Cette thèse saisit comme une opportunité d'enquête, le constat de l'absence de questionnement global sur la visite. Posée comme expérience spatiale particulière, la visite est renseignée comme un registre de la spatialité des individus. Cette recherche est structurée en deux parties. La première est un travail de construction d'une approche géographique de la visite et du visiteur. Volontairement exploratoire, elle compile et collecte les exemples et les cas, et remet cette expérience dans le contexte du XIXe siècle. La deuxième partie restitue les données empiriques en privilégiant, arrimée aux courants pragmatistes, le visiteur en action, la visite dans son déroulement et l'activité de transmission du « voir la ville en train de se faire ». Les actes d'énoncer, de voir sont ainsi saisis depuis leur contexte de production obligeant à prendre en considération toute l'exigence de la situation comme la dynamique commune. Le dernier chapitre revient sur l'urbain à l'épreuve de la visite. / This doctoral thesis has exploited the opportunity to study the known fact that exploring the act of visiting in itself has been somewhat neglected. This act understood as a unique spatial experience is analysed as a register of the spatiality of individuals. This research piece is divided into two parts. The first part is a study built around a geographical approach of the act of visiting and the visitor. Pinned th the pragmatic vein, the second part brings toghether empirical data, prioritising the visitor in his/her process, the visit in its process and the activity of « seeing th town/city in construction ». During the visit, discussing and viewing are acts taken into account from their very contextual origins, forcing us to consider every demand revolving around this situation as a common driving force. The final chapter conceptualised urban space through the lens of the visit.

Cette thèse examine l’influence de la nuit sur la réception d’une visite de musée. Elle propose d’envisager le paramètre horaire comme participant de la construction de l’expérience et plus largement du sens donné à sa visite. Or, ce rapport de la nuit à l’expérience de visite est encore peu interrogé malgré les nombreuses occasions qui permettent de visiter de nuit des institutions culturelles telles que les musées ou les monuments historiques. L’analyse phénoménologique et sémiotique de cette situation de réception permet de comprendre ce que les visiteurs vivent et ressentent au cours d’une visite nocturne. Elle révèle une variation du sens qui se construit autour de l’émergence de la nuit à la fois comme donnée physique, naturelle, dans l’exposition et comme donnée mentale dans l’état d’esprit des visiteurs. À travers l’étude comparative de la réception de la cour Marly au musée du Louvre, de jour et de nuit, c’est l’univers du discours des visiteurs qui est mis en question. Les interactions entre la nuit, les visiteurs et l’exposition marquent, par rapport à la journée, un processus de transformation du sens donné par le message de l’exposition et du sens reçu par les visiteurs. Autrement dit, le changement lumineux intervenant entre jour et nuit influence la recomposition du discours de l’exposition par les visiteurs de nocturnes. La dimension émotionnelle ainsi que la fantasmatique de la nuit interviennent dans l’interprétation du discours de l’exposition et le transforment. / The aim of this work is to analyse the impact of the night on the visitors’experience. Here, the time of the day is considered as a parameter of the processof meaning building within the visitor’s experience.The link between visitors’ experience and night has not yet been thouroughlyresearched although a lot of cultural events take place at night time and provideand occasion for visiting museums.The phenomenological and semiotic analysis of the night impact, and perception,lead to the understanding of the emotional experience of the visitors during anight time visit. It reveals a variation of the meaning created by the apparition ofthe actual night in the museum and of the idea of night in the visitors’ mind.A night and day comparison of the reception of the cour Marly, in the musée duLouvre, questions the visitors’ speeches. It shows a network of interactionsbetween the night, the visitors and the exhibition which initiates a transformationof the meaning given by the exhibition and received by the visitors.In other words, the lighting modification between night and day affects thereconstruction of the exhibition’s message operated by the visitors at night. Theemotional aspect as well as the night phantasmagoria partake in the interpretationof the exhibition’s message and change it.Key words: night - reception - visitors’ experience - interpretation - - - - - phantasmagoria - night visit

