L'accès d'une société à un prétoire est source de nombreuses problématiques procédurales. Cela étant, ces dernières n'étant pas suffisamment considérées par le législateur ou idéalement compilées au sein d'une codification spécifique, elles demeurent la cause de légitimes tourments pratiques. Les interrogations sont alors nombreuses : elles portent sur les droits susceptibles d’être invoqués devant le juge, par ou contre la société, sa capacité à jouir de l'action en justice, le pouvoir ou la qualité de ceux qui prétendent être à même de l’incarner à la barre ; la juridiction compétente pour connaître du litige qui l'intéresse ; la gestion du temps procédural en adéquation avec le rythme de la vie sociale ; l’élaboration et la communication des actes de procédure établis en son nom ou à son intention ; la garantie d'exécution des décisions rendues en sa présence. Le risque appréhendé est l’échec procédural. À l’origine de la difficulté : toute l'ambiguïté existentielle et fonctionnelle de ce justiciable atypique qu'est la société. L’on aurait pu a priori douter que le droit procédural parvienne à s’adapter aux singularités du justiciable sociétaire. Il suffisait, pour laisser place à quelques humbles mais utiles certitudes en la matière, de procéder à un rassemblement cohérent de tout ce qui constitue la substance du droit procédural sociétaire, suivant un axe de lecture le rendant compréhensible. Et c'est ce que s'efforce de réaliser la présente thèse, au gré des difficultés pratiques qu'elle traite et auxquelles elle suggère les solutions susceptibles de convenir / Going to court for a company involves many procedural issues. Since those issues are not sufficiently taken into account by legislators or ideally part of a compilation within a specific form of codification, they may be held responsible for inevitable practical difficulties. Many questions arise : concerning rights likely to be brought up before a judge by a company or against a company ; its ability to benefit from an action ; the power or quality of those who claim to represent the company before a judge, the competence of a court to hear the case at hand ; managing procedural time in line with the pace of corporate life ; drafting and communicating the procedural acts issued in the company’s name or for the company ; ensuring the court rulings taken in the company’s presence be enforced. The obvious risk is procedural failure. The difficulty stems from the existential and functional ambiguities of this a-typical company. At first sight, procedural does not seem to be able to adapt to the nature of the claimant company. In order to leave room for some humble but useful certainties in this area, one must coherently gather all that constitutes the substance of companies’ procedural law, based on an interpretation that will make it understandable. That is the aim of the present dissertation while dealing with practical difficulties and suggesting suitable solutions. “The Claimant Company” is a plea for the recognition of the governing law in disputes between companies, which deserves to be part and parcel of the many implications of jurisprudence

Née d’une interrogation sur les dynamiques d’intégration républicaine des radicalités politiques, cette recherche au carrefour de la sociologie historique du politique, de l’histoire sociale des idées et de la sociologie politique des mémoires collectives,s’attache à expliquer les conditions dans lesquelles Louise Michel, une femme et une anarchiste du XIXe siècle, devient une figure éligible à la panthéonisation en 2013. L’analyse longitudinale de la carrière de la figure de Louise Michel interroge plus généralement les processus de canonisation, de circulation et de transmission qui caractérisent les dispositifs de célébration politique. A partir de l’étude monographique des multiples occurrences de lafigure de Louise Michel du dernier tiers du XIXe siècle au début du XXIe siècle (presse, discours, pratiques commémoratives, biographies ou encore manuels scolaires), ce travail montre comment une personnalité marquée par la marginalité politique devient une référence commune de la gauche. Les formes et les espaces de la célébration ne peuvent alors se comprendre qu’au regard des positions occupées par ses traducteurs et de la structure de l’espace politique et social dans lequel ils s’inscrivent. Le processus de reconnaissance institutionnelle de Louise Michel doit d’une part à la pacification d’une mémoire officielle de la Commune de Paris, et d’autre part à l’intégration de l’histoire des femmes au sein d’un féminisme d’Etat. Ce double mouvement explique l’élargissement de l’identification collective et individuelle dans la figure de Louise Michel. Il autorise l’hypothèse d’une entrée de Louise Michel au Panthéon républicain. Pourtant, cette thèse montre également que des mécanismes de résistance aux processus de reconnaissance institutionnelle demeurent. Loin d’un processus linéaire la construction de la figure Louise Michel fait l’objet d’appropriations multiples qui coexistent aujourd’hui. L’inscription d’une figure historique dans les mémoires collectives constitue