Th. 3e cycle--Besançon, 1980.

L'étude présentée dans cette thèse est dédiée à l'analyse des désintégrations radiatives de mésons beaux, processus faisant intervenir le quark b ce dernier se désintégrant par interaction faible en un quark s avec émission d'un photon. Ce type de désintégration est interdit à l'arbre en théorie quantique des champs et doit donc s'opérer à l'aide de boucles. Ces désintégrations ont des rapports d'embranchement très faibles, de l'ordre de 10^{-5}. Dès lors, l’étude de ces processus à l'aide du détecteur LHCb permet de mesurer précisément des observables reliées à ces processus, telles que les rapports d'embranchement, les asymétries de CP ou des variables angulaires et d'hélicité comme la polarisation du photon. En comparant ces résultats expérimentaux avec les prédictions théoriques du Modèle Standard de la Physique des Particules, il devient possible de tester ce modèle et de contraindre l'existence d'une nouvelle physique au delà du Modèle Standard. L'analyse présentée dans cette thèse se concentre sur l'étude des désintégrations B0 -> K*0 gamma, Bs0 -> phi gamma et Bs0 -> K*0 gamma. Les événements utilisés sont ceux où le photon s'est converti en une paire électron-positron par interaction avec le détecteur afin de bénéficier de la bonne résolution sur l'impulsion des traces chargées des trajectographes de LHCb. Les mesures du rapport des rapports d'embranchement des désintégrations B0 -> K*0 gamma et Bs0 -> phi gamma ainsi que de l'asymétrie de CP directe dans le processus B0 -> K*0 gamma sont réalisées. La bonne résolution obtenue sur la masse du méson B0 a permis de déterminer une première limite supérieure au rapport d'embranchement de la désintégration supprimée de Cabbibo Bs0 -> K*0 gamma. / The purpose of the work presented in this thesis is to study the radiative decays of B mesons. These processes correspond to the decay of a b-quark into a s-quark through the weak interaction with a photon in the final state. This kind of decay is not allowed at tree level in the quantum field theory but only through virtual loops. These processes have small branching fractions of the order of 10^{-5}. The study of these decays with the LHCb detector provides precise measurements of related observable such as branching fractions, CP asymmetries or angular variables such as the photon polarisation. These results can be compared with the theoretical prediction of the Standard Model of Particle Physics. Therefore, it is possible to test this model and to constrain the existence of new physics behind the Standard Model. The analysis presented in this thesis focuses on the B0 → K*0 gamma, Bs0 → phi gamma and Bs0 → K*0 gamma decays. Only events where the photon has converted into a dielectron pair by interacting with the detector are used. This allows to take advantage of the good resolution on the charged tracks momentum obtained with the LHCb's tracking system. The measurements of the ratio of branching fractions of the B0 → K*0 gamma and Bs0 → phi gamma decays and of the direct CP asymmetry in the B0 → K*0 gamma process are performed. The good resolution obtained on the B meson mass allows to set the first upper limit on the branching ratio of the Cabbibo suppressed Bs0 → K*0 gamma decay.

Au même titre que Victor Hugo pour la littérature ou que Pasteur, la Troisième République accorde à Camille Saint-Saëns une consécration officielle qui l'érige en compositeur reconnu et académique. Ces honneurs posent le problème de la place de l'artiste dans la Cité républicaine et introduit la question des liens entre l'homme et le pouvoir. Dès lors, il s'agit de savoir comment Saint-Saëns peut prétendre au titre de compositeur national. Trois axes permettent de répondre : les rapports à la Nation, à la République et à la France. / The French Third Republic officially commemorates Camille Saint-Saëns in a similar manner to Victor Hugo or Louis Pasteur. The honours Saint-Saëns receives question the position of the artist in the Republican City and his relations with the power. Three lines of analysis must be followed in the perspective of the claim of the making of Saint-Saëns as a national composer: the ways with the French Nation, with Republican identity and finally with France.

