Maîtrise--Arts plastiques--Paris 8, 1993. / Bibliogr. p. 327-347.

DEA--Esthétiques--Paris 8, 1996. / Bibliogr. p. 305-333.

DEA--Histoire de l'art--Strasbourg 2, 1999. / Bibliogr. p. 122-143. Index.

The planetary crisis is a factor with undoubted effects on society. Education in Sweden concerns itself with preparing students for societal life through passing on values and emphasising the need for critical thinking. Many students today engage in environmental activism with the agenda to demand change from governing bodies to mitigate climate change. To understand the process of change, additional information is needed regarding what it means to be human. This text concerns itself with environmental teaching for the EFL-setting. Through focusing on literature, and contributing to an in-depth understanding of the characters, increased awareness about what it means to be human can be achieved. By selecting the short story “Bears Discover Fire,” it is illustrated how such an understanding can be found through fictional works. This paper covers an ecocritical reading focusing on how representation, relationship, and structures detrimental for the climate figure in Terry Bisson’s story. In addition, it argues that a deeper understanding of the characters results from applying the biophilia hypothesis. The findings from the analysis of characters and the representation of nature and relationships are applied to the EFL-setting, providing examples for how teaching can be conducted to promote further activism and strengthen the relationship between students and nature.

Depuis la publication de l’Utopia de Thomas More au XVIe siècle, la notion d’utopie s’est vue appropriée par différents domaines d’expression artistique. Bien vite, l’architecture et l’urbanisme en font leur apanage lorsqu’il est question de concilier, en des dessins et des plans, des sociétés idéalisées et leurs représentations. La modernité et les nouvelles technologies modifient les modalités de l’utopie qui tend alors vers l’actualisation de ses modèles en des projets construits. Le XXe siècle est aussi marqué par une abondance de formes et d’idées dont la transmission et le partage sont accélérés par la création de nouveaux médias. Si les années 1960 et 1970 sont le lieu d’émergence de formes expérimentales et de projets utopiques, notamment alimentés par la Révolution tranquille et Mai 68, il est encore difficile au Québec de retracer ces projets en arts et en architecture puisqu’ils sont peu documentés. Par l’étude de la pratique artistique d’Yvette Bisson (1926-), de Robert Roussil (1925-2013) et de Melvin Charney (1935-2012), ce mémoire propose d’observer les différentes tactiques d’appropriation de l’espace auxquelles s’apparentent les modalités de la sculpture de ces trois artistes. Par l’intermédiaire de Michel de Certeau, Henri Lefebvre et Louis Marin, nous chercherons à expliquer quelle est la teneur critique des imaginaires mis en œuvre par les trois artistes pour créer de nouveaux lieux utopiques de la sculpture. / Since the first release of Thomas More’s Utopia in the XVth century, the notion of utopia has been appropriated by different means of artistic expression. Quickly, architecture and urban planning used it as an historical purview, when merging in drawings and maps, representations of idealized societies. Modernity and new technologies changed intrinsically utopia’s modalities; therefore artistic projections progressed towards built models. The XXth century has also shown plenty of innovative forms and ideas, whose transmission was accelerated by new media. Although the 1960s and the 1970s gave rise to experimental forms and utopian projects — especially powered by the Révolution tranquille and Mai 68 — it is still challenging to find traces of these art and architecture projects in Québec, due to lack of documentation on the subject. In studying artistic works and practices of Yvette Bisson, Robert Roussil and Melvin Charney, this master thesis intends to observe means and tactics used within their sculptures to seize space and its political dimension. Through Michel de Certeau, Henri Lefebvre and Louis Marin, we will attempt to clarify in which ways the three sculptors’ imagination is fully deployed, hence creating new utopian spaces in sculpture.