Seen – Unseen (nebo Visible-Invisible) In my project I attempted to capture the spiritual space of a selected group of people. The work was dividend into several phases. Selecting a model, establishing contact, getting acquainted with the environment of the photographed individual, a survey and a interview followed by the work with the model and the text.

Le traitement du handicap et la place des personnes handicapées a varié selon les époques. Actuellement, dans la lignée des droits de l’homme, les politiques nationales et internationales tendent à promouvoir l’égalité pour tous les hommes et la lutte contre les discriminations se concrétise par des politiques publiques actives, dans la plupart des pays. Au niveau de l’Éducation, le concept d’inclusion a été avalisé à la Conférence de Salamanque (UNESCO 1994), et sa mise en oeuvre est décrite comme « une réforme qui appuie et accueille favorablement la diversité de tous les apprenants » (UNESCO 2001). En France, la loi du 11 février 2005 a introduit une évolution majeure dans le traitement social des personnes handicapées. L’éducation inclusive dans son paradigme appelle à une prise en compte de la complexité de l’humain et des institutions auxquelles il appartient. La présente recherche tend à rendre compte de certains aspects de cette complexité en mettant au jour les représentations et les pratiques d’inclusion en collège auprès d’élèves en situation de handicap à dominante visible ou invisible et en les mettant en lien avec la construction individuelle et interactionnelle de ces adolescents. Quatre dimensions ont été étudiées à partir de la situation de cinq élèves en situation de handicap à dominante visible ou invisible. Le contexte scolaire est le premier niveau : il apporte une structuration objective au processus d’inclusion par la présence d’un dispositif, d’une organisation et de personnes investies dans ce projet. Les représentations du handicap et les pratiques pédagogiques des enseignants sont interrogées dans le deuxième niveau. Le troisième niveau est celui des pairs des élèves en situation de handicap, où ont été questionnés les réseaux socio-affectifs des classes. Enfin, le quatrième niveau concerne la dimension individuelle des cinq élèves. Les résultats de cette recherche de type ethnographique indiquent que la structuration du contexte inclusif a une influence sur la représentation du handicap activée : plus elle est visible car portée par un dispositif et des personnels qui lui sont dédiés, plus la représentation du handicap est riche. Le noyau de la représentation du handicap chez les enseignants (constitué des éléments « monstre », « mort », « handicap physique », « fauteuil roulant » et « autisme ») est identique à celui rencontré dans la population générale, avec une variation spécifique professionnelle (« dyslexie ») entrant dans le champ de la réparation possible du handicap. Lorsque la structuration de l’inclusion est humainement investie, une représentation dite « de reliance » intègre les différents niveaux antérieurs de la représentation et y intègre la situation de handicap. En ce sens, elle est évoluée car elle prend en considération les dernières avancées sociétales en la matière ; on peut la penser aussi transitoire, au même titre que la forme actuelle de l’Éducation inclusive. Des archétypes sont sous-jacents à ces représentations et diffèrent selon la visibilité (où l’archétype activé est celui du monstre et de l’altérité fondamentale) ou l’invisibilité du handicap (où l’archétype activé est celui de l’étranger et de l’inconnaissable), cette notion faisant le lien entre la perception et la représentation dans la dimension intrapsychique de l’individu. Les représentations peuvent évoluer par mise au jour, acceptation et intégration de ses différentes composantes d’une part, par l’expérience concrète discutée et réfléchie du processus inclusif par ses acteurs d’autre part. Ceci induit alors une co-construction entre les différents partenaires et la nécessité de formation pour accéder à une compréhension des singularités des élèves porteurs d’altérité dans l’objectif d’identifier et de répondre à leurs besoins éducatifs particuliers. / The treatment of the handicap and the of persons with disabilities has varied over time. Currently, in line with human rights, national and international policies tend to promote équality for all men and the fight against discrimination becomes a reality by active public policies in most countries. At the education level, the concept of inclusion was endorsed at the Salamanca conference (UNESCO, 1994) and its implementation is described as « a reform that supports and welcomes the diversity of all the learners » (UNESCO, 2001). In France, the law of 11 February 2005 introduced a major change into the social treatment of disabled people. Inclusive Education calls to a consideration of the complexity of the human person and the institutions to which he belongs. This research aims to account for some aspects of this complexity by bringing to light the representations and practices of inclusion in middle school among pupils with dominant visible or invisible disabilities and by linking them to the individual and interactionnal construction of these adolescents. Four dimensions were studied based on the situation of five students with visible or invisible disabilities. The school context is the first level : it provides an objective structure to the inclusion process by the presence of a device, an organization and people involved in this project. We then questioned the representations of disability and the pedagogical practices of the teachers in the second level. The third level is the one of the peers of the disabled pupils, where the socio-affective networks were questioned. Finally, the fourth level concerns the individual dimension of the five selected pupils. The results of this ethnograhic research indicate that the structuring of the inclusive context has an influence on the activated representation of the handicap : the more it is visibly carried by a system and a dedicated staff, the richer is the representation. The core-representation of disability among teachers (consisting in « monster », « death », « physical disability »,« wheelchair » and « autism » elements) is identical to the one found in the general population, with a professional specific variation (« dyslexia ») within th scope of possible disability repair. When the structuring of inclusion is carried by a lot of invested people, a representation called « linking » integrates the different previous levels of the representation and joins the situation of disability. In this sense, it is evolved because it considers the latest sociatal advances in this field ; it can be thought as transitional, in the same way as the current form of inclusive education. Archetypes are underlying these representations and differ according to the visibility (where the activated archetype is the one of the monster and fondamental alterity) or the invisibility (which activate the archetype of the stranger and the unknowable), this motion making the link between perception and representation in the psychic dimension of the individual. Representations may evolve by uncovering, accepting and integrating its diffrents components by the individual on the one hand, and by the concrete experience discussed and reflected by the actors on the other. This then leads to a co-construction between partners and the need for training to access an understanding of the singularities of students with alterities in order to identify and respond to their special educationnal needs.