dès lors un dispositif conflictuel, marqué par des conjonctures mouvantes qui met aux prises des acteurs à la croisée des espaces politiques, militants, universitaires et intellectuels. / At the crossroads of political historical sociology, social history of ideas, and political sociology of collective memories, this research starts from an interrogation on the republican integration dynamics of political radicalism. Itfocuses on explaining the conditions in which Louise Michel, a 19th century woman and anarchist, has become an eligible icon for pantheonisation in 2013. The longitudinal analysis of Louise Michel's career broadly questions the processes of canonization, circulation and transmission which characterize the schemes of political celebration. Initiated by the monographic study of Louise Michel's numerous apparitions, from the last third of the 19th century to the early21st century (press, speeches, memorial events, biographies or textbooks), this essay highlights how a politically marginalized character turns into a leftist icon. It's only by apprehending the political posture and social background ofher interpreters that one can acknowledge the different areas and forms of commemoration. The process of institutional recognition of Louise Michel's legacy is made possible on the one hand by the pacification process of the officialremembrance of the Paris Commune, and on the other hand by the incorporation of Women History in state feminism. It explained the enlargement of both collective and individual identification to Louise Michel's figure. It also authorizedthe hypothesis of Louise Michel's entry to the republican Pantheon. However, this thesis demonstrates as well that some resistance mechanisms remains. The edification of Louise Michel's emblematic figure isn't a linear process but issubject to multiples appropriations that coexist nowadays. Historical figure in collective memories poses a divisive mechanism, characterized by shifting conjunctures that confront forces at the crossroads of different political, activist, academic and intellectual spaces.

A dynamic movement known as wealth creation education attracts many thousands of people seeking education for the vocation of an entrepreneur in the UK. Entrepreneurship education in these collectives includes venturing know-how but also co-constructs existential meaning and purpose for adherents, a role traditionally fulfilled by religion. This emergent sectarian movement is identified as wealth creationism. Led by charismatic entrepreneurs this newly identified research domain represents rich opportunities to study entrepreneurs in naturally arising settings, but has been neglected and understudied. While publicly subsidised educational support for small-business owners has suffered from low uptake, this study provides new knowledge about the kind of education that is engaged with in large numbers, despite being more expensive. This inquiry critically examines the attraction of these educational collectives and evaluates the social processes of eight wealth creation education providers in England. Teaching content and methods were also investigated. This qualitative study takes an interpreted approach through a social constructionism perspective. Using grounded theory methodology the providers were initially researched through participative observation in the educational settings followed by theoretically sampling data with various collection methods. Interdisciplinary theories, including the sociology of religion, accounted for findings, which were analysed at the meso-group level. The movement teaches entrepreneurship know-how and 'mindset' - ways of thinking and being. Insulating directives of behaviour and the construction of stigmatised out-groups maintain social boundaries. Employing similar narrative features and resources as religious sects, the socially constructed co-extensive nomos and cosmos privileges esoteric knowledge and is closely identified with modern Gnosticism. Participants do not acknowledge religious interpretations of their activities, yet three North American authors provide plausible canonical works that legitimise the movement. Wealth Creationists display entrepreneurial chauvinism, which equates employment with bondage, viewing the employed as slaves. Adherents choose educators with perceived entrepreneurial credibility to lead them on a purposeful mission for the type of knowledge that promises emancipation. This study is significant for both researchers of entrepreneurs and the sociology of religion. It offers participating entrepreneurs critical insights into the charismatic settings, which can be both enabling and disabling for venturing. This study has implications for academics engaged in outreach to small-business owners who may learn from the marketing tactics of these groups, although academics may still lack perceived credibility. Insights into business group formation will be of interest to business group researchers. A map of educational provision may interest researchers and educators of small and microbusiness owners, and those from the fields of entrepreneurial learning.

