Par son recours à diverses formes d’expression, Unica Zürn (1916-1970) redynamise l’espace de la feuille en le faisant activement participer à l’écriture de soi. Le « je » semble en effet se démultiplier grâce à des jeux « anagrammatiques » sur les divers signes mobilisés, qu’ils soient alphabétiques, picturaux ou musicaux. L’autoreprésentation s’inscrit alors au sein d’une œuvre pluridisciplinaire inusitée, qui renouvelle l’esthétique quelque peu « essoufflée » du mouvement surréaliste. Cette attitude vis-à-vis de la feuille, où plusieurs signes « décomposables » et « recomposables » se partagent l’espace, est observable tant dans l’œuvre littéraire que picturale d’Unica Zürn. Le processus de création par la lettre, le trait et la note de musique, tend à revaloriser le support matériel utilisé par l’effacement des frontières entre les disciplines artistiques, qui appelle un regard distancié du lecteur/spectateur sur l’œuvre. Afin d’interpréter les travaux de Zürn dans la pluralité des moyens artistiques qui y sont déployés, l’approche intermédiale sera favorisée. Dans le premier chapitre de ce mémoire, il s’agira d’abord de voir comment s’articule un certain dialogue entre le discours des chercheurs de l’intermédialité et l’œuvre d’Unica Zürn. Le rapport à l’objet sera notre porte d’entrée dans la matière intermédiale. Par un retour à la matérialité de l’expérience médiatique, nous constaterons que Zürn met à l’avant-scène les instruments et supports de la création, ce qui mène à une représentation distorsionnée de soi, de l’espace et du temps. Une fois le parallèle établi entre les concepts de l’intermédialité et les travaux de Zürn, nous nous concentrerons sur le pan musical de l’œuvre pluridisciplinaire de l’auteure-artiste. Le second chapitre traitera de l’intrusion du sonore dans l’univers textuel, qui se fera notamment par la réappropriation de l’opéra Norma, de Vincenzo Bellini. Cette réécriture s’intitule Les jeux à deux et prend une distance considérable par rapport au texte originel. Elle s’accompagne de dessins effectués par l’auteure-artiste à même les partitions de l’opéra. Le regard multiple posé sur l’œuvre zürnienne permettra de comprendre que l’écriture palimpseste participe du processus d’autoreprésentation, tout en élaborant un discours sur la rencontre entre littérature, dessin et musique, ainsi que sur l’influence de cette juxtaposition sur le débordement des frontières médiatiques traditionnelles. / Having recourse to many forms of expression, Unica Zürn (1916-1970) revitalizes the space of the sheet by having it take an active part in the individual writing. The “I” seems to increase thanks to “anagrammatic” games on the many mobilized signs, whether they are alphabetical, pictorial or musical. The self-representation is inspired by an unusual multidisciplinary work, which renews the aesthetics, somewhat “worn”, of the surrealist movement. This attitude towards the sheet, where many “decomposable” and “recomposable” signs share the space, is observable in Unica Zürn’s literary work as well as in her pictorial work. The process of creation through the letter, the stroke and the musical note tends to reassert the value of the material support used by the abolition of the boundaries among the artistic disciplines, which calls for a distanced look from the reader/spectator on the work. In order to interpret Zürn’s work in the plurality of the artistic means that are deployed, the intermedial approach will be favoured. In the first chapter of this dissertation, we will see how a certain dialog is structured between the views of the intermediality’s researchers and Unica Zürn’s work. The relation to objects will be our entry point in the intermedial subject. Through a return to the materiality of the media-related experience, we will notice that Zürn puts at the forefront the instruments and the supports to the creation, which leads to a contorted representation of oneself, space and time. Once the parallel established between the intermediality’s concepts and Zürn’s work, we will focus on the musical aspect of the author-artist’s multidisciplinary work. The second chapter will deal with the intrusion of sound in the textual universe, which will occur through the reappropriation of the Vincenzo Bellini’s opera “Norma”. This revising is called “Les jeux à deux” and is significantly different from the original text, and is paired with drawings made by the author-artist directly on the opera’s partitions. The multiple look placed upon the zurnian work will allow to understand that the palimpsest writing takes part in the self-representation process, through elaborating a view regarding the interrelation of literature, drawing and music, as well as the influence of this juxtaposition on the overflow of the traditional media boundaries.