À travers la thèse Vu(es) de dos : la photographie comme espace d'identité et de création, je questionne ma pratique photographique suivant la phénoménologie du regard, tout en faisant face à une obsession, celle de vouloir voir mon propre dos et celui des autres. En partant de mon corps comme source d'expérimentation, j'exprime ce besoin d'exister autrement, à travers cette part qui semble invisible à mon regard. C'est cette quête de reconnaissance qui me pousse à mettre en place des protocoles artistiques afin de me confronter à l'autre de dos. En me déplaçant dans l'espace et en allant à la rencontre de l'inconnu, je commence à créer des espaces de réflexion. Le dos devient alors le sujet photographié et observé, ce point de départ de ma recherche théorique et esthétique, tout comme la base du rapport que j'établis avec le monde de l'art et les autres. En tant qu'interface, la vue de dos semble donner sur un lieu ou une territorialité anthropologique et artistique, qui suggère une autre manière d'être, de voir et de penser le monde. / Through the thesis Back view(s) : photography as identity and creation space, I question my photographic practice through the phenomenology of the gaze, while facing an obsession, the desire to see my own back and the back of the others. Starting from my own body as a source of experimentation, I express the need to exist in a different way through this part of my body that remains invisible to my own gaze. This search for recognition leads me towards developing artistic protocols, to face the other from the back. While I am traveling through space and meeting the unknown, I create different spaces of reflection. The back becomes the subject being photographed and observed, the starting point of my theoretical and aesthetic research, as well as the foundation that I build with the world of art and the others. As an interface, the view of the back seems to provide a look onto an anthropological and artistic place or territoriality, suggesting another way of being, seeing and thinking the world.

This paper addresses the aesthetic encounter from the perspective of the writings of Maurice Merleau-Ponty on the visible and the invisible. It begins with the premise that from time to time we encounter situations which precipitate a sense of slippage in our experience of the world. The paper proceeds to argue that the arts can provide a point of access to this experience, and that aesthetic theory has, for example, responded to it through the development of the notion of 'the sublime'. The writings of Maurice Merleau-Ponty and, in particular, aspects of his text The Visible and the invisible, are presented with a view to augmenting this aspect of aesthetic theory. Proceeding from a 'Merleau-Pontian' perspective, the paper explores how the arts can serve to disrupt our conventional sense of space and time - creating ripples in the substance Merleau-Ponty names as 'flesh' - so as to expose the chiasm or blind spot in our experience of the world. The methodology adopted is an experiential one, which draws on the writer's interaction with the selected works of various artists as well as her own practice in glass.

