En quoi l'expérience des images permet-elle une certaine autonomisation de soi ? Vaste question d'où gît derrière le désir ambitieux de démontrer à l'heure de la diffusion pléthorique des informations visuelles les voies édificatrices d'un spectateur à la rencontre d'images. Nous supposons que les agencements fictionnels capables d'entrouvrir la voie d'une reconnaissance du monde dans une complexité omise dans nos habitudes inconscientes et dans les manifestations quotidiennes de la pensée reposent sur le caractère indéterminé des images de cinéma. Notre étude se découpe en deux mouvements, à savoir l’immersion fictionnelle – l’accès – et la réorganisation des perceptions de représentation en promesse du savoir – le destin du voir. Après avoir exploré, au moyen d’une posture cavelienne, en quoi le cinéma est-il un procédé moderne qui ouvre des espaces perceptifs qui relayent le regard ordinaire de l’Homme à une appréhension cinématographique du réel, nous proposons d’étudier comment les ressorts expressifs confondants des images du cinéaste Andrei Zviaguintsev produisent-elles un jeu des images qui inquiètent le voir empêchant le témoin à s’adonner à une perception littérale de la réalité. Dans un second temps, par souci d’approfondir les analyses soumises précédemment, nous avançons l’idée que les écueils disposés à toute perception littérale d’une simple illustration de la réalité ambiante, sont le produit d’un regard défiant le nôtre dans un face-à-face où la façade des choses se dévoilent dans un voile obscur qui déshabillent les objets de toutes significations socialement appliquées pour mieux stimuler l’activité mitotique des images rappelant le témoin à reconstituer de ses propres sens une seule image du monde. / In what way does the experience of the images allow a certain autonomization of on e self ? Vast question from where lies behind the am b itious desire to demonstrate at the time of the plethoric diffusion of the visual information the edifying ways of a spect ator to the meeting of images. We suppose that the fictional arrangements able to open the way of recognition of the world in a complexity omitted in our unconscious habits and in the daily manifestations of the thought rest on the indeterminate character i stic of the cinema images ; Our study is divided into two movements, namely the fictional immersion the access and the reorganization of the perceptions of representation in promise of knowledge the destiny of seeing. After having explored, by means of a Cavellian posture, in what the cinema is a modern process which opens perceptive spaces which relay the ordinary eye of the individual to a cinematographic apprehension of the real, we propose to study how the confoundi ng expressive motives of the images of the director Andrei Zviaguintsev produce a play of the images which worries the “seeing” preventing the witness from indulging in a literal perception of reality. In a second phase, by concern to deepen the analyses submitted previously, and this, always with reference to Zviaguintsev’s images, we put forward the idea that the pitfalls disposed to any literal perception of a simple illustration of the surrounding re ality, are the product of a gaze that questions ours in a face to face encounter where the façade of the projected things reveals itself in an obscure veil that strips the objects of all socially applied meanings in order to better stimulate the mitotic ac tivity of the images that call for the sensitive reconstitution of a unique image of the world.

<p>Past theory and research have documented several stereotypes that explain why biases against Asian Americans (AAs) in U.S. organizations can occur, such as the Model Minority Stereotype (MMS) and Perpetual Foreigner Syndrome (PFS). The current project expands on past work by proposing a new perspective of stereotypes driving (mis)treatment of AAs: Mechanistic dehumanization. Specifically, I argue that AAs are seen as more robot-like compared to other racial groups in the U.S., which may explain some of the negative workplace treatments they face. To test this phenomenon, I conducted a set of five pre-registered studies to examine the extent to which AAs tend to be more mechanistically dehumanized than other racial groups in the U.S., and its workplace implications. In a pilot study (N = 1,003), the results revealed that East, South, and Southeast AAs tended to be mechanistically dehumanized and internalized this dehumanization more than other groups. In Study 1 (Study 1a, N= 255; Study 1b, N = 427), a survey and experimental study provided support that AA coworkers are more mechanistically dehumanized than White American coworkers, and this mediated the relationship between coworker race and negative work outcomes (e.g., less perceived leadership potential, more exploitative treatment, and less workplace friendship). In another survey study, Study 2 (N = 473) found that mechanistic dehumanization exhibited incremental validity in predicting negative work outcomes for AAs, above and beyond MMS and PFS. Finally, in Study 3 (N = 477), an all-Asian sample found that AAs’ internalization of mechanistic dehumanization predicted more negative work outcomes (e.g., increased burnout, less workplace friendship), above and beyond MMS and PFS. Altogether, the current work supports a mechanistic dehumanization account of bias against AAs, reveals racial subgroup differences, and provides a novel explanation for why AAs experience certain workplace inequities. </p>