Puisque les déterminants sociaux de la santé sont en dehors du secteur institutionnel conventionnel de la santé, la collaboration intersectorielle apparaît comme la stratégie de choix pour agir sur ces déterminants. Comme souligné par Jackson et coll. (2006), la collaboration intersectorielle et les partenariats interorganisationnels sont des actions transversales qui doivent se produire à des niveaux structurels, sociaux et personnels et qui doivent être imbriquées dans toutes les stratégies de promotion de la santé mises de l’avant par la Charte d’Ottawa. Mais que signifie la collaboration intersectorielle, comment est-elle vécue, et comment ces processus intersectoriels peuvent-ils être réussis? L’objectif principal de ce projet de recherche était de contribuer à l’élaboration d’un cadre conceptuel de l’action intersectorielle, développé à partir de la littérature disponible et validé empiriquement par quatre études de cas, à l’intérieur d’une région du Québec (Chaudière-Appalaches). Ces quatre initiatives se sont déroulées entre 1997 et 2012 : • Cas 1 : Programme de prévention de la détresse psychologique auprès des agriculteurs • Cas 2 : Construction du parc de jeu destiné aux enfants de 0 à 5 ans • Cas 3 : Programme de cuisines collectives à Beauce-Sartigan • Cas 4 : Programme de prévention de l’alcool au volant La première partie de la thèse se concentre sur la compréhension de termes reliés à l’intersectorialité en santé, en comparant les définitions théoriques (à partir d’une revue systématique de la littérature grise et scientifique) à la terminologie utilisée sur le terrain (à partir des études de cas). La deuxième partie de la thèse consiste en une analyse transversale des quatre études de cas qui ont été élaborées autour des sept dimensions suivantes : le problème, les objectifs de santé de populations, les autres objectifs, les résultats, les acteurs, les processus et le contexte. L’analyse transversale porte principalement sur les avantages, les conditions facilitantes et les défis de l’action intersectorielle en santé, incluant une discussion sur le rôle et la légitimité du secteur santé en tant qu’instigateur du partenariat intersectoriel. Thesis Abstract Since the social determinants of health lie outside the conventional institutional health sector, intersectoral collaboration appears to be the strategy of choice to act on these determinants. As Jackson et al. note (2006), intersectoral collaboration and inter-organizational partnerships are cross-cutting actions that must occur at structural, social and personal levels, and they should be embedded in all strategies for health promotion put forward by the Ottawa Charter. But what does intersectoral collaboration mean, how it is lived, and how can these intersectoral processes be successful? The main objective of this research project is to contribute to the development of a conceptual framework for intersectoral action. That framework is developed from the literature and empirically validated by four case studies within a Quebec region (Chaudière-Appalaches). These four initiatives took place between 1997 and 2012: • Case 1: Program for the prevention of psychological distress among farmers • Case 2: Construction of a play park for children aged 0 to 5 years • Case 3: Program of collective kitchens in Beauce-Sartigan • Case 4: Program for the prevention of alcohol-impaired driving The first part of the thesis focuses on understanding terms related to intersectoriality in health by comparing the theoretical definitions (from a systematic review of scientific and grey literature) to the terminology used in the field (captured by conducting case studies). The second part of the thesis is a cross-sectional analysis of four case studies developed around the following seven dimensions: the problem, the population health objectives, other objectives, the outcomes, the actors, the processes and the context. This cross-sectional analysis focuses on the benefits, facilitating conditions and challenges of intersectoral action in health, including a discussion of the role and legitimacy of the health sector as an instigator of intersectoral partnerships.

Les mutations de l’organisation du travail, et de la place de l’Homme dans l’entreprise ont mené, au cours de trois années de recherches-interventions socio-économique au sein d’une PME, à étudier l’objet complexe et dynamique que représente l’articulation entre les compétences individuelles et collectives à la stratégie de l’entreprise. Cette recherche a pour objet l’étude d’une des composantes du potentiel humain, les compétences, dans leurs dimensions individuelles et collectives, mises en œuvre au niveau de la stratégie de l’entreprise. Elle questionne notamment la mobilisation de l’ensemble des acteurs de l’entreprise ainsi que la mise en adéquation entre des objectifs stratégiques définis et les moyens alloués à leur mise en œuvre. Après avoir mis en exergue les impacts sociaux et économiques des défauts d’articulation entre compétences et stratégie, ces résultats sont discutés et analysés au regard de la littérature. Puis, la thèse présente les outils et processus expérimentés, qui ont permis d’améliorer l’articulation entre compétences individuelles et collectives à la stratégie de l’entreprise. Mobilisant en particulier le concept d’Investissement Immatériel en Développement Qualitatif du Potentiel Humain, la thèse souligne la contribution stratégique, à la fois en termes sociaux et économiques, des ressources humaines à la mise en œuvre stratégique et à la performance globale de l’entreprise. / The changes in the work organization, and the place of human beings in the companies led, during three years of socio-economic intervention-research within an SME, to study the complex and dynamic object that represents the articulation between the individual and collective competencies to the strategy of the company.The purpose of the thesis is to study one of the components of human potential, the competencies, in their individual and collective dimensions, implemented at the level of the company's strategy. In particular, it questions the mobilization of all the company's stakeholders as well as the alignment between the defined strategic objectives and the resources allocated to their implementation.Following an emphasis on the social and economic impacts of the lack of articulation between competencies and strategy, these results are discussed and analyzed in relation to the literature. Then, the thesis presents tools and processes experimented in order to improve this articulation between individual and collective competencies to the company's strategy.Mobilizing in particular the concept of Intangible Investment in Qualitative Development of Human Potential, the thesis highlights the strategic contribution, both in social and economic terms, of human resources to the strategic implementation and the overall performance of the company.