Esta dissertação objetiva analisar a representação do negro no Brasil no século XIX a partir de retratos produzidos pelos estúdios fotográficos de Alberto Henschel (1827-1882), entre 1866 e 1882. Alemão radicado no Brasil, em 1866, este empresário bem sucedido do campo da fotografia chegou a ser agraciado com o título de fotógrafo da Casa Imperial, tendo produzido um grande número de retratos de negros no formato carte-de-visite. A investigação parte da hipótese de que essas imagens materializam certos estereótipos, característicos da representação da alteridade, além de fazerem uso das convenções pictóricas contemporâneas e, até mesmo, anteriores à própria invenção da fotografia. Para essa análise foram utilizados os conceitos de identidade e diferença, bem como de representação e autorrepresentação. Por intermédio do cotejamento das fotos de brancos com as fotos de negros, produzidas por Henschel, foi possível comprovar que a produção das últimas visava a atender a uma demanda por imagens tipificadoras, adequadas ao colecionismo de caráter etno-antropológico. Tratava-se de uma prática de viés imperialista que teve lugar na Europa. Além da análise das fotografias, propriamente ditas, esta dissertação problematiza a natureza dos arquivos que guardam a produção fotográfica de Alberto Henschel, os critérios que nortearam sua formação e aquilo que, de fato, eles nos permitem conhecer a respeito do fotógrafo, sua obra e sua época. / This dissertation aims to analyse the representation of black people in Brazil during the XXth century based on portraits produced by Alberto Henschel (1827-1882)s photographic studios between 1866 and 1882. This successful German photography businessman settled in Brazil since 1866 was awarded the title of Photographer of the Royal House having produced a large number of portraits of black people in carte-de-visite format. This study starts from the assumption that these images embody certain stereotypes characteristic of the representation of otherness, as well as making use of pictorial conventions both contemporary and previous to the invention of photography itself. The concepts of identity and difference were used for this analysis, as well as those of representation and selfrepresentation. Through mutual comparison of photographs of white and black people produced by Henschel, it could be verified that the production of the latter sought to meet a demand for typifying images adequate for ethno-anthropological collecting (collectionism). This was a practice with a imperial bias which took place Europe. Besides analyses of photographs, this dissertation also raises a discussion on the nature of the files storing Alberto Henschels photographic production, the criteria which guided their formation, and what they actually allow us to know about the photographer, his work and his time.

Esta dissertação objetiva analisar a representação do negro no Brasil no século XIX a partir de retratos produzidos pelos estúdios fotográficos de Alberto Henschel (1827-1882), entre 1866 e 1882. Alemão radicado no Brasil, em 1866, este empresário bem sucedido do campo da fotografia chegou a ser agraciado com o título de fotógrafo da Casa Imperial, tendo produzido um grande número de retratos de negros no formato carte-de-visite. A investigação parte da hipótese de que essas imagens materializam certos estereótipos, característicos da representação da alteridade, além de fazerem uso das convenções pictóricas contemporâneas e, até mesmo, anteriores à própria invenção da fotografia. Para essa análise foram utilizados os conceitos de identidade e diferença, bem como de representação e autorrepresentação. Por intermédio do cotejamento das fotos de brancos com as fotos de negros, produzidas por Henschel, foi possível comprovar que a produção das últimas visava a atender a uma demanda por imagens tipificadoras, adequadas ao colecionismo de caráter etno-antropológico. Tratava-se de uma prática de viés imperialista que teve lugar na Europa. Além da análise das fotografias, propriamente ditas, esta dissertação problematiza a natureza dos arquivos que guardam a produção fotográfica de Alberto Henschel, os critérios que nortearam sua formação e aquilo que, de fato, eles nos permitem conhecer a respeito do fotógrafo, sua obra e sua época. / This dissertation aims to analyse the representation of black people in Brazil during the XXth century based on portraits produced by Alberto Henschel (1827-1882)s photographic studios between 1866 and 1882. This successful German photography businessman settled in Brazil since 1866 was awarded the title of Photographer of the Royal House having produced a large number of portraits of black people in carte-de-visite format. This study starts from the assumption that these images embody certain stereotypes characteristic of the representation of otherness, as well as making use of pictorial conventions both contemporary and previous to the invention of photography itself. The concepts of identity and difference were used for this analysis, as well as those of representation and selfrepresentation. Through mutual comparison of photographs of white and black people produced by Henschel, it could be verified that the production of the latter sought to meet a demand for typifying images adequate for ethno-anthropological collecting (collectionism). This was a practice with a imperial bias which took place Europe. Besides analyses of photographs, this dissertation also raises a discussion on the nature of the files storing Alberto Henschels photographic production, the criteria which guided their formation, and what they actually allow us to know about the photographer, his work and his time.