In this thesis settlement areas and settlements from the Bronze Age on Gotland are in focus. The island of Gotland in the middle of the Baltic Sea is famous for its rich archaeological remains of monuments and relics from all pre-historic periods, and the Bronze Age (1700-500 BC) especially is well repre- sented. There are nearly a thousand cairns, over 300 stone-ship settings and a large amount of bronze finds, but there are few traits of contemporary settlements. With few exceptions the settlements from all pre-historic periods are in one way “invisible” but during the last decades the context has changed, as has knowledge of the settlements from the Bronze Age. Research published throughout the first ten years of the 21th century offers new and refreshing interpretations concerning settlements and houses from the period in question on both a regional level and in more comprehensive studies across Scandinavia. This is due to continued advances in archaeological methods to see the invisible remains however many of the sites are discovered in exploitation-excavations. In a smaller scale this is also true for Gotland and during the last decade there are scattered finds of houses from the period in the shape of post-holes, hearths and cooking pits. The situation on the island is not to expect larger ex- ploitations followed by excavations so we have to test other ways to look for the settlement areas and settlements. In this study I therefor examine if there are any relations to the visible, in first hand cont- emporary types of monuments such as burnt mounds, cairns, stone ship settings and finds of bronzes, to sites seen as possible settlement areas from the Bronze Age. In this context I also have to consider the remains from the early Iron Age, foremost the visible remains of fossilised fields and ancient forts. The theoretical framework is a hermeneutic approach in the study of the relations of each cont- emporary types of monuments contextualized with possible settlements. As Gotland is an island I have to relate to the meaning of landscape and islands. To get closer to the society and the social orga- nisation, my aim is also to come closer to the people who lived their daily lives on Gotland during the Bronze Age and to consider the question of the chiefdoms and the social organisation.

This paper addresses the aesthetic encounter from the perspective of the writings of Maurice Merleau-Ponty on the visible and the invisible. It begins with the premise that from time to time we encounter situations which precipitate a sense of slippage in our experience of the world. The paper proceeds to argue that the arts can provide a point of access to this experience, and that aesthetic theory has, for example, responded to it through the development of the notion of 'the sublime'. The writings of Maurice Merleau-Ponty and, in particular, aspects of his text The Visible and the invisible, are presented with a view to augmenting this aspect of aesthetic theory. Proceeding from a 'Merleau-Pontian' perspective, the paper explores how the arts can serve to disrupt our conventional sense of space and time - creating ripples in the substance Merleau-Ponty names as 'flesh' - so as to expose the chiasm or blind spot in our experience of the world. The methodology adopted is an experiential one, which draws on the writer's interaction with the selected works of various artists as well as her own practice in glass.

Le roman policier espagnol écrit au cours des trois dernières décennies se définit essentiellement comme un roman social urbain. Les déplacements des détectives mettent en lumière la cartographie d’un espace urbain espagnol en mutation, en accord avec les transformations subies par la société espagnole. Cette thèse se propose, à partir d’œuvres de quatre écrivains, Alicia Giménez Bartlett, Antonio Lozano, Juan Madrid et Andreu Martín, de dégager les lectures possibles de l’espace urbain qui permettent de mieux comprendre l’évolution de la société espagnole. Nous verrons d’abord un espace de proximité constitué d’une combinaison de lieux anthropologiques ; puis, un espace traversé de frontières visibles et invisibles qui entravent le mouvement d’une partie de la population ; enfin, un espace dans lequel la mobilité se généralise accentuant les inégalités entre ceux qui y ont accès et ceux qui sont condamnés à l’immobilité. Cette thèse propose une approche littéraire et sociologique du roman policier espagnol contemporain. / The Spanish crime novel that has been written over the last three decades can be essentially defined as an urban social novel. The movements of the detectives reveal the cartography of a Spanish urban space which is in mutation, reflecting the transformations undergone by Spanish society. Based on the work of four authors, Juan Madrid, Andreu Martín, Alicia Giménez Bartlett and Antonio Lozano, this thesis proposes various possible ways of interpreting that urban space, thus enabling a better understanding of the evolution of Spanish society. First of all, we encounter a space of proximity comprising a combination of places - as defined by Marc Augé ; then a space across which visible and invisible frontiers run, hindering mobility for a part of the population ; finally a space in which mobility is widespread, so emphasizing the inequality between those who have access to it and those who are condemned to staying put. This thesis thus proposes a literary and sociological approach to the contemporary Spanish crime novel.