Le terme « agriculture urbaine » renvoie à une diversité de « pratiques agricoles individuelles ou collectives qui se déroulent au sein même de la ville » (Mundler et coll., 2014). Bien que le sujet ait déjà généré beaucoup d’intérêt académique, ce mémoire vise à offrir une perspective novatrice, centrée sur les changements ontologiques qui se produisent chez les jardiniers tels que rapportés dans leurs témoignages alors qu’ils s’engagent pratiquement et affectivement avec les plantes qu’ils et elles cultivent. De cet engagement résulte la participation des jardiniers.ères à un réseau de relations multiespèces impliquant tous les insectes, animaux, champignons et microbes qui interagissent avec leurs plantes. Je décris ainsi comment les jardiniers.ères en viennent à développer des liens avec toutes ces espèces fourmillantes et à s’engager pour qu’elles prospèrent. Finalement, cet engagement les fait réévaluer comment ils désirent prendre une place comme humains dans ce collectif multiespèces et ils et elles en viennent à repenser le social sur le modèle permaculturel inspiré du jardin pour imaginer une « permaculture humaine », une nouvelle manière d’envisager le lien social et l’existence humaine et urbaine. / The term “urban agriculture” refers to a diversity of “individual and collective agricultural practices taking place within a city” (Mundler et al., 2014, free translation). This subject has been the interest of much discourse in the academic as well as the public sphere, as we hear more and more about a “greening of cities” that is coming about with increasing temperatures, drought, fresh food scarcity and loss of biodiversity in and around cities. This dissertation aims to offer a novel perspective on the subject of urban gardening, inspired by literature around ontologies and multispecies sociability. In my interviews of different urban gardeners involved in the production of food in cities around the province of Quebec, I highlight how these gardeners’ perspectives—and, more fundamentally, their world vision—become transformed as they entangle themselves in the network of multispecies living taking place in and around the garden. As their understanding of other species in the garden are transformed, so are their perspective of themselves as humans and their knowing of their place in the garden-and more generally, on our planet. Their practice of care, attention and responsibility for their other-than-human counterparts in the garden also allows them to rethink the politics of their occupation of urban space and food production more generally, as they propose we move towards a “human permaculture”.

Drawing on the methods of feminist art history and my own knowledge of the field, this PhD gives an overview of “Russian” (Russian Empire, Soviet, post-Soviet) art history with women at its center. Starting in the late 18th century and spanning to the present-day, I critically examine women’s artworks, the social contexts in which those women find themselves, as well as their biographies. Thus, this thesis extends beyond strict media analysis as a central concern of feminist criticism. This text consist of five chapters. Chapter One begins at the end of the 18th century and covers women artists working throughout the Russian Empire up through the beginning of the 20th century. Thesis looks at specific women artists and how the path to professionalization opened up new doors while women were still largely excluded from elite artistic circles. This overview demonstrates how this occurred both in explicit social exclusion as well as implicitly – specifically in the ways that the portrayals of women in professional art shifted throughout the 19th century. The ambivalent nature of women’s simultaneous inclusion and exclusion from leading art institutions and groups serves as a defining feature of the art world of the Russian Empire. Chapter Two examines women’s roles in the avant-garde at the beginning of the 20th century. As has been recognized in much popular scholarship, women served as key players in the so-called “Russian Avant-Garde”. For instance, while many Western European artists at the time turned to the colonies of their respective empires for stimulation, many Russian avant-garde artists turned to local peasants. Precisely because of their more differentiated relationships, Chapter Two argues that these women artists produced very dissimilar work from their Western European counterparts. This was due both to questions of gender as well as power and colonialism. From there, thesis shows the ways in which women avant-garde artists made use of various media – especially textiles, porcelain, and book design. Chapter Three revolves around women artists in the Soviet Union. At first it examines how women were portrayed in Socialist Realism, which followed largely three archetypes: the collective farm woman, the sportswoman, and the ballerina. In this chapter focus is on how women navigated the slippery terrain of the