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

Made available in DSpace on 2016-06-02T20:23:13Z (GMT). No. of bitstreams: 1 4691.pdf: 2672221 bytes, checksum: 5c15554d9ac45df13043164fc0e2e67e (MD5) Previous issue date: 2012-05-02 / Financiadora de Estudos e Projetos / This work aims to discuss processes of self-representation in animated documentaries, from the analysis of the film Waltz with Bashir (Ari Folman, 2008). With this analysis, it seeks to understand modes of articulation between the field of documentary and animation, using elements of both as a possibility of self-representation in films that are related to the shared historic world. For this purpose, it develops a reflection on the establishment of different perspectives in the field of documentary studies and the ways available for animation to create representations. In addition, it dialogues with the various historical and conceptual approaches about the animated documentary, developed significantly over the past fifteen years. Finally, it develops a critical analysis of what Bill Nichols (1994) calls performative documentary and the considerations of Michael Renov (2004) about documentaries that deal with the autobiographical, to understand the animation as a way to put the director in history and establish a continuity with the past, weaving relationships between elements of documentary and animated images that provide other senses to the reported. / Esta dissertação tem como objetivo discutir processos de autorrepresentação em documentários animados, a partir da análise do filme Valsa com Bashir (Ari Folman, 2008). Com a análise deste longa-metragem, busca-se compreender modos de articulação entre o campo do documentário e o da animação, aproveitando elementos de ambos enquanto possibilidade de autorrepresentação em filmes que se remetem ao mundo histórico compartilhado. Para tanto, desenvolveu-se uma reflexão acerca do estabelecimento de diferentes perspectivas do campo do documentário nos estudos teóricos e as maneiras disponíveis à animação para criar representações. Além disso, dialoga-se com as várias abordagens históricas e conceituais acerca do documentário animado, que ganham corpo mais expressivo nos últimos quinze anos. Por fim, desenvolve-se uma leitura crítica das análises de Bill Nichols (1994) sobre os documentários performáticos e das considerações de Michael Renov (2004) acerca de documentários que lidam com o autobiográfico, para compreender a animação como uma forma do realizador se colocar na história e estabelecer uma continuidade com o passado, tecendo relações entre imagens animadas e elementos documentais que proporcionam outros sentidos aos relatos.

Made available in DSpace on 2016-12-08T16:18:51Z (GMT). No. of bitstreams: 1 lilian2.pdf: 3345748 bytes, checksum: bce81bd804bd436b12e7e520aefc5cdc (MD5) Previous issue date: 2012-12-06 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Investigating the foundations of thought and production of photographic self-portraits, through a literature review and documentary photographic practices that use the self-portrait as a genre and poetic art from the twentieth century, this research aims to analyze how these relate to their productions time, looking for ways to draw a greater understanding of current photographic production, through an analysis and reflection of the content covered. Therefore, we took as a starting point to investigate ways and conceptual and aesthetic concerns of a group of contemporary artists in the exhibition I unfold in Many - A self-representation in Contemporary Photography, part of FOTORIO 2011 - International Meeting of Photography of Rio de Janeiro, which occurred in CCBB - Centro Cultural Banco do Brazil, in the period from May 31 to July 10, 2011, curated by Milton Guran and Joan Mazza, which led to several exhibitions and other developments on the theme. / Investigando as bases de pensamento e produção de autorretratos fotográficos, através de uma pesquisa bibliográfica e documental das práticas fotográficas que utilizam o autorretrato como gênero e poética artística a partir do século XX, a presente pesquisa pretende analisar de que forma essas produções se relacionam com seu tempo, procurando traçar caminhos para uma maior compreensão da produção fotográfica atual, através de uma análise e reflexão dos conteúdos abordados. Para tanto, tomou-se como ponto de partida a investigação de formas e preocupações conceituais e estéticas de um grupo de artistas contemporâneos presentes na exposição Eu me Desdobro em Muitos - A Autorrepresentação na Fotografia Contemporânea, parte integrante do FOTORIO 2011 - Encontro Internacional de Fotografia do Rio de Janeiro, ocorrida no CCBB - Centro Cultural do Banco do Brasil, no período do dia 31 de maio a 10 de julho de 2011, sob curadoria de Milton Guran e Joana Mazza, o que levou a várias outras exposições e desdobramentos sobre o tem

In this paper, we aim to understand how the social actors of a community on the outskirts of Aracaju, Sergipe, and sighted policy practiced in their daily lives. These analyzes are guided by research on memory, enunciated through the narratives tessitura, which emerged through interviews by former residents. From these statements, it was possible to identify the direction of the trajectory of these subjects in a time and space that is configured through preterit symbolic procedurals that therefore allowed us to understand how to have relationships between the discourses, identities, self representation, engagement and communication. Given the above, we chose to use as anthropological analysis method, Photoethnography and ethnography of cyberspace, added the collection and comparison of the information obtained from the filtering of documentary sources. / No presente trabalho, visamos compreender como os atores sociais de uma comunidade da periferia de Aracaju, Sergipe, enxergavam e praticavam a política em seu cotidiano. Essas análises, são pautadas pela investigação acerca da memória, enunciada através das tessituras narrativas, que emergiam por intermédio de entrevistas concedidas pelos antigos moradores. A partir desses depoimentos, foi possível identificar o sentido da trajetória desses sujeitos em um tempo e espaço que se configurou por meio de processualidades simbólicas pretéritas que, por conseguinte, nos permitiram entender como se deram as relações entre os discursos, as identidades, a auto representação, o engajamento e a comunicação. Dado o exposto, optamos por utilizar como método de análise antropológica, a fotoetnografia e a etnografia do ciberespaço, somados a coleta e o cruzamento das informações obtidas a partir da filtragem das fontes documentais.