La dépression postnatale (DPN) est un facteur de risque de trouble des interactions précoces mère-enfant et de troubles de santé mentale de l’enfant. Si les programmes de visites à domicile (VAD) en périnatalité ciblent souvent la prévention de la DPN, les résultats sont peu probants.CAPEDP est la première étude contrôlée randomisée de VAD destinée à des familles multirisques d’une telle ampleur menée en France. Ce travail en décrit les résultats sur la DPN. 440 femmes sont recrutées et randomisées en deux groupes : primipares, âgées de moins de 26 ans, et au moins un facteur de risque parmi : un faible niveau d’éducation, des revenus faibles et/ou être isolées. Le groupe intervention bénéficie de VAD menées par des psychologues du troisième trimestre de grossesse aux deux ans de l’enfant. La symptomatologie de la DPN est évaluée à l’inclusion et 3 mois après la naissance avec l’Edinburgh Postnatal Depression Scale (EPDS). A 3 mois post-partum, les scores moyens à l’EPDS sont respectivement de 9.4 (5.4) pour le groupe contrôle et de 8.6 (5.4) pour le groupe intervention (p = 0.18). Pour certains sous-groupes de femmes ayant bénéficié de l’intervention les scores EPDS sont plus faibles que le groupe contrôle : celles avec peu de symptômes dépressifs en prénatal (EPDS<8), celles qui pensent être avec le père pour élever leur enfant, et celles avec un niveau d’éducation supérieur au BEPC. CAPEDP n’a pas démontré d’efficacité pour prévenir la DPN. Les analyses post hoc montrent que l’intervention peut être efficace pour des femmes sans certains facteurs de risque. Il serait utile de développer des recherches plus intégrées dans le dispositif de droit commun. / Postnatal maternal depression (PND) is a significant risk factor for infant mental health. Although often targeted in perinatal home-visiting programs with vulnerable families, little impact on PND has been observed. CAPEDP is the first French randomized controlled trial for multi-risk families evaluating the impact on PND symptomatology of a home-visiting intervention using psychologists in a sample of women presenting risk factors.440 women were recruited at their seventh month of pregnancy. All were first-time mothers, under 26, with at least one of three additional psychosocial risk factors: low educational level, low income, or planning to raise the child without the father. Participants were randomized into either the intervention or the control group. The intervention consisted of intensive multifocal home visits through to the child’s second birthday. The control group received care as usual. PND symptomatology was assessed at baseline and three months after birth using the Edinburgh Postnatal Depression Scale (EPDS).At three months postpartum, mean EPDS scores were 9.4 (5.4) for the control group and 8.6 (5.4) for the intervention group (p = 0.18). The intervention group had significantly lower EPDS scores than controls in certain subgroups of women: with few depressive symptoms at inclusion (EPDS<8), who were planning to raise the child with the child’s father, with a higher educational level.CAPEDP failed to demonstrate an overall impact on PND. However, post-hoc analysis reveals the intervention was effective in subgroups of women without certain risk factors. Effective overall reduction of PND symptomatology may require more tailored interventions.