social world of Socialist Realism by highlighting the role of its most successful example – Vera Mukhina. Tracing through Mukhina’s path from the avant-garde to Socialist Realism’s most famous female artists, the text reveals continuities between the two genres that have typically been overlooked in the literature. Indeed, Mukhina’s development suggests much more in common between the avant-garde and Socialist Realism than most male artists’ careers would indicate. Finally, this chapter discusses women artists who rejected Socialist Realism and produced so-called “unofficial” art – focusing on the (in)famous Bulldozer Exhibition of 1974. Chapter Four illuminates how women artists negotiated the enormous socio-political changes during Perestroika through past the dissolution of the Soviet Union. In the 1990’s, three prominent all-women art collectives emerged: the Factory of Found Clothes, the Cyber-Femin Club, and the Fourth Height. Based largely on interviews with the women who participated in the groups, text sketches out a general history of how they formed, produced art, and confronted questions of gender and society. Then, chapter four turns to women artists who worked mostly individually throughout the same period. In this thesis women artists from the 90’s are categorized based on their concepts of gender – women who flipped gender dynamics through their art, women who took radical stances toward gender through their art, and women who did not clearly challenge ideas of gender. In the text they are called the “flip-floppers”, the “radicals”, and the “quietists”, respectively. In Chapter Five, there is a break with the chronological approach of the previous chapters. Instead, first part compares the trial of Iuliia Tsvetkova in 2019 and the trial of Natalia Goncharova in 1910. Both women were accused of producing pornography and thus subject to prosecution. Through this comparison, one can see the continuities and ruptures of the gender dynamics in broader society then and now, particularly in relationship to art and art production. Second part of the chapter five, compares the so-called “Leningrad Feminists” of the 1970’s and Pussy Riot from the 2010’s. By highlighting how these two collectives used the imagery of the Virgin Mary in their work, the text draws out parallels between the two that have gone unnoticed, even by the artists themselves. This dissertation is thus fundamentally about connections. Connections, both visible and invisible, define the social constellations in which women artists participate. By drawing out these connections, this thesis reimagines Russian art history and propose new, albeit imperfect, in the words of Amelia Jones, genealogies. Such genealogies open the space for a deep reckoning with the canon.:Table of Contents Introduction But What is a Russian Woman Artist Anyway? Literature Review & Methodology Chapter Outline Chapter 1: Woman as Artist in the Russian Empire Imperialism and Internal Colonization Bridging Art Histories: Between the Russian Empire and the Western Empires The “Russian Empire” periods of Marie-Anne Collot, Élisabeth Vigée Le Brun, and Kristina Robertson Independent Foreign Women Artists, Operating Beyond Royal Patronage: Maria Gomion and Julie Hagen-Schwarz Representations of Local and European Women Artists in the Russian Empire: Comparing article “Russkie Khudozhnitsy” [Russian Women Artists] and Somov’s article “Zhenshchiny Khudozhnitsy” [Women Artists] Paths to Professional Art for Women Artists in the late Russian Empire Variety of Professional Strategies for Women Artists in the Russian Empire Challenges Faced by Women in the Imperial Academy of Arts: Marfa Dovgaleva, Avdotia Mikhailovna Bakunina, Sofia Sukhovo-Kobylina, and Katerina Khilkova Women Artists from the Russian Empire in the Académie Julian: Maria Bashkirtseff, Princess Maria Tenisheva, Maria Iakunchikova, and Elizaveta Zvantseva Female and Male Paths to Becoming an Artist: The Cases of Elena Polenova and Vasilii Polenov Women in the Wanderers and the World of Art Two Women Wanderers: Emily Shanks and Antonina Rzhevskaia Women in the World of Art and Related Circles: Anna Ostroumova-Lebedeva, Elizaveta Kruglikova, Elena Polenova, Maria Yakunchikova, and Zinaida Serebriakova Between Artist, Mother, and Model: Self-Representations of Women Artists Insisting on the Professional Self: Katerina Dolgorukaia, Katerina Chikhacheva, Sofia Sukhovo-Kobylina, Maria Bashkirtseff, Elizaveta Kruglikova, Anna Ostroumova-Lebedeva, Marianne Werefkin, and Teresa Ries The Fe[male] Gaze: Ol’ga Della-Vos-Kardovskaia, Tamara de Lempicka, and Zinaida Serebriakova Chapter 2: Women Artists Shaping the Avant-Garde Conceptualizing Avant-Garde in the Russian Empire Framing the “Feminine”: Noble and Peasant Femininities Women Artists and Religion: Natalia Goncharova and Marianne Werefkin Women Artists and Lubok: Sofia Kalinkina, Elizaveta Bem, and Maria Siniakova The Case of Natalia Goncharova: Between Two Worlds Looking West: Goncharova