Submitted by Luciana Ferreira (lucgeral@gmail.com) on 2018-02-19T17:40:15Z No. of bitstreams: 2 Dissertação - Pilar Lago e Lousa - 2017.pdf: 1639196 bytes, checksum: 3e21da1c0d643787fa9827d57fd6b084 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2018-02-19T17:58:00Z (GMT) No. of bitstreams: 2 Dissertação - Pilar Lago e Lousa - 2017.pdf: 1639196 bytes, checksum: 3e21da1c0d643787fa9827d57fd6b084 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2018-02-19T17:58:00Z (GMT). No. of bitstreams: 2 Dissertação - Pilar Lago e Lousa - 2017.pdf: 1639196 bytes, checksum: 3e21da1c0d643787fa9827d57fd6b084 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2018-02-05 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / The female authorship in the marginal-peripheral literature emerged in the national scene, right in the beginning of the 21 st century, as aesthetical, literary and social criticism, questioning the traditional standards regarding female representation both in the literary canon and in the society. Inscribed in the item of the marginal-peripheral literature, Elizandra Souza, from soirées movements, and Luiza Romão, representing the scene of the slams, reject the traditional intermediaries in the editorial market, such as editors and journalists. Thus, they found a way of resistance and bring about the voice of the women so far silenced, through discursive representation of the female condition of marginalized women, problematizing, above all, issues regarding female identity, their bodies and the places they occupy in society. This self-representation of the female condition, unveiled by the poems, traditionally faces the following ways of subordination: by the gender bias, the economic and geographical situation and often by the race bias. In a process that initially deconstructs to reconstruct the female representation, some paradigms, myths and taboos are broken, which reveals a body that no longer accepts the abjection imposed, becoming subject of its own speech. This way, this work has the objective of verifying how poetry and literary and linguistic intrinsic processes materialize this body that is able to unveil the woman inscribed in the marginal-peripheral literature, her identity and her specific demands. A voice that arises under the sign of the resistance, public space appropriation, of placing the feminine in an outstanding position to no longer let it be object of somebody else’s speech, but subject of the voice of these women. To achieve such goals, poems of the authors Elizandra Souza, from the books Punga (2007) and Águas da Cabaça (2012), and Luiza Romão, from the book Coquetel Motolove (2014), and only one poem from her homonymous page on Facebook shall beanalyzed from a theoretical-critical perspective of studies in gender and feminism. The analyses of this study are divided into 3 chapters. The first chapter is dedicated to the marginal-peripheral literature from São Paulo, its main assumptions and the understanding of soirée and slams movements, and women inscribed in this literature. The main authors whose theoretical support is going to be used are: Jéssica Balbino (2016), Roberta Estrela D’alva (2014), Carlos Cortez Minchillo (2016), Érica Peçanha do Nascimento (2009) and Lucía Tennina (2013; 2015a; 2015b). In the chapter regarding Elizandra Souza’s poetry, themes such as black ancestry and beauty are going to be addressed and the studies of Conceição Evaristo (2005; 2009), Eduardo de Assis Duarte (2009), Bell Hooks (2014), Djamila Ribeiro (2015), Sueli Carneiro (2003; 2016), Lélia Gonzalez (2016), Amanda Braga (2015), Kimberlé Crenshaw (2002) are going to be recaptured. In the third chapter, the poetry of Luiza Romão is going to be discussed and for such, we shall use the knowledge of Silvia Federici (2017), Elisabeth Grosz (2000), Michelle Perrot (2003), Rebecca Solnit (2017) and Rachel Soihet (2001). To verify the issues of female representation and