L’objet de cette recherche réside dans l’étude de l’interaction dans des visites familières en France et en Jordanie. Il concerne plus particulièrement l’analyse des deux séquences encadrantes de l’interaction : la séquence d’ouverture et la séquence de clôture. La méthode comparative a été adoptée afin de dégager les échanges et les actes qui composent ces séquences dans les deux pays. Cette étude a montré que la plupart des actes de langages sont attestés dans les deux corpus. Ce qui change, c’est la modalité de production et le fonctionnement des actes dans l’interaction. La formulation des actes lors de l’ouverture et de la clôture reflète les valeurs sociales et le profil socio-culturel des locuteurs français etjordaniens, tels qu’ils apparaissent dans les interactions de tous les jours. / The aim of this research is to study interaction in familiar visits in France and Jordan. It focuses particularly on the two framing sequences of interaction: the opening sequence, and the closing sequence. A comparative method was adopted to describe the exchanges and acts that make up these sequences in the two countries. The study showed that most acts are used in each corpus. The differences concern the mode of production and functioning of these acts in the interaction. Their formulation in the opening and closing sequence reflects the social values and the socio-cultural profile of French and Jordanian speakers, as they appear in everyday interaction.

Orientador: Roberto Berton de Angelo / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-10T18:37:17Z (GMT). No. of bitstreams: 1 Leite_MarceloEduardo_D.pdf: 30582697 bytes, checksum: a7321fbe3467cd0fcf16bc2abf73ad49 (MD5) Previous issue date: 2007 / Resumo: Esta pesquisa objetiva compreender melhor a difusão da fotografia no Brasil do Segundo Império. Em particular, daremos atenção à sistemática do trabalho nos ateliês e as mudanças trazidas após a difusão das fotografias carte de visite. Argumentamos que, sendo o ateliê um espaço importante para a sociedade da época, os fotógrafos tornam-se mediadores de processos de representação e autorepresentação da população, sendo que a análise mais pontual do trabalho privilegiará quatro profissionais que aqui atuaram e que, cada um à sua maneira, indica diferentes formas de fazer o ofício fotográfico / Abstract: This research has as main objective to better understand the spread of photograph in Brazil in the period of the Second Empire. Especially, we will have our focus to the work systematic in the worshops and also to the changes brought after the spréad of the carte de visite photographs. Our argument is that the workshop is an important space for the society of this age, once the photographers became the mediators in the process of representation and self-representation of the population. We will analyze four professional who worked at this age and each one in their one way indicates different ways of the photographic labor / Doutorado / Doutor em Multimeios

Cette thèse propose d’examiner les façons dont l’expérience de visite peut être transformée dans le contexte d’une culture numérique qui touche les publics réels et les publics potentiels du musée. On s’interroge plus précisément sur les processus d’appropriation et de partage qu’entraine la pratique muséale à l’époque de la culture numérique. Pour explorer cet objet de recherche, nous construisons un appareil méthodologique interdisciplinaire ad hoc entre l’informatique et les sciences de l’information et de la communication. Il permet d’élaborer un cadre analytique susceptible de saisir des pratiques qui se partagent et se combinent entre un espace numérique et un espace physique. De la sorte, nous proposons des protocoles de recherches hybrides et exploratoires qui offrent la possibilité de saisir, par leur association, des pratiques multiples de l’expérience de visite dans la triple temporalité de l’avant, du pendant et de l’après visite du musée. À travers cette thèse nous mettons en évidence la façon dont le numérique intervient dans les pratiques de l’expérience de visite comme un objet technique spécifique et un système d’échange avec et dans lequel le visiteur et le visiteur potentiel reconfigurent leur relation à l’institution muséale, à sa collection, aux expositions et aux autres visiteurs et visiteurs potentiels. / In the context of a digital culture that affects the actual audiences and potential audiences of the museum, this thesis proposes to examine the ways in which the visitor’s experience can be transformed. We wonder specifically about the appropriation and sharing processes that induce the museum practice in the era of digital culture. To explore this research item, we build an interdisciplinary methodological device between IT and Communication Sciences. It helps us to develop an analytical framework able to capture practices that are divided and combined between cyberspace and physical space. In this way, we propose hybrid and exploratory research protocols that provide the ability to capture, through their association, multiple practices of the visitor’s experience in a triple temporality of the before, the during and the after visit of the museum. Through this thesis, we highlight how digital devices and culture play a part in the practices of the visitor’s experience as a specific technical object and an exchange system and in which the visitor and potential visitor reconfigure their relationship to museum, its collection, exhibitions and other visitors and potential visitors.