On considère traditionnellement l'interprétation allégorique comme une défense face aux critiques que les premiers philosophes Ioniens ont adressées aux poètes pour leur représentation de la divinité. Ainsi, l'allégorie grecque aurait été au coeur d'une polémique théologique entre les poètes et les philosophes ou plus largement au coeur de l’opposition de la philosophie au mythe. Il est pourtant désormais admis que la relation entre le logos et le muthos ne peut se réduire à une telle antinomie. Il est donc essentiel de redéfinir à son tour le rôle de l’allégorie afin de nuancer son caractère apologétique et son cadre polémique. L’entreprise a déjà été entamée par la recherche des deux dernières décennies et c’est dans cette actualisation historiographique que souhaite s’inscrire ce mémoire. L’organisation du développement est à la fois chronologique et thématique. L’examen de la réception des mythes à l’époque archaïque, celle du premier commentaire allégorique met en avant un aspect négligé de la critique philosophique : la réécriture du mythe théogonique en cosmologie philosophique. Cette réécriture n’est pas sans effet sur l’allégorie qui peut être conçue dès le Vème av. J.-C. comme un outil de réappropriation du mythe, à la fois dans sa matière et dans sa forme discursive, par la philosophie désormais affirmée. Enfin, la mise en perspective de l’allégorie avec les traditions discursives qui entourent sa naissance révèle que l’allégorie est certes le reflet d’une relation co-évolutive du logos et du muthos mais surtout la conséquence d’une conception du langage complexe dans la pensée grecque. / Allegorical interpretation is traditionally seen as a defence against the criticism that the early Ionian philosophers levelled at the poets for their depiction of the deity. Thus, Greek allegory would have been at the heart of a theological polemic between poets and philosophers and more broadly at the heart of the opposition of philosophy to myth. It is now accepted, however, that the relationship between logos and muthos cannot be reduced to such an antinomy. It is therefore essential to redefine the role of allegory in order to nuance its apologetic character and its polemical framework. This undertaking has already been initiated by the research of the last two decades and it is in this historiographic update that this thesis wishes to be inscribed. The organisation of the development is both chronological and thematic. The examination of the reception of the myths in the archaic period, that of the first allegorical commentary, brings out a neglected aspect of the philosophical criticism: the rewriting of the theogonic myth in philosophical cosmology. This rewriting is not without effect on allegory, which can be conceived from the 5th century BC onwards as a tool for the reappropriation of myth, both in its subject and in its discursive form, by the philosophical discourse. Finally, putting allegory into perspective with the discursive traditions surrounding its birth reveals that allegory is the reflection of a co-evolutionary relationship between logos and muthos and above all the consequence of the idea of a complex language.

The overall aim of this study is to contribute to the understanding of how a pervasive digitalization and mediatization takes part in shaping and reshaping the relations between science and society and popular understanding of scientific epistemologies. In recent years, the prevalence of disinformation, fake news and conspiracy theories together with suggestions on how to combat this have come to characterize general discourses on knowledge, science, truth and digital media. Encounters with myths or disinformation can give impetus to what is usually called myth debukning. On social media, there are discussions and debates about whats should be considered as truth and facts and what we should reject as disinformation. The digital platform Tiktok has in a short time become one of the most popular places for digital social interaction and is today part of public discourse. The purpose of this study is to study examples of science myth debunking or the exposure of myths about science on the digital social platform Tiktok. The study shows that discursive practices for myth debunking are formed through the interaction between a variety of human and non-human actors. Myth debunking can be seen as to shed light on scientific development and how scientific knowledge production plays out in interplay with society in general. Understanding the role of science communication as a means of disseminating scientific knowledge in some popularized form separates science from the social and cultural contexts in which learning and reflection usually take place. Here, Tiktok, with its "messyness" and as a place for diversity of expressions, palys an important role.

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