Les désintégrations de quark $b$ rares interviennent principalement via des courant neutres changeant la saveur, (Flavor Changing Neutral Current, FCNC en anglais). Le modèle Standard n'autorise les courants qu'au niveau des boucles. Ces processus FCNC sont sujets \`a une suppression de GIM conduisant à des processus rares. Par conséquent les désintégration $b to s$ sont de très bon outils pour la recherche de phénomène de Nouvelle Physique au delà du Modèle Standard. Cette thèse présente l'analyse angulaire de la désintégration $B^0\to K^{*0}\mu^+\mu^-$ avec l'ensemble des données collecté par l'expérience lhcb durant le run I du lhc. La complète série des observable angulaires a été mesuré via un ajustement d'une fonction de vraisemblance, gr$\hat{\rm a}$ce à une sélection amélioré et les 3 fb$^{-1}$ de donné collecté en 2011 et 2012 par lhcb. Par ailleurs, l'analyse du rapport $R_{K^*}$ est également présenté et les résultats sont attendu pour la fin de l'année 2015. / Rare beauty decays proceed mostly through the $b\to s$ Flavor Changing Neutral Current, which is possible only at loop level in the Standard Model. These FCNC processes are subject to GIM suppression leading to a rare decay. Therefore the $b\to s$ processes are good tools to look for New Physics phenomenon beyond the Standard Model. New Physics particle could become detectable by causing deviation from the Standard Model predictions for observables such as angular observables, branching ratio or CP asymmetries. This thesis present the angular analysis of the $B^0\to K^{*0}\mu^+\mu^-$ decay with the whole dataset collected by lhcb during the first run of the lhc. The full set of the angular observables has been measured through a maximum likelihood fit, thanks to an improved selection and the 3 fb$^{-1}$ of data collected in 2011 and 2012 by lhcb. In addition, the analysis on the measurement of the ratio $R_{K^*}$ has also been presented and the results are expected by the end of 2015.

Dans la poursuite de leur objectif de démocratisation et d'une plus grande accessibilité, plusieurs institutions muséales se tournent vers la recherche. Cette dernière est susceptible de les aider à recueillir de l'information formelle relative à différents aspects touchant leurs visiteurs et ce, en vue d'améliorer ou de développer des stratégies d'accueil pour atteindre un plus vaste public. La plupart des sondages et des enquêtes que nous avons consultés pour orienter cette étude, laissent entrevoir le retard du Québec dans ce champ spécialisé de la muséologie. En effet, on a constaté que les musées québécois n'ont qu'une vague idée de leur public visiteur et non visiteur. Conscient de cette lacune et de l'importance de données objectives pour une planification plus adéquate, le Musée du Québec est l'une des rares institutions muséales québécoises à avoir entrepris (conjointement avec le département de Mesure et d'évaluation de l ’Université Laval) une étude de son public visiteur. Cette étude de type exploratoire s'est effectuée auprès d'un échantillon de 432 visiteurs âgés de 15 ans et plus ayant fréquenté le Musée du Québec entre le dimanche 15 avril et le lundi 23 avril 1984, soit neuf jours consécutifs. Le profil socio-économique du visiteur tracé à la suite de nos analyses semble confirmer ce qui a été investigué dans d'autres musées, à savoir qu'il se démarque sensiblement de l'ensemble de la collectivité, en ce sens que le visiteur typique du Musée est hautement scolarisé et occupe un emploi bien rémunéré. Notamment, on a pu vérifier que le visiteur entretient une attitude et un degré de satisfaction plutôt positif à l'égard du Musée du Québec. Bien que leur présence en ce lieu trahissait déjà une attitude favorable envers le Musée, on a observé que cela n ’était nullement relié aux caractéristiques socio-économiques et culturelles des visiteurs, mais plutôt a des manifestations comportementales découlant de leur attitude. / Québec Université Laval, Bibliothèque 2015

Peintre d’histoire actif dès le début de la Restauration jusqu’au Second Empire, membre de l’Académie des beaux-arts et officier de la Légion d’honneur, Auguste Couder représente parfaitement toute une génération d’artistes reconnus de leur vivant, mais oubliés par la suite. Méconnue de nos jours, son œuvre, riche et variée, mérite pourtant d’être redécouverte. Elève fidèle de David, fortement marqué par l’enseignement de son maître, Couder se distingua en tant qu’un excellent dessinateur qui ne négligeait pas pour autant la couleur. Sollicité pour de nombreuses commandes officielles et privées, il réalisa un grand nombre d’œuvres inspirées tantôt de l’histoire – aussi bien antique que nationale, tantôt de la religion ou de la littérature. Peintre prolifique, exposant régulièrement aux Salons des années 1814-1848, il participa également à plusieurs travaux de décoration d’édifices civils et religieux. Pourtant, jusqu’à présent, sa création ne fit l’objet d’aucune étude. Cette thèse a pour objectif de combler cette lacune, en retraçant la carrière de Couder d’une part, et en établissant le premier catalogue raisonné de son œuvre, d’autre part. Comprenant près de 400 peintures et dessins, dont plusieurs sont inédits, ce catalogue met