performance, shared by the two authors, the theoretical background of Avtar Brah (2006), Elaine Showalter (1993; 1994), Elizabeth Grosz (2000); Érica Nascimento (2009; 2015), Guacira Lopes Louro (2010), Leda Martins (2003; 2007), Paul Zumthor (2014), Pierre Bourdieu (1983; 2002), Sara Ahmed (2003; 2004), among others, shall be necessary. / A literatura marginal-periférica de autoria feminina surgiu no cenário nacional, no início do século XXI, como uma crítica estética, literária e social que questiona os padrões tradicionais de representação do feminino tanto no cânone literário brasileiro quanto na sociedade. Inscritas na rubrica da literatura marginal-periférica, Elizandra Souza, oriunda do movimento dos saraus, e Luiza Romão, que representa a cena dos slams, rechaçam os intermediáriostradicionais do mercado editorial, tais como editores e jornalistas. Assim, elas fundam certa forma de resistência e deflagram a voz de mulheres até então silenciadas por meio da representação discursiva da condição feminina de mulheres marginalizadas, problematizando, sobretudo, questões que dizem respeito à identidade feminina, aos seus corpos e aos lugares que estes ocupam na sociedade. Essa autorrepresentação da condição feminina descortinada pelos poemas enfrenta tradicionalmente as seguintes formas de subalternização: pelo viés do gênero, da situação econômico-geográfica e muitas vezes pelo viés da raça. Em um processo que a princípio descontrói para depois reconstruir a representação feminina, alguns paradigmas, mitos e tabus são quebrados, o que revela um corpo que não aceita mais a abjeção que lhe é imposta, passando a ser sujeito de seu próprio discurso. Dessa forma, este trabalho tem como objetivo verificar como a poesia e os processos intrínsecos da literatura e da linguagem materializam esse corpo que é capaz de desvelar a mulher inscrita na rubrica da literatura marginal-periférica, sua identidade e suas demandas específicas. Uma voz que insurge sob o signo da resistência, da apropriação do espaço público, de colocar o feminino em posição de destaque para não mais deixa-lo ser objeto do discurso alheio, e sim sujeito da fala dessas mulheres. Para alcançar estes objetivos, serão analisados poemas das autoras Elizandra Souza, dos livros Punga (2007) e Águas da cabaça (2012), e Luiza Romão, do livro Coquetel Motolove (2014), e apenas um poema de sua página no facebook homônima, a partir de uma perspectiva teórico-crítica dos estudos sobre gênero e feminismo. As análises deste estudo estão divididas em três capítulos. O primeiro capítulo é dedicado à literatura marginal-periférica de São Paulo, seus principais pressupostos e o entendimento dos movimentos dos saraus e slams e das mulheres que se inscrevem na rubrica dessa literatura. Os principais autores cujo aporte teórico serão utilizados são: Jéssica Balbino (2016), Roberta Estrela D’alva (2014), Carlos Cortez Minchillo (2016), Érica Peçanha do Nascimento (2009) e Lucía Tennina (2013; 2015a; 2015b). No capítulo a respeito da poesia de Elizandra Souza serão tratadas as temáticas como ancestralidade e beleza negras e serão resgatados os estudos de Conceição Evaristo (2005; 2009), Eduardo de Assis Duarte (2009), bell hooks (2014), Djamila Ribeiro (2015), Sueli Carneiro (2003; 2016), Lélia Gonzalez (2016), Amanda Braga (2015), Kimberlé Crenshaw (2002). No terceiro capítulo trataremos da poesia de Luiza Romão e para tal utilizaremos os conhecimentos de Silvia Federici (2017), Elisabeth Grosz (2000), Michelle Perrot (2003), Rebecca Solnit (2017) e Rachel Soihet (2001). Para verificar as questões da representação feminina e da performance, partilhadas pelas duas autoras se fará necessária a utilização do arcabouço teórico de Avtar Brah (2006), Elaine Showalter (1993; 1994), Elizabeth Grosz (2000); Érica Nascimento (2009; 2015), Guacira Lopes Louro (2010), Leda Martins (2003; 2007), Paul Zumthor (2014), Pierre Bourdieu (1983; 2002), Sara Ahmed (2003; 2004), entre outros.