No description available.

Apparu vers le milieu du XIXe siècle comme jargon dans les cercles artistiques munichois désignant une image de piètre qualité, bon marché, le mot kitsch s’utilise aujourd’hui non seulement dans le monde de l’art mais aussi dans la vie quotidienne toujours avec un sens fortement péjoratif. Considéré en général comme « mauvais goût », « art sans valeur », « camelote artistique », ou « art vulgaire », le kitsch n’est pourtant pas un concept qui demeure seulement dans une dimension esthétique ou artistique. Les divers phénomènes historiques du kitsch, émergés dans le contexte de la modernité, comme « la bib[e]lotomanie », « le roman-feuilleton », « l’art pompier » en France au XIXe siècle, ou encore « la peinture de salon de coiffure » en Corée au XXe siècle, trahissent tous que le kitsch est en effet une attitude que l’homme adopte vis-à-vis de son existence et du monde dans la réalité. L’essentiel de ce concept réside donc dans sa négation ou mieux dans sa fuite de la réalité. Voilà pourquoi la photographie se présente comme un médium qui mérite d’être étudié en rapport avec le kitsch. Médium qui a un lien spécifique par excellence avec le réel, elle ne cesse de faire ontologiquement le va-et-vient entre le présent et le passé, l’instantanéité et l’éternel, l’ici et l’ailleurs, le sujet et l’objet, la vie et la mort, etc. C’est en effet à cause de cette ontologie paradoxale que la photo peut devenir, selon « l’acte photographique », non seulement de l’art mais aussi du kitsch. Ainsi, l’attitude envers ce dernier que les artistes laissent apercevoir à travers leur œuvre photographique s’avère extrêmement variée, et ambiguë, voire même contradictoire tout comme chez Pierre et Gilles, Vik Muniz, Sebastião Salgado et Oliviero Toscani. / Appeared in the mid-nineteenth century as a jargon in the artistic circles of Munich designating a cheap image of poor quality, the term “kitsch” is used today not only in the art world, but also in everyday life, always with strongly pejorative sense. Generally considered as “bad taste”, “worthless art”, “artistic junk” or “vulgar art”, kitsch, however, is not a concept that remains only in aesthetic or artistic field ?. Various historical phenomena of kitsch which had been all emerged in the context of modernity, such as “bib[e]lotomanie”, “serialized novel”, “academic art” in France in the nineteenth century, or “barbershop’s painting” in Korea in the twentieth century, show that kitsch is indeed an attitude of human being toward his own existence and the world. The essence of this concept lies therefore in his negation of reality, or better in his escape from reality. That’s why photography deserves to be studied in relation with the kitsch. Having a specific link with the reality, the medium oscillate ontologically between the present and the past, the instant and the eternity, the here and the elsewhere, the subject and the object, the life and the death, etc. It is indeed because of this paradoxical ontology that the photography can become, according to the “acte photographique” not just art but also kitsch. Thus, the attitude to the latter the artists let reveal through their photographic work turn out extremely varied and ambiguous, even contradictory such as it does in the work of Pierre et Gilles, Vik Muniz, Sebastião Salgado and Oliviero Toscani.