L’analyse sociologique de la précarité oscille entre risque de désaffiliation et alternative à la norme d’emploi dominante. Pour contribuer au débat, cette thèse saisit cette ambivalence en développant une problématique originale : celle de la « soutenabilité » de l’emploi discontinu, au double-sens de ce qui est supportable et de ce qui est défendable. Les cas contrastés des saisonniers agricoles et des artistes du spectacle sont comparés au moyen d’une enquête biographique et longitudinale retraçant leurs trajectoires sociales. La première partie reconstitue l’espace des possibles structurant les trajectoires objectives des enquêtés. D’un côté, un salariat agricole flexible et relativement invisible maintient les saisonniers agricoles, majoritairement issus des classes populaires, dans une condition de précarité-pauvreté. De l’autre,les artistes, originaires principalement des classes moyennes et supérieures, se mobilisent politiquement pour la défense d’une intermittence du spectacle recouvrant un potentiel d’autonomie salariale. Ce contraste se redouble ensuite au niveau des trajectoires subjectives. La deuxième partie montre comment l’emploi agricole devient soutenable par adaptation à la nécessité. La discontinuité permet de mettre à distance le travail et de recentrer les attentes sur l’espace domestique et le territoire local. À l’inverse, l’insoutenabilité l’emporte lorsque le CDI réduit les possibilités de s’extraire d’un travail portant atteinte à la santé (insoutenabilité de condition) ou lorsque l’emploi agricole est consécutif à un déclassement (insoutenabilité de position). Enfin, la troisième partie illustre comment les artistes du spectacle se caractérisent au contraire par un refus de la finitude sociale. La vie d’artiste et d’intermittent demeure soutenable tant que la recherche d’autonomie dans un travail synonyme de singularité et de vocation n’est pas compromise par un engagement prenant le sens du surinvestissement (insoutenabilité de condition) ou par un défaut de capital spécifique(insoutenabilité de position). Les trajectoires contrastées des saisonniers agricoles et des artistes du spectacle interrogent finalement la thèse d’un « précariat » à la condition ou au projet politique communs. / The sociological analysis of the precariousness fluctuates between disaffiliation risk and alternative to the dominant employment norm. In order to contribute to the debate, this thesis captures this ambivalence by developing an original issue: the “sustainability” of discontinuous employment, in both meaning of what is bearable and what is defensible. The contrasting cases of agricultural seasonal workers and performing artists are compared by means of a biographical and longitudinal survey tracking down their social trajectories. The first part rebuilds the space of possibilities structuring the objective paths of the respondents. On one side, a flexible and relatively invisible agricultural wage-earners keeps theseasonal workers, mainly from the working class, in a precariousness-poverty condition. On the other side, the artists,mainly from the middle and superior classes, politically gather for the defense of the intermittence of the performing arts, implying the possibility of autonomous wages. Then, this disparity is increased when considering the subjective paths. The second part shows how the agricultural employment becomes sustainable as adaptation to the necessity. The discontinuity allows to distance work and to refocus expectations on domestic space and local territory. Conversely, the unsustainability wins when permanent contract reduces the possibility to get away of a job jeopardizing health (condition unsustainability) or when agricultural employment is a consequence of a downgrade (position unsustainability). Finally, the third part illustrate, on the contrary, how performing artists are characterized by a rejection of the social finitude. The artist and intermittent life remains sustainable as long as the pursuit of autonomy in a job, synonym for singularity andvocation, is not jeopardized by a commitment as a surinvestment (condition unsustainability) or a default of specific capital (position unsustainability). The contrasted paths of agricultural seasonal workers and performing artists finallyquestion the thesis of a “precariat” with common conditions and political vision.

Mall after mall was built in American cities, exhaustively emulated by developers often working in concert with civic governments. In service of capital, neoliberal urban governance engages in the risky subsidization of spatio-spectacle production, working together with private business entities to bolster tax revenue and aid in private capital accumulation. The extensive replication of malls in close geographic proximity to one another across the American landscape, erected through the neoliberal partnerships of civic governments and private business interests, has greatly contributed to mall decline and mall death. There is now, however, a new spatio-spectacle that has arisen to take the place of the "great American shopping mall"—the luxury mixed-use development. These luxury mixed-use projects have been adopted as a new trend within urban development following the reality of sweeping mall decline and are proliferating across the (sub)urban landscape. Luxury mixed-use developments, I argue, are merely a continuation of late capitalism's problematic spectacle fetish. Moreover, this process is revealed to be inextricably entangled with gentrification, driven by cities' neoliberal desires to become/maintain status as global, "world-class" cities, performed through the spatialized ideology of neoliberal multiculturalism.

Studying the societal and spatial implications of dirt and its inherent out-of-placeness brought forth a heuristic exploration of heterotopic spatial qualities within the realm of architecture. Taking on the metaphorical role of dirt, the prison is juxtaposed with its societally defined counterpart, the museum. An architectural form began to take place via the implementation of interpretations and a general ambiguity derived from the strange merger of the two ‘counterparts’. The Prison of Stained Acceptance questions and tests boundaries of acceptance within societal stigmatization of otherness, furthermore, inquires the efficacy of out-of-placeness on humanity indoctrinated into a defined good/clean and bad/dirty. With a focus on humaneness and egality, the prison tests the possible outcomes within the occurrence of power shift – from a governing/guarding body to the inmates and architecture. The heterotopic nature of the proposal perhaps raises more questions than it answers, however, it became imperative to sprout a debate within its eclecticism. Rather than defending a direct conclusion this thesis focuses on provocation and thought.

Hard Science-fiction shares a close relationship with the element of spectacle. This is especially apparent in Christopher Nolan’s Interstellar (2014), a film based in realistic science and emotional appeal. Nolan makes use of creating a team comprised of creative minds with different backgrounds. This includes theoretical physicist Kip Thorne, co-writer Jonathan Nolan, and composer Hans Zimmer. Together, the four develop a film that focuses on three main facets of science: time dilation, black holes, and dimensions. Incorporating these elements based in the historical world gives Interstellar its classification as hard science-fiction, a genre based more solidly in realistic science than classical science-fiction. Thorne serves as an executive producer and advisor to all matters scientific, Zimmer composes the score to accompany and intensify the moments of spectacle, and the Nolan brothers serve to create the plot behind Interstellar. The film’s spectacle can be seen throughout, notably in the “Miller’s Planet” and “Gargantua” scenes. Nolan also incorporates Welsh Poet Dylan Thomas’s “Do not go gentle into that good night” to exemplify the film’s theme of perseverance against increasing odds. It is through these elements that Interstellar serves itself as an exemplary film for showcasing the relationship between the nature of hard science-fiction and spectacle.

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Ce mémoire de maîtrise vise à cerner les fondements de la mise en scène d'un spectacle chansonnier et à instaurer, en utilisant l'exercice de la mise en scène au théâtre comme base comparative, un premier pan de littérature sur le sujet. L'essai suivant fait donc état des principaux enjeux qui caractérisent ce type de conception artistique et qui résultent d'un amalgame de mes réflexions personnelles, des témoignages de quatre metteurs en scène de chanson chevronnés (Bertrand Alain, Paule- Andrée Cassidy, François Léveillée et Denis Bouchard), ainsi que de lectures sur le sujet. Les annexes, quant à elles, se veulent un document témoin de l'expérimentation scénique Mise en scène de l'Autre, qui consistait à endosser personnellement la mise en scène du spectacle d'un auteur-compositeur-interprète (François Duchesne), expérimentation ayant permis l'élaboration du questionnaire utilisé lors des entrevues avec les quatre artistes du domaine à l'étude rencontrés.