Due sono le questioni che bisogna porsi per analizzare la “cultura di miniera nelle Alpi”: in che modo i fattori politici ed economici influenzarono la gestione e l’organizzazione mineraria? Esistono espressioni culturali specifiche della categoria professionale dei minatori? Pur nella loro diversità, le due questioni sono tra loro complementari. La presente ricerca è divisa in due parti: la prima prende in esame i sistemi di gestione e di organizzazione estrattiva nelle Alpi; a tal proposito sono stati comparati i contesti socio-economici delle seguenti comunità minerarie: del distretto minerario di Vipiteno-Colle Isarco ed in particolare della miniera di Ridanna-Monteneve in alto Adige; dell’Alta Val Trompia in provincia di Brescia; di Brosso e di Pont Canavese in provincia di Torino e di Premana in provincia di Lecco. La seconda parte di questo lavoro analizza le espressioni culturali della categoria professionale dei minatori che comprendono le leggende di miniera, i canti e le feste. Queste fonti sono importanti dal punto di vista antropologico in quanto esprimono i desideri, le ansie, le attese, in breve la coscienza dei minatori. I testi folklorici, soprattutto i canti, gettano luce sui loro modi di vita e di pensiero. Si tratta dunque di fonti autentiche per la conoscenza delle condizioni morali, oltre che materiali, dei minatori. / Dans l’analyse de la culture minière dans les Alpes, il faut se poser deux questions: comment les facteurs politiques et économiques influencèrent la gestion et l’organisation minière? Est-ce qu’il existe des expressions culturelles spécifiques de la catégorie des mineurs ? Bien qu’elles soient très différentes, les deux questions sont complémentaires. Ce travail est divisé en deux parties : la première concerne les systèmes de gestion et d’organisation du travail minier dans les Alpes ; pour bien les analyser, on a comparé les contextes socio-économiques des communautés minières suivantes : le district minier de Vipiteno-Colle Isarco et en particulier la mine de Ridanna-Monteneve en Alto Adige. La Haute Val Trompia en province de Brescia ; Brosso et Pont Canavese en province de Turin et Premana en province de Lecco. La deuxième partie de ce travail analyse les expression culturelles de la catégorie professionnelle des mineurs comprenant les légendes minières, les chants et les fêtes. Ces sources sont très importantes du point de vue anthropologique, car elles expriment les inquiétudes, les désirs, les attentes, en bref la conscience des mineurs. Les textes folkloriques, surtout les chants, permettent de comprendre leurs vies et leurs pensées. Il s’agit donc de sources authentiques pour connaitre les conditions morales et matérielles des mineurs.

La femme entretient un lien complexe et indéfectible avec son foyer, rendant ambivalent son statut dans la société car il l’inscrit dans un espace donné, prescrit et sexué. Ce lien lui apparaît, aujourd’hui, comme un « fil à la patte » et pourtant, il est le lieu où s’exerce sa forme à elle, de domination. Certes, il est aussi parfois un lieu de domination à son égard,mais il reste le lieu où co-existent des formes de pouvoirs. Si la femme est réduite à son foyer, il reste néanmoins un espace où son savoir, à elle, prédominera sur celui du groupe et de l’homme, car elle est la « gardienne du feu », celle qui nourrit, entretient et soigne le clan, la famille. Partant de cette hypothèse générale, nous pouvons la décliner à travers ceque ce lien, entre la femme et son foyer, apporte dans les représentations extérieures du foyer, entre envies et incompréhensions. Également, ce qu’il produit comme effet sur la propre représentation de soi-même, lorsque l’on entretient ce lien de façon permanente dans le temps et l’espace. Le corps devient alors un prolongement de cet espace dédié ou prescrit. Comment ce lien, lorsqu’il semble être distendu, se rappelle à la femme par les évènements de la vie : grossesse, chômage, retraite etc. Et, à quel point ce lien, construit socialement et culturellement, appartient à la femme, au point que l’homme, lorsqu’il est amené à se replier durablement au foyer, dérange une forme d’intimité. Mais surtout,comment ce lien est-il légitimé par un événement particulier : la naissance de l’enfant. Car il ne peut exister fondamentalement de « femme au foyer » sans « mère au foyer » ou tout du moins, si l’enfant ne paraît pas, sans ce voeu même, qui fera ainsi exister le foyer. / Women have a complex and unfailing connection with their household, which makes their status in society ambivalent, because it links them with a specific space characterized by gender and social prescription. Today, this connection appears to them as a way to tie them down, and yet, it is also via this connection that women exercise their own form of domination. Of course, the household is also sometimes where they experience domination, but it remains a place where several forms of power coexist. If women are sometimes reductively defined as their household, it is also a place where their specific knowledge will prevail over that of the men and the group. Because