and Gauguin Looking East: Goncharova and Peasant Culture Craft in the Foreground: Women in Textile, Porcelain, and Book Design Women in Textile Design, Embroidery, and Factory Production: Natalia Davidova, Sonia Delaunay-Terk, Nadezhda Udaltsova, Vera Pestel, Ol’ga Rozanova, Varvara Stepanova, and Lubov Popova Women in Costume Design in the Early Soviet Union: Natalia Goncharova, Nina Genke-Meller, Alexandra Exter, Nadezhda Lamanova, Varvara Stepanova, Sonia Delaunay-Terk, and Vera Mukhina Women Artists and Futurist Books: Elena Guro, Natalia Goncharova, and Ol’ga Rozanova Women Artists and Children’s Book Illustration: Vera Ermolaeva, Elena Safronova, Alisa Poret, Tatjana Glebova, Maria Siniakova, Galina and Ol’ga Chichagovy, and others Women artists and Small Sculptural Forms (porcelain and ceramics): Natalia Danko and Alexandra Shekotikhina-Potozkaia Chapter 3: Women Artists in Socialist Realism and Unofficial Art Aligning Art History of the Soviet Union and Gender Studies Official Images of Women in the Soviet Union Kolkhoznitsa [Collective Farm Woman] Sportsmenka [Sportswoman] Balerina [Ballet Dancer] Socialist Realist Women Painters Women Artists in the Moscow School of Socialist Realism: Vera Orlova, Ekaterina Zernova, and Serafima Riangina Women Artists and the Leningrad School of Painting: Nadezhda Steinmiller, Evgenia Antipova, Vera Nazina, and others Women Socialist Realist painters from the Soviet Republics: Tetiana Iablonska, Vaiiha Samadova, the Sisters Aslamazian, Elene Akhvlediani, and others Women Artists as Soviet Sculptors Women as Sculptors before the Soviet Union: Elena Luksch-Makovskii, Maria Dillon, Teresa Ries, and Anna Golubkina A Case Study: Vera Mukhina the Soviet Sculptor – Between the Street and the Household Women Artists in Unofficial Art Some Aspects of Canonization of Women Artists of the Bulldozer Exhibit: Nadezhda Elskaia and Lydia Masterkova Artistic Couples in Soviet Unofficial Art and Their Visions of Eden Chapter 4: Women Artists in the Late Soviet Union and after Its Dissolution The Emergence of Women-Only Groups in the Post-Soviet Space: the Factory of Found Clothes (FFC), Cyber-Femin Club, the Fourth Height The Factory of Found Clothes (FFC): Ol’ga Tsaplia-Egorova and Natalia Gluklia-Pershina-Yakimanskaia The Cyber-Femin-Club: Alla Mitrofanova, Irina Aktuganova, Lena Ivanova, and Ol’ga Levina Chetvertaia Vysota [The Fourth Height]: Ekaterina Kameneva, Dina Kim, and Galina Smirnskaia Resisting Erasure: Women Artists from the 1990’s The Mirror Game or the Flip-Floppers: Anna Alchuk and Tania Antoshina The Radicals: Alena Martynova and Elena Kovylina The Quietists: Marina Perchikhina and Liza Morozova Curating the “Gender Turn” in the post-Soviet art: Natalia Kamenetskaia and others Chapter 5: Creating Parallel Histories Unacceptable Bodies: Trials against Natalia Goncharova in 1910 and Iuliia Tsvetkova in 2019 Bogoroditsa stan’ Feministkoi? Comparing the Leningrad Feminists and Pussy Riot Conclusion Illustrations Bibliography Additional Materials. Interviews.

Le concept d’ancienneté constitue un incontournable mode de régulation du travail dans plusieurs dispositions des conventions collectives au Québec. Dans cette optique, l’ancienneté est-il toujours en convergence avec les valeurs et les demandes des membres des différents syndicats? Ce projet de recherche exploratoire repose sur un nombre limité de cas et vise à documenter la nature des tensions autour des applications de l’ancienneté à l’intérieur des syndicats. Cela implique de mieux connaître les sources de ces tensions. Est-ce qu’elles sont en lien avec la précarité en emploi de l’enseignant? Est-ce une mauvaise application des clauses d’ancienneté des ententes locales au niveau des établissements? Est-ce que ces tensions sont en lien avec un changement de valeur des jeunes travailleurs du marché du travail, tel que le suggère certains auteurs (Allain, 2008; Mercure et Vultur, 2010; Service de placement du collège Maisonneuve, 2005). Donc, la question de recherche est la suivante : quelles sont les tensions autour du concept d’ancienneté et ses applications entre les enseignants de différentes générations aux ordres d’enseignements primaire et secondaire? Les organisations syndicales concernées pourront ainsi alimenter leur réflexion afin de confirmer ou modifier certaines applications de l’ancienneté toujours dans l’optique de rendre un service bonifié et adapté à leurs membres. La pertinence scientifique est également très importante puisqu’elle vise à expliquer certaines causes et manifestations des tensions autour de l’ancienneté. L’objectif de cette recherche exploratoire est de décrire les tensions autour de l’ancienneté entre les enseignants de différentes générations et de décrire certaines des causes et manifestations de ces tensions. Enfin, cette recherche souhaite participer à la discussion scientifique qui doit être entamée autour du rôle de l’ancienneté dans le marché du travail en tant que principe de justice.