en évidence la richesse de la création artistique de Couder laquelle retrouve ainsi sa place dans l’histoire de la peinture du XIXe siècle. / Auguste Couder, a historical painter active from the outset of the French Restauration to the Second Empire, a member of the Académie des beaux-arts (Academy of Fine Arts) and an Officer of the Legion of Honour, is a true representative of a whole generation of painters who were recognised as such during their lifetime but forgotten afterwards. Little known today, his works, abundant and varied, well deserve to be rediscovered. As a loyal student of David whose teaching greatly influenced him, Couder stood out as an excellent drawer but was nevertheless much interested in colours. He was commissioned numerous orders, from official and private sources, for paintings of a historical nature – both ancient and national – and inspired by religion and literature. A prolific artist, he participated regularly in the Salon held between 1814 and 1848 ; he also took part in several decorative works for official and religious edifices. Yet, his works have never been the subject of any study. The object of the present thesis is to remedy this situation by reviewing his whole career as well as drawing up, for the first time, a full descriptive catalogue of his works. This catalogue, which comprises some 400 paintings and drawings – several of which are unpublished, highlights the rich creation of Couder, reinstating him in the history of the 19th century arts.

A produção textual de Georges Bataille (1897-1962), privilegiadamente estudada nos campos da Literatura e da Filosofia, apresenta uma vasta gama de temas e é considerada por seus comentadores como refratária a qualquer classificação rigorosa e indexável. Contudo, ele é autor de uma obra de grande interesse para área da Antropologia em função de um forte experimentalismo dos conceitos e da escrita e de uma compreensão totalizante da experiência do pesquisador e do escritor. O presente estudo tem como objetivo o exame de parte específica da produção e atuação de Bataille que coincide com os inícios da institucionalização da antropologia francesa (anos 1920- 1930), quando o autor encontra-se envolvido com o projeto da revista Documents, Doctrines Archélogie Beaux-Arts Ethnographie (1929-1930) e bastante próximo dos antropólogos que colaboram com a publicação. Ao recuperar a formação primeira de Bataille como arquivista paleógrafo na École des chartes e seus primeiros escritos e interesses, entre os quais se encontra a antropologia de Marcel Mauss, o trabalho se dedica a construir as conexões entre a profissão de arquivista paleógrafo nas bibliotecas Francesas e a produção do escritor que tem lugar entre os anos 1918 e 1930, interessado em destacar os nexos entre essas dimensões e o processo de constituição dos museus na França sobretudo aquele que culminará no Musée de lHomme (1937). As experiências nas bibliotecas, nos museus e na revista colocam Bataille diante da questão da classificação e do arquivamento de objetos e documentos. O interesse em uma leitura de Bataille por essa via que procura relacionar a institucionalização da disciplina etnográfica na França ligada à formação, catalogação e arquivamento de documentos nos museus e o processo de criação do Dicionário de Documents auxilia a iluminar uma dupla intervenção crítica que consiste em construir um deslocamento, uma derivação da forma de pensar. Essa perspectiva diversa nos oferece um duplo olhar para os modos pelos quais a reflexão sobre o lugar das histórias da disciplina e seus praticantes tem sido experimentada. / This present study has the purpose of examining some specific parts of George Bataille´s production and action that correspond with the beginning of French anthropology institutionalization (1920s and 1930s), when the author finds himself immersed in the Documents, Doctrines Archélogie Beaux-Arts Ethnographie (1929-1930) magazine project and building a very close relationship with the professionals involved in the publications creation. By resuming Batailles first occupation as paleographer archivist at École des chartes and his primary written pieces and interests, among which is the anthropology of Marcel Mauss, the work is dedicated to build connections between his job inside French libraries and his activities as a writer from 1918 to 1930, when his interests were focused on highlighting the links between these dimensions and the constitution of the museums in France - especially the one that will culminate at the Musée de l\'Homme (1937). The experiences in the libraries, museums and the magazine put Bataille before the classification and filing of objects and documents. His interest in this path that searches for relating the institutionalization of the ethnographic discipline in France connected to framing ideas, cataloging and archiving documents in museums and the creational process of the Dictionary of the magazine helps to illuminate a double critical intervention that consists in building a movement, an offshoot of thinking. This different perspective offers us another look to the means through which the reflections on the place discipline stories and its practitioners have been experienced.

