This thesis is concerned with the conceptual analysis of tourism and its evaluation from various perspectives in a tourist town. Tourism in this study is addressed as a space-based phenomenon compromising the activities supplying the cultural sphere to the international market. In this respect, tourism is evaluated as the integrity of social, cultural and material interventions germane to the construction, production and consumption of difference on the basis of the relationships of global and local processes. On this account tourism leads to social and cultural transitions on destination communities. In this process, nature, history, cultural assets and way of life become the subject to the production and consumption of tourism system through the interventions including representational, material and even the performance of actors. Because of its multidimensional characteristics, this thesis also evaluates tourism as a contested and controversial process stemming from the differences among various sections of local community. The findings of this study show that the metaphors of &rsquo / nature&rsquo / , &lsquo / tradition&rsquo / , &lsquo / cosmopolitism&rsquo / and &lsquo / bridge&rsquo / are remarkable in constructing Marmaris and environs. The spatial regulation in which tourist and local relationships are actualized have been emphasized as the distinctive characteristics of Marmaris, which brings about the consequence that local community participates in the tourism process via their performance. Besides, it has been put forward that because the distinctions between tourism and non-tourism is blurred and because various issues regarding tourism are evaluated in relation with identity, locality, tradition and culture, Marmaris has become a contested space.

Cette thèse est consacrée à l'étude des peintures d'un des manuscrits les plus importants de la tradition persane : une copie du Bustân de Sa‘di réalisée à la cour timouride de Herât vers 894 H./1488. Elle démontre que ces peintures incarnent un changement de fonction de la peinture, d'un dispositif de représentation à un objet de performance. Les peintures présentent plusieurs aspects inédits, qui contredisent la fonction illustrative généralement associée à la peinture persane de manuscrit. La surface de la peinture se couvre de formes qui n'ont aucun rapport avec le texte qu'elle est censée illustrer (chapitre I). Le peintre a également inséré des vers poétiques dans les peintures, qui évoquent le spectateur et constituent un panégyrique de l'image (chapitre II). On note aussi une miniaturisation des formes, visible en particulier à travers la prolifération de motifs linéaires infimes. La finesse de la ligne s'accompagne de la présence, dissimulée dans les détails de la composition, de la signature du peintre Behzâd (chapitre III). Ces aspects donnent à la peinture une dimension réflexive, qui détourne le spectateur du contenu de l'œuvre au profit d'un questionnement sur le statut de l'image et le talent du peintre. Ce changement de fonction s'explique par le rôle croissant du majlis, une assemblée où artistes, poètes et patrons se réunissent pour discuter des œuvres. Dans ce contexte qui annonce l'émergence des écrits historiographiques sur l'art, la peinture est conçue comme un objet de performance, où le peintre dissémine des éléments qui indiquent son talent, et que le spectateur peut utiliser en retour pour créer des discours et des fictions sur l'artiste. / This dissertation examines the paintings of one of the most important manuscripts of the Persianate book tradition: a copy of the Bustân of Sa‘di, executed in the Timurid court of Herât, ca. 894 H./1488. It argues that these paintings embody a shift in the understanding of painting from a device of representation to an object of performance. In the three chapters of the dissertation, I analyze several new characteristics that appear in the paintings of the Bustân. First, the painting becomes filled with elements that are not related to the text copied in the book (chapter I). Second, the monuments depicted are inscribed with poetic verses emphasizing the admiration of the viewer towards the paintings (chapter II). Lastly, the visual information becomes extremely miniaturized. The most meticulous details appear to be minute linear motifs. This emphasis on the line accords with the presence of the signature of the painter Behzâd, embedded in each composition (chapter III).All of these elements shift the attention of the viewer from the content represented in the paintings to the artistic process that led to their creation. By contrasting the paintings with the historical scenarios of their reception, this dissertation sheds light on a hitherto unnoticed aspect of late 9th/15th century Persian painting, one which foreshadows the development of art historiographical writings: the paintings signed “Behzâd” are conceived not only as representational devices, but also as objects of performance, that the painter uses to inscribe his gesture, and whose contemplation causes the viewer to elaborate discourses and fictions on the artist.