Traditionnellement, les biens immatériels sont qualifiés, tantôt de biens incorporels, tantôt de propriétés incorporelles ou intellectuelles, tantôt encore de biens d'exploitation, la plupart de ces qualifications étant insatisfaisantes. En réalité, cette catégorie de biens souffre d'une absence de définition. Pourtant, d'aucuns affirment qu'ils représentent une richesse économique, une source de crédit fantastique pour les débiteurs, et un gage de sécurité pour les créanciers. Or, la législation française semble avoir superbement ignoré les biens immatériels.En témoigne le droit des biens tout d'abord. En effet, à la lecture de l'article 516 du Code civil, selon lequel « tous les biens sont meubles ou immeubles », force est de constater que les biens immatériels ne peuvent être valablement rattachés à la catégorie des meubles ou à celle des immeubles. Les biens immatériels s'opposent aux biens matériels (biens de la nature, matières premières, biens intellectuels tombés dans le domaine public ou dénués de protection au titre du droit de la propriété intellectuelle). Ils désignent les biens qui disposent d'une chose incorporelle et d'un corpus. Nous avons recensé deux natures de biens immatériels : les biens immatériels financiers regroupant les monnaies, les parts et actions sociales, les instruments financiers, les créances et les biens immatériels industriels regroupant les fonds de commerce et les propriétés intellectuelles.En témoigne le droit des sûretés réelles conventionnelles ensuite. Le projet de réforme du droit des sûretés qui a été confié à la Commission Grimaldi fondait de nombreux espoirs. Ayant fait l'objet de très rares modifications depuis l'origine du Code civil, l'édifice s'ébranlait et nécessitait une rénovation. Il s'ébranlait principalement pour trois raisons : la lisibilité notamment parce que le droit des sûretés réelles conventionnelles sur biens immatériels s'est développé en marge du Code civil, l'efficacité et la capacité des régimes envisagés quant à la préservation des intérêts du débiteur et du créancier. Depuis longtemps la pratique et la doctrine dénonçaient une telle complexification et appelaient de leurs vœux aux changements. Malheureusement, l'ordonnance n° 2006-346 du 23 mars 2006 portant réforme du droit des sûretés n'a pas su rassurer. En créant le nantissement comme la sûreté réelle conventionnelle sur biens mobiliers incorporels, sans l'accompagner d'un régime uniforme, elle n'a fait qu'accentuer les inquiétudes et les critiques patentes.Pourtant, nous sommes convaincus de ce que le droit français dispose des remèdes indispensables au sauvetage de la matière. En effet, le nouveau régime du gage, tel que modifié par l'ordonnance n° 2006-346 du 23 mars 2006, comporte désormais un régime adapté aux biens immatériels industriels. Quant à la fiducie-sûreté, consacrée par la loi n° 2007-211 du 19 février 2007, elle a révélé, à travers les expériences observées hors de nos frontières, sa pleine efficacité lorsqu'elle a pour assiette des biens immatériels financiers. / Immaterial assets are traditionally described either as intangible assets or as intangible or intellectual property, or else as operating assets, but most of those terms are not satisfactory. This class of assets actually suffers from a lack of definition. However, some people state that they represent a form of economic wealth, a fantastic source of credit for the debtors, and a guarantee of safety for the creditors. And yet, French legislation seems to have ignored immaterial assets.This is first and foremost demonstrated by property law. Indeed, according to article 516 of the Code civil, which states that « property is either movable or immovable », one has to admit that immaterial assets cannot validly be linked to movable or immovable property. Immaterial assets are opposed to material assets (property of nature, commodities, intellectual property of the public domain or without protection under intellectual property law). They refer to property that has an object and a corpus. Two types of immaterial assets have been identified: financial immaterial assets, bringing together currencies, units and shares in a company, financial instruments, liabilities and industrial immaterial assets, bringing together business and intellectual property.This is also demonstrated by conventional real-property surety law. The surety law reform project which was awarded to the Grimaldi Commission was the source of significant hope. It had only been rarely amended since the inception of the Code civil and the structure was weakening and needed updating. This weakening had three main grounds : readability first, in particular since conventional real-property surety law on immaterial assets had developed outside of the Code civil, efficiency and capability of the contemplated systems regarding the preservation of the interests of the debtor and the creditor. Practice and doctrine had been denouncing such complexity for long and were calling for amendments. Unfortunately, order n°2006-346 of March 23rd 2006 reforming surety law didn't restore confidence. By creating the lien as the conventional real-property surety on immaterial movable assets without creating a consistent system, it has only emphasized the obvious concerns and critics.However, we are convinced that French law has the means that are essential to save this subject. Indeed, the new system of pledge, as amended by order n° 2006-346 of March 23rd 2006, now has a system that is suitable for industrial immaterial assets. As for the “fiducie-sûreté”, established by Act n° 2007-211 of February 19th 2007, it has revealed that, through the experiences observed abroad, it is fully efficient when it deals with financial immaterial assets.