Made available in DSpace on 2016-06-02T19:35:40Z (GMT). No. of bitstreams: 1 3043.pdf: 13472377 bytes, checksum: 643372ef6a8710eaf7b934def17e7b5e (MD5) Previous issue date: 2010-03-31 / The Fine-Arts Teaching System, founded by the École des Beaux-Arts of Paris in its Architecture Course, which lasted from 1671 to 1968, is considered to be a supreme asset of cultural and symbolic importance in which the traditional school, related to the French capitalist state, was expressed. Furthermore, it is also understood to be cultural capital which merits preservation. The history of the École, the world's most famous institution for the teaching of art and which has influenced the installation of ramifications of its model in various countries, reveals a series of crises which culminated with the final catastrophe in 1968, when the Architecture Course was closed and the competition for the Great Prize of Rome was discontinued. Throughout its history the École always maintained its base in relationships with powerful groups related to the nobility and influenced by prestige, status, pleasure and knowlege. These facts serve to explain the political and cultural processes which have preserved the important relevance of the Fine-Arts Teaching System. Power is an intrinsic factor of art and of the understanding of its essence, originality and knowledgepower, and this is evident and explicit in the formation of the systematised enlightenment of Graeco-Roman classicism conceived in the neoclassic style and practised rightly by the famous French school. The "rigid"classic rules, on being systematised, became powerknowledge to benefit primarily the aristocracy, the monarchical State and afterwards the interests of an authoritarian State regime. The closure of the Architecture Course and the extinction of the Great Prize of Rome Competition , while confirming the phenomenon of genealogical power, exposes the problem of non-flexibilisation of Education in the political and cultural areas in order to defend, above all, the knowledge-power of art in the classic model of Fine-Arts. The industrialisation and growth of the cities and the emergence of new social and political structures, together with their "utopias", are facts which have changed the positive power of classic works to that of technology and of engineering, thus giving origin to modern archtecture. These developments were not considered in relation to the principles of Graeco-Roman culture, which were founded in humanism as represented in the poetry of expression of sensitivity and of emotion. In this respect research indicates defence of the educational principles of a school interested in art and archtecture and focused on the potential it has for the communication of knowledge. In such connection, it should be remembered that schools in general, obsessed as they are by the spirit of commercial objectivity, tend to favour the power-knowledge attitude. Nevertheless, the knowledge-power of the Fine-Arts Teaching System can be saved and should be appreciated as the basic teaching value of a school disinterested in power without knowledge, which is to say power that is not intrinsically art. / O Sistema de Ensino Belas-Artes, instituído pela École des Beaux-Arts de Paris no Curso de Arquitetura de 1671 a 1968, é compreendido como um capital simbólico e cultural valioso, no qual a tradicional escola, relacionado ao Estado capitalista francês, se expressou. A história da École a mais famosa instituição de ensino da arte do mundo, que influenciou a criação de ramificações de seu modelo em vários países revela um processo de crises que culminaram no abalo fatal de 1968, no qual aconteceu o fechamento do Curso de Arquitetura e a extinção do concurso O Grande Prêmio de Roma. Essa história teve sempre como base as relações de poder, vinculado à nobreza, ao prestigio, ao status, ao prazer e ao saber, e serve para explicar os processos políticos e culturais que operaram a pertinência do Sistema de Ensino Belas- Artes. O poder intrínseco à arte, do saber na sua essência e originalidade, saber-poder, evidencia-se e explica-se na construção do conhecimento sistematizado do classicismo grecoromano, concebido no estilo neoclássico, operado justamente pela famosa escola francesa. Os rígidos cânones clássicos, ao serem sistematizados, tornaram-se poder-saber para servir primeiramente à aristocracia, os quais compunham o Estado monárquico, e depois aos interesses de um Estado autoritário. O fechamento do Curso de Arquitetura