they are “the fire keepers”, they arefeeding, supporting and looking after the clan, the family. Basing our work on this general hypothesis, we can go further in investigating this specific connection between women and their households, how this link lives on in the external representations of the household, giving rise to envy and incomprehension. How it impacts women’s self-representation,when this specific connection is held over space and time. Their body becomes the prolongation of this dedicated and socially prescribed space. How this social connection, when it seems to have slackened, tightens with each change in life: pregnancy, unemployment, retirement, etc. To what extent does this link, socially and culturally built, belongs to women, leading to a disruption of a form of intimacy when men have to withdraw durably into the household. Above all, how this connection is legitimate by one specific event: the birth of a child. Because a housewife is not complete without being amother or, in the case in which she is childless, without at least desiring a child.

Cette recherche menée en anthropologie, questionne le monde global au travers de l'étude des blogs de mode issus de Paris, New York et Tokyo.En tant que support de l’Internet qui permet de se raconter au travers de la mode, le blog de mode est à la fois expression personnelle et partage à l’autre, il donne ainsi à voir la construction d’une image de soi sous-tendue par des processus mimétique et de distinction. L’établissement du soi au travers du blog de mode est une porte d’entrée privilégiée pour pouvoir étudier au travers de celui-ci et à partir des motivations à pratiquer le blog, le rapport qu’entretient une bloggeuse à elle-même mais aussi aux autres. La compréhension de la pratique du blog de mode par les bloggeuses est le premier axe de cette recherche.Le blog de mode est aussi des images. Des images spécifiques dont les mécanismes s’établissent au travers de l’Internet, des images dites, dans cette recherche, bloggées. Celles- ci posent le décor au blog mais représentent surtout la matérialisation d’un transfert d’une expérience faite de la mode préalablement vécue dans la ville de Paris, New York ou Tokyo, à une expérience de la mode enrichie, prolongée et vécue autrement sur le blog de mode. Le constat de la reconfiguration de cette expérience cristallisée dans les images bloggées, impose comme second axe de recherche à cette thèse, de comprendre la possibilité du passage de la ville au blog, et la particpation de ces deux dimensions à un paysage global. Le paysage ingoldien dans sa réalité spatiale, matérielle et temporelle, permet alors d’appréhender un processus d’incorporation du paysage de la ville à celui du blog et permet de comprendre la constitution de l’un par l’autre, dans le partage d’un réel commun.Le blog de mode enfin, porte en lui des éléments communicationnels. Dans le contexte de l’Internet, ces éléments ont la particularité de se situer dans une logique majoritairement interactionnelle. Au travers de mécanismes mettant en jeu des flux et reflux s’établissant entre les trois villes de l’étude, il est alors nécessaire de comprendre la circulation des images sur ces supports, autant au travers des actions menées par les bloggeuses que par les structures et fonctionnalités qui portent et encadrent cette action. Au travers d’une approche compréhensive du blog de mode et des mécanismes de circulation, il est alors possible d’envisager sa participation à une médiation transculturelle et plus généralement de formation d’un lien social.Tout au long de cette approche compréhensive du blog de mode, cette recherche établie sur quatre ans vise à faire ressortir des éléments d’actualisation dans la pratique du blog et dans ce qui le compose (bloggeuse, paysage, circulation). C’est sur le constat à la fois des actualisations spécifiques du blog de mode et de sa participation à un monde global dans lequel il s’insère et auquel il prend activement part, que cette recherche permet in fine de dégager plus largement les particularismes naissants d'un monde reconfiguré, qui se recompose et repense son existence à chaque instant.En prenant le blog de mode pour objet de recherche et s’inscrivant en anthropologie, cette thèse questionne en arrière plan, l’absence d’une anthropologie de la mode comme champ de recherche établi et spécifiquement nommé. Une réflexion est ainsi menée sur la nécessité d’emprunt à des champs multiples de l’anthropologie et à d’autres disciplines pour questionner l’objet mode, et laisse à penser une anthropologie de la mode comme étant encore une anthropologie sans nom. / This research conducted in anthropology, questions the global world through the study of fashion blogs from Paris, New York and Tokyo. As a medium of the Internet that allows you to tell yourself through fashion, the fashion blog is both personal expression and sharing with the other, it gives to see the construction of a self-image under extended by mimetic and distinguishing processes. The establishment of the self through the fashion blog is a privileged entry