O ESPAÇO COMO OBRA: Ações, Coletivos Artísticos e Cidade é uma reflexão a respeito dos processos de criação e impacto social das ações dos coletivos artísticos Contrafilé, Frente 3 de Fevereiro e Política do Impossível de São Paulo e GAC de Buenos Aires, que começaram a atuar em meados dos anos 1990. A dissertação foi desenvolvida a partir de diversas vozes, que se complementam e entrecruzam: uma voz narrativa, que vai apresentando descobertas feitas em minha atuação como artista no espaço urbano e que surge de uma dimensão local, inclusive íntima, chegando a uma voz mais \"reflexiva e acadêmica\"; vozes da grande mídia; as vozes dos próprios trabalhos artísticos apresentados; vozes dos coletivos, quando são utilizados como referências teóricas; e, por último, vozes de pensadores que de alguma forma influenciam o meu pensamento e o do movimento cultural do qual fazem parte as práticas urbanas aqui analisadas. O intuito é compreender como as intervenções urbanas, ao mesmo tempo, resultam e geram uma rede de afetos e significados e evidenciam a emergência de uma subjetividade política contemporânea que passa, necessariamente, por discutir e concretizar políticas de representação, relação, subjetivação e modos de vida alternativos aos impostos pelo neoliberalismo. Interessa, portanto, pensar como acontece e toma corpo a potência crítica situada deste tipo de resistência, configurando formas atuais do fazer político no contexto específico e complexo da cidade como escala e espaço referencial. O estudo se desenvolve como uma investigação ativa e participante de diversos trabalhos realizados pelos coletivos e através da qual me interessa observar essas ações/intervenções em seu poder disruptivo, ou seja, em sua capacidade de presentificar acontecimentos que de alguma forma desestabilizem representações sociais e sensações prévias. E que, ao evidenciar a possibilidade de fazê-lo, trazem à tona um saber circulatório que difunde a imagem produzida em situação representação direta e a experiência do \"público\" como obra. / The Space as theWork:Actions, Art Collectives and City is a reflection on creation processes and social impact of actions carried out by art collectives Contrafilé, Frente 3 de Fevereiro and Política do Impossível dfrom São Pauloe, as well as GAC Buenos Aires. These collectives have began work in the 1990\'s. The dissertation stems from multiple voices, which cross over and complement each other: a narrative voice that unravel discoveries made in my work as an artist in the urban space, emerging from a local and also intimate dimension, arriving at a \"more reflexive and academic\" voice; voices of the mainstream media; voices of the works studied; voices of the collectives, when they are mobilised as theoretical refeb rences and, lastly, voices of the thinkers who somehow influenced my thinking and voices of the cultural movement of which the urban practices under scrutiny are part of. The aim is to understand how the urban interventions at once result from and generate a network of affects and meanings, as they render evident the emergence of a contemporary political subjectivity. This subjectivity necessarily involves discussing and carrying out a politics of representation, relation, subjectivation and modes of life alternative to those imposed by neoliberalism. Under this light, the dissertation seeks to think how the critical potency situated in this kind of resistance can be embodied and takes place at all, configuring current forms of political making, in the specific and complex context of the city as scale and as referential space. This study developed as an active and participating investigation of several works carried out by the collectives. I seek to observe the actions/interventions in their disruptive power, i.e., in their capacity to render present events that somehow destabilise social representations and previous sensations. And which, as they evidence the possibility of being carried out, they bring to the surface a circulatory knowledge that diffuses the image produced in situation direct representation and the experience of the \"public\" as work.