e a extinção do concurso O Grande Prêmio de Roma, ao confirmarem o fenômeno do poder na sua genealogia, expõem o caráter do problema da não flexibilização do Ensino no campo político e cultural, a fim de defender, sobretudo, o saber-poder da arte no modelo clássico das Belas- Artes. A industrialização e o crescimento das cidades, o surgimento de novas estruturas sociais e políticas, bem como suas utopias, são fatos que deslocaram o poder de construção de obras clássicas para o da tecnologia e da engenharia, dando assim origem a arquitetura moderna. Esses acontecimentos, não foram refletidos e relacionados aos princípios da cultura greco-romana, fundados no humanismo e implicados na poética da expressão do sensível e na emoção. Assim, a pesquisa aponta a defesa do processo educacional de uma escola interessada na arte e na arquitetura no sentido do potencial que elas tem de instaurar o saber, considerando que as escolas, de modo geral, tendem a ser interessadas no poder-saber, envolvidas, como são, pelo espírito da objetividade mercantilista. Todavia, o saber-poder no Sistema de Ensino Belas-Artes pode ser resgatado e deve ser prezado como base, em uma escola de um ensino desinteressado do poder que não seja saber, isto é, que não seja da arte intrinsecamente.

La thèse, s’appuyant sur le fonds de motets à grand chœur conservés à la bibliothèque municipale de Lyon, tente de répondre à la problématique de la pratique musicale lyonnaise au XVIIIe siècle. Les quatre-vingt dix-neuf manuscrits et imprimés conservés se présentent sous forme de partitions ou de parties séparées et viennent pour la plupart de l’ancienne académie des beaux arts ou Concert. La première partie présente les cadres d’exécution du Grand motet à Lyon, dont le Concert, actif entre 1713 et 1773, mais aussi l’éphémère académie des Jacobins, la cérémonie annuelle du vœu pour le salut du roi Louis XV, les fêtes et réjouissances publiques et les concerts spirituels. Le corpus des motets conservés à Lyon est l’objet d’une analyse rigoureuse : la deuxième partie s’attache au catalogue de l’académie, au support musical (papiers à musique, filigranes et graphies musicales), ainsi qu’aux éléments musicaux dont témoignent les sources. La troisième partie présente le répertoire lyonnais du genre. Lalande représente la moitié du corpus conservé et la majorité des compositeurs sont des maîtres de musique de la Cour ou de la capitale, mais l’on trouve également des compositeurs d’autres provinces (Pétouille, Valette de Montigny, …) et des Lyonnais (Estienne, Bergiron du Fort-Michon, Belouard, …). La réception des œuvres à Lyon est mise en évidence par des comparaisons de sources, tandis que quelques particularités locales apparaissent, telles que la composition en « fragments ». Cette étude permet d’affirmer que, si la musique à Lyon est inscrite dans son époque, elle développe néanmoins des caractéristiques qui lui sont propres. / This thesis is founded on the corpus of french “grands motets” which are part of the collection of the Lyon public library, and tries to explain the question of musical practice in Lyon in the 18th century. The ninety-nine manuscripts and engraved sources conserved in the collection are scores and material which come mostly from the ancient “académie des beaux-arts”, also known as Concert. The first part of the thesis presents the context of Grand motet performances in Lyon, namely the Concert, which was active from 1713 to 1773, the short-lived “académie des Jacobins”, the yearly ceremony of the vow for salvation of the king Louis XV, and also public festivities and spiritual concerts. The corpus of motets conserved in Lyon is the subject of a rigorous analysis: the second part is dedicated to the catalogue of the Concert, the musical support (music papers, watermarks and musical handwritings) and to musical elements which appeared in the sources. The third part presents Lyon’s repertory of the motet genre. Half of the corpus is made up of Lalande’s works; most of the composers are from the Court or the capital, but there are musicians from other French provinces (Pétouille, Valette de Montigny, …) and also from Lyon (Estienne, Bergiron du Fort-Michon, Belouard…). The specific nature of the treatment of the motet in Lyon is brought to the fore by a comparison of the sources, while local particularities appear, like the composition by “fragments”. This study shows that if Lyonnais music belonged to its time, it nevertheless developed its own characteristics.