point to study through it and from the motivations to practice the blog, the relationship that a blogger maintains to itself but also to others. The bloggers' understanding of blogging is the primary focus of this research. The fashion blog is also pictures. Specific images whose mechanisms are established through the Internet, images said in this research as "blogged". These set the scene for the blog but mostly represent the materialization of a transfer of an experience made of fashion previously experienced in the city of Paris, New York or Tokyo, an experience of fashion then enriched, extended and lived otherwise on the fashion blog. The observation of the reconfiguration of this experience crystallized in the images blogged, imposes as a second line of research to this thesis, to understand the possibility of the passage of the city to the blog, and the participation of these two dimensions in a global landscape. The Ingoldean landscape in its spatial reality, material and temporal, allows then to apprehend a process of incorporation of the landscape of the city to that of the blog and allows to understand the constitution of one by the other, in the sharing of a common real. Finally, the fashion blog carries with it communication elements. In the context of the Internet, these elements have the particularity of being situated in a logic that is mainly interactional. Through mechanisms involving ebb and flow between the three cities of the study, it is necessary to understand the circulation of images on these media, as much through the actions of bloggers as by the structures and features that carry and frame this action. Through a comprehensive approach of the fashion blog and circulation mechanisms, it is then possible to consider its participation in a transcultural mediation and more generally the formation of a social link. Throughout this comprehensive approach of the fashion blog, this research established over four years aims to bring out elements of actualization in the practice of the blog and in what composes it (blogger, landscape, circulation). It is on the observation of both the specific updates of the fashion blog and its participation in a global world in which it is inserted and in which it takes an active part, that this research ultimately makes it possible to identify more widely the emerging particularities of a reconfigured world, which recomposes itself and rethinks its existence at every moment. Taking the fashion blog as a research subject and registering in anthropology, this thesis questions in the background, the absence of an anthropology of fashion as an established and specifically named field of research. A reflection is thus conducted on the necessity of borrowing from multiple fields of anthropology and other disciplines to question the fashion object, and suggests an anthropology of fashion as still being a nameless anthropology.

Cette thèse vise à appréhender les possibilités et les contraintes induites par LinkedIn en termes de « représentation de soi » chez les professionnels des ressources humaines. La recension de la littérature permet de mettre en évidence deux grandes catégories d’utilisation d’un profil LinkedIn : l’utilisation individuelle et l’utilisation institutionnelle. Par ailleurs, il apparaît que le profil pourrait potentiellement permettre à l’individu d’accroître son efficacité au travail, de divulguer son image à un grand nombre de personnes, de développer des relations avec d’autres professionnels ou de développer la confiance en soi. Une première typologie d’utilisateurs est proposée à partir de la sociologie des RSNP. Une analyse sémiotique de profils LinkedIn et des entretiens de recherche compréhensifs ont permis de valider une typologie des usagers du réseau LinkedIn. Les résultats montrent qu’un clivage entre deux grands types d’utilisation semble se dessiner. L’utilisation institutionnelle fait apparaître une forme d’empowerment tournée vers l’efficacité au travail tandis que l’utilisation individuelle est propice à la médiatisation de soi. / This doctoral dissertation focuses on the use of professional network services by Human Resource staff registered on LinkedIn. The aim is to understand the new possibilities and the constraints induced by the RSNP in terms of "self-representation". The literature review shows that a LinkedIn profile can be used in two main ways : for individual and institutional uses. Moreover, it appears that the profile could potentially allow users to increase their efficiency at work by making their image known to a large number of people, to develop relationships with other professionals or develop self-confidence. An initial typology of users is proposed based on the sociology of PNS. A semiotic analysis of LinkedIn profiles and comprehensive research interviews also validate a typology of users. The results show that a cleavage between two major types of use seems to appear. The common purpose of institutional use is to be more efficient at work. At the same time, individual use mainly pursues an objective of self-mediatization.