional world of Karen Joy Fowler, I rely on the theories presented by Zygmunt Bauman, especially on his use of concepts as fluidity, ethics, velocity, disengagement and fear.

Quanto mais nostálgicas e românticas se tornam as noções que apresentam sobre mundo idealizado de Austen, mais claramente podemos perceber as carências que fazem com que assim o percebam. Portanto, o objetivo desta tese é apresentar uma leitura de The Jane Austen Book Club através da aproximação com a obra de Austen, e assim entender o que as personagens de Fowler estão procurando, e por quê. A premissa é que essa busca revela muito a respeito do mundo contemporâneo. No âmbito da literatura, tomando Austen e Fowler como autoras que revelam os protocolos de leitura de suas épocas, espero explicitar algumas das razões do fascínio exercido por Austen sobre o leitor de hoje. Para tanto, utilizo como apoio teórico o contraste entre os conceitos de modernidade sólida e modernidade líquida propostos por Zygmunt Bauman, especialmente em relação às considerações sobre os termos fluidez, ética, velocidade, desimpedimento e medo. / Almost two hundred years separate Karen Joy Fowler from Jane Austen. The latter is a great English literary icon, author to six of the best treasured novels in English literature, admired for her style, wit and subtlety in the delineation of her characters and their social relations. The former is a contemporary awarded American Sci-fi and Fantasy writer, author to the novel The Jane Austen Book Club, which is the corpus of the present dissertation. In spite of the wide distance in time, subject matter, and even in literary stature that separates them, both authors are deeply involved in the investigation of human nature and human bonds. The Jane Austen Book Club not only pays homage to Jane Austen, it also offers a rich contrast between life as it was, in the 18th Century, in Austen’s rural England, and as it is now, in Fowler’s present-day sunny California. In Fowler’s novel we meet six interesting characters who undergo different kinds of personal crises. They form a book club and meet monthly, during half a year. In each meeting, they discuss one of Jane Austen´s novels. Each of them is in charge of leading the discussion on one of the novels. Fowler’s book is divided in six chapters, respectively: Jocelyn with Emma, Allegra with Sense and Sensibility, Prudie with Mansfield Park, Grigg with Northanger Abbey, Bernadette with Pride and Prejudice, and Sylvia with Persuasion. The way they interact with their assigned novels tells much not only about them and their circumstances, but also about the world in which they live. The more nostalgic and romantic their notion of Austen’s idealized past becomes, the clearer we can identify the circumstances in present-day life that provoke such reactions. The aim of this dissertation is to present a reading of The Jane Austen Book Club through an approximation with Austen’s work, so as to understand what Fowler’s characters are looking for, and why. The premise is that their quest tells about the world we live in nowadays, and about the difficulties we have in dealing with personal relations. To approach the contrast between the solid fictional world of Jane Austen and the liquid fictional world of Karen Joy Fowler, I rely on the theories presented by Zygmunt Bauman, especially on his use of concepts as fluidity, ethics, velocity, disengagement and fear.