A produção textual de Georges Bataille (1897-1962), privilegiadamente estudada nos campos da Literatura e da Filosofia, apresenta uma vasta gama de temas e é considerada por seus comentadores como refratária a qualquer classificação rigorosa e indexável. Contudo, ele é autor de uma obra de grande interesse para área da Antropologia em função de um forte experimentalismo dos conceitos e da escrita e de uma compreensão totalizante da experiência do pesquisador e do escritor. O presente estudo tem como objetivo o exame de parte específica da produção e atuação de Bataille que coincide com os inícios da institucionalização da antropologia francesa (anos 1920- 1930), quando o autor encontra-se envolvido com o projeto da revista Documents, Doctrines Archélogie Beaux-Arts Ethnographie (1929-1930) e bastante próximo dos antropólogos que colaboram com a publicação. Ao recuperar a formação primeira de Bataille como arquivista paleógrafo na École des chartes e seus primeiros escritos e interesses, entre os quais se encontra a antropologia de Marcel Mauss, o trabalho se dedica a construir as conexões entre a profissão de arquivista paleógrafo nas bibliotecas Francesas e a produção do escritor que tem lugar entre os anos 1918 e 1930, interessado em destacar os nexos entre essas dimensões e o processo de constituição dos museus na França sobretudo aquele que culminará no Musée de lHomme (1937). As experiências nas bibliotecas, nos museus e na revista colocam Bataille diante da questão da classificação e do arquivamento de objetos e documentos. O interesse em uma leitura de Bataille por essa via que procura relacionar a institucionalização da disciplina etnográfica na França ligada à formação, catalogação e arquivamento de documentos nos museus e o processo de criação do Dicionário de Documents auxilia a iluminar uma dupla intervenção crítica que consiste em construir um deslocamento, uma derivação da forma de pensar. Essa perspectiva diversa nos oferece um duplo olhar para os modos pelos quais a reflexão sobre o lugar das histórias da disciplina e seus praticantes tem sido experimentada. / This present study has the purpose of examining some specific parts of George Bataille´s production and action that correspond with the beginning of French anthropology institutionalization (1920s and 1930s), when the author finds himself immersed in the Documents, Doctrines Archélogie Beaux-Arts Ethnographie (1929-1930) magazine project and building a very close relationship with the professionals involved in the publications creation. By resuming Batailles first occupation as paleographer archivist at École des chartes and his primary written pieces and interests, among which is the anthropology of Marcel Mauss, the work is dedicated to build connections between his job inside French libraries and his activities as a writer from 1918 to 1930, when his interests were focused on highlighting the links between these dimensions and the constitution of the museums in France - especially the one that will culminate at the Musée de l\'Homme (1937). The experiences in the libraries, museums and the magazine put Bataille before the classification and filing of objects and documents. His interest in this path that searches for relating the institutionalization of the ethnographic discipline in France connected to framing ideas, cataloging and archiving documents in museums and the creational process of the Dictionary of the magazine helps to illuminate a double critical intervention that consists in building a movement, an offshoot of thinking. This different perspective offers us another look to the means through which the reflections on the place discipline stories and its practitioners have been experienced.