Thesis--Columbia University. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 168-176).

Thèse--Institut catholique de Paris. / Includes bibliographical references.

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This dissertation investigates the multiple grammars of trauma, survival, and witnessing through which personal suffering was articulated and acted upon in the aftermath of November 13, when a series of attacks on the Bataclan theater, cafés in Paris, and the Stade de France in Saint-Denis left 131 dead and thousands of survivors. Based on four years of participant observation research and original archival scholarship in France between 2018 and 2022, this research brings ethnology and history together to examine the aftereffects of colonialism not only “far afield” but also—within an epistemological frame that foregrounds relationality—at the diasporic “center.” “Postmetropolitan Trauma,” as I term it, thus offers a novel approach to the history of our present. Following the 2015 attacks in France, state insurers are processing individuals claims for PTSD compensation from the Guarantee Fund for Victims of Acts of Terrorism (FGTI). Meanwhile, an adjacent diagnostic practice is taking place at the National Institute of Health and Medical Research, where neuropsychologists are conducting biomedical research on PTSD in survivors. As testimonies are being processed by FGTI for financial compensation, on the one hand, and for a science of memory, on the other, a paradox arises: The ideal survivor for the neuropsychologist is she who overcomes her PTSD, and yet, for the purposes of trauma compensation, that is, from a forensic point of view, the survivor must remain symptomatic. In analyzing this paradox, I uncover reparation as a dynamic process of community making which is wider than its result, the final awarding or denial of compensation. While studies of the “War on Terror” have focused on the rise of the terrorist as the new Other, “Postmetropolitan Trauma” instead centers on the processes of subjectivation, identity construction, and community making that compensation produce in the wake of November-13. Who is considered a “survivor,” and as such an insider to trauma, and who is denied compensation as a “mere” witness? This novel approach reveals that the themes of violence and belonging are not restricted to the construction of perpetrators alone, but also shape the treatment of victims. In so doing, the dissertation proposes a new model for understanding the contradictory impulses of inclusion and exclusion, of violence and care, that shape the making of moral communities through historical trauma.

La gestion automatisée des réseaux d'assainissement est une innovation technique née dans le département de la Seine Saint-Denis au début des années 1970, dans des conditions locales spécifiques (problèmes aigus de dysfonctionnements de réseau, contexte physique particulier imposant de fortes contraintes techniques, occasion institutionnelle saisie par les élus pour renforcer leur solidarité à la fois technique, financière et politique, techniciens dynamiques). Cette innovation commence à se diffuser en France, dans d'antres contextes urbains. Ce n’est pas la transposition pure et simple du système de gestion automatisée de Seine Saint-Denis qui se manifeste. Néanmoins les divers cas rencontrés peuvent être regroupés dans une typologie simple, prouvant leur appartenance à un même cadre de logique globale dont la Seine Saint-Denis peut être considérée comme le prototype. Les facteurs favorables à l a diffusion de l'innovation sont nombreux. Leur force ne deviendra effective que lorsque l'efficacité de l'innovation aura été démontrée. Néanmoins, une démarche intellectuelle nouvelle face à la gestion des réseaux d’assainissement a été lancée, sans que soit remise en cause la problématique classique de 1'assainissement. Les enjeux que représentent les réseaux d'assainissement sont tels que des solutions du type de la gestion automatisée, certes complexe mais si peu chère en investissement face aux coûts des travaux de génie civil, doivent être tentées. L'amélioration des connaissances apportées par 1a recherche dans ce domaine, aidera à l'application de méthodes d’assainissement plus efficaces d’un point de vue économique et écologique.

Thesis (Ph.D.)--Georgetown University, 2008. / Includes bibliographical references.

Orientador: Luiz Cesar Marques Filho / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-08-04T16:32:59Z (GMT). No. of bitstreams: 1 Rabelo_MarcosMonteiro_M.pdf: 1262563 bytes, checksum: d6310467e3a482305707f317a2a96433 (MD5) Previous issue date: 2005 / Resumo: A igreja abacial de Saint-Denis, situada nos arredores de Paris, figura entre os grandes monumentos da Idade Média européia. As fontes medievais abundam em referências à sua proeminência, designando-a como a ¿mãe das igrejas francesas¿. Por muitos séculos, ela foi o núcleo da prestigiosa abadia real, estatuto que a isentava de qualquer dominação feudal ou eclesiástica, estando sujeita apenas ao rei. No que respeita à história da arte, pode-se dizer que o período mais significativo na trajetória da igreja abacial é o da reforma promovida pelo abade Suger, realizada entre 1137 e 1144. Suger promoveu uma reformulação completa na parte ocidental (nártex) e na cabeceira (o coro e a cripta), transformando completamente o antigo edifício, da época carolíngia (século VIII). O nártex foi ampliado e ganhou elementos novos, como a rosácea na fachada, três portais de entrada e as estátuas-coluna, hoje desaparecidas, que flanqueavam o portal central. No coro, a mudança foi ainda mais intensa: a pequena abside carolíngia foi substituída por uma estrutura de grandes dimensões, equipada com sete capelas radiantes. A grande novidade ficava por conta dos vitrais que recobriam as janelas desses oratórios, os quais permitiam à luz do dia espalhar-se por todo o coro, desobstruído das grossas paredes. As mudanças estruturais e a nova concepção do espaço tornavam o edifício bastante distinto, quando comparado às construções românicas da época; a Saint-Denis de Suger é vista pelos estudiosos da arte medieval como um protótipo, onde a arquitetura gótica encontrou sua primeira definição, irradiando-se, nos séculos seguintes, para toda a Europa. Esta dissertação de Mestrado apresenta a tradução de um dos textos capitais para a compreensão das realizações de Suger em Saint-Denis, o De Consecratione Ecclesiae Sancti Dionysii, acompanhado de notas explicativas e dois textos críticos: um sobre o lugar de Suger na historiografia da arte medieval e outro acerca das relações entre teologia e ¿estética¿ no templo edificado pelo abade / Abstract: The abbey church of Saint-Denis, situated at the vicinity of Paris, is one of the most proeminent of the European Middle Ages. Medieval sources have a great number of references to its importance, naming it as the ¿mother of the French churches¿. For many centuries, the abbey church was the core of the prestigious royal abbey, and its status has made it free of any feudal or ecclesiastical domination and only subject to the king himself. To art historians, the most significative moment in the history of the church is the great reform promoted by abbot Suger (1122-1151) during the years 1137-1144. Suger has achieved a complete reformulation in the western sector (the narthex) and the chevet (the choir and the crypt), transforming the old carolingian building (erected at the 8th century). The narthex was enlarged and added of three new portals and statue-columns (disappeared) that flanked the central portal. In the choir, the changes were still more significant: the little carolingian apse was removed and, at its place, a new and great structure was constructed, equipped with seven radiant chappels. But one of the most significant innovations present in Suger¿s new building were the stained glass windows, the great vitraux that let the daylight spread over the choir. One can say that the structural changes and the new conception of the ecclesiatical space gave the church of Suger a new form, quiet different from other romanic sanctuaries of its time. This new building erected under Suger¿s administration is considered by the scholars as the beginning of Gothic architecture, which should spread thereafter all over Europe. This Ms. Dissertation offers a translation (to portuguese) of Suger¿s little book De Consecratione Ecclesiae Sancti Dionysii, with explicative notes and two analytical texts: the former is about the place of Suger at the medieval art historiography and the latter is about the relations between the theology and the ¿aesthetics¿ in the old Saint-Denis abbot¿s temple / Mestrado / Historia da Arte / Mestre em História