This thesis examines the history of the cultural heritage site of Eketorp, a prehistoric ring-fort, on the island of Öland, Sweden. The archaeological excavations at Eketorp, which began in 1964, lasted for a decade and soon turned into one of the largest archaeological research projects in Sweden. The scale and the implementation of the excavations, as an interdisciplinary and international research project, fostered a whole generation of archaeologists and resulted in numerous research publications. After the excavations the archaeological site was transformed into a full-scale archaeological reconstruction by the Swedish National Heritage Board. Since the mid-1980s the site has been a popular tourist attraction and open-air museum. The history of the site itself connects to several academic fields, including archaeology, history of archaeology, cultural heritage and museum studies. Through Ludwig Fleck’s concept thought collective and Donna Haraway’s situated knowledge, which are used as analytical tools, the aim of this thesis is to explore how these different fields interacted throughout the history of Eketorp. Further, the analytical tools are used to highlight how these interactions have generated notions of time, space, and gender. The study takes an interdisciplinary approach with the history of Eketorp analysed in three analytical chapters, each of them with different chronological and empirical focus. First, Eketorp is explored as a contemporary museum space through ethnographic fieldwork. Second, archive material is used to analyse how the archaeological excavation and the following archaeological reconstruction were conducted during the 1960s and onwards. Third, scientific texts are used to analyse how interpretations of Eketorp as a prehistoric site has changed. The concluding chapter integrates the results of the three chapters in order to critically examine how notions of time, space and gender interconnect between these fields. Illustrated by a wide chronological and interdisciplinary approach, the central argument of the thesis is thus that the Eketorp thought collective and thought style, intimately connected to hierarchies in academic practice, were created, performed, and maintained through several scientific and heritage institutions.

Au Maroc, la viande est un aliment qui est très valorisé socialement. A l'ordinaire, les ménages la consomment dès qu'ils en ont la possibilité. Toutes les célébrations de la vie collective impliquent sa consommation. A ce titre, la viande de mouton est particulièrement prisée. A raison de 3 à 4 kg/an/hab., selon les années, elle représente 20% de la ration carnée des marocains. On estime qu'un ovin est abattu pour chaque cérémonie de naissance et de mariage. Chaque année, lors de la Fête du Sacrifice, 5 millions de petits ruminants (un par foyer) sont sacrifiés et consommés. Le Maroc est aussi un pays d'élevage des ovins. Celui-ci constitue une activité cruciale pour les foyers ruraux. Afin de mieux comprendre comment s'articulent les préférences des consommateurs et la production de viande et d'animaux de sacrifice, nous nous sommes intéressé aux comportements des acteurs concernés. Nous donnons une description détaillée des pratiques de consommation (cuisine, commensalité, manières de table) et de distribution des viandes, des pratiques d'élevage des animaux, de la manière dont les acteurs apprécient les qualités des produits et échangent ces derniers. Cette description est fondée sur des matériaux collectés lors d'observations et par des entretiens approfondis avec des consommateurs, des bouchers, des chevillards et des éleveurs (à Rabat, dans le Moyen-Atlas, à Ouarzazate). A l'aide des outils de la sociologie cognitive (R. Boudon) et de la sociologie interactionniste (H.S. Becker), nous formulons des hypothèses relatives aux motifs qui sous-tendent les actes et les préférences des acteurs. Nous montrons que les concepts de « croyance normative » et « croyance positive » sont opérationnels pour l'étude de la formation des préférences et du fonctionnement des chaînes alimentaires. Ils nous permettent d'aboutir à des conclusions pratiques dont peuvent faire usage les personnes en charge de l'élaboration des politiques de l'élevage au Maroc.

<p>Agrarna politika vlasti u periodu od 1945-1950. godine je<br />shodno ideolo&scaron;kim određenjima, bila usmerena na promenu<br />dru&scaron;tvenih odnosa na selu. Međutim, osim ideolo&scaron;kih<br />razloga ne treba zanemariti činjenicu da je usitnjen zemlji&scaron;ni<br />posed već ispoljio mnoge slabosti i da su u uslovima<br />uvećane potražnje za poljoprivrednim proizvodima ti problemi<br />dodatno ubedili vlast u neophodnost koncentracije<br />zemlje i formiranja krupnih, pre svega, zadružnih gazdinstava.<br />U cilju realizacije tog cilja, primenjene su rigidne<br />ekonomske i političke mere, naročito na prostoru Vojvodine<br />među kojima je bilo i brutalnih metoda izrazito oprečnih<br />tradicionalnim vrednostima i etičkom kodeksu očuvanom u<br />seoskim sredinama. Ovakva agrarna politika izazvala je<br />veliko nezadovoljstvo selja&scaron;tva i veliki pad poljoprivredne<br />proizvodnje. Razni vidovi opstrukcije velikog dela stanovni&scaron;tva<br />prema državi i strah od gladi u jeku sukoba sa SSSRom,<br />ubedili su partijsko rukovodstvo zemlje u neophodnost<br />promene dotada&scaron;njeg odnosa prema poljoprivredi i selja&scaron;tvu.<br />Mada se nije lako odustajalo od politike kolektivizacije, gore<br />navedeni razlozi doveli su do njenog napu&scaron;tanja već<br />1950. godine, a zadružni sistem od 1953. godine transformisan<br />je u ekonomski racionalnije organizacije. Ove promene,<br />nisu značile i kraj primene revolucionarnih mera na<br />selu. One su posebno nagla&scaron;ene 1953. godine ograničenjem<br />privatnog poseda na 10 hektara po domaćinstvu.<br />Ipak, agrarna politika KPJ od tada se razvija na principima<br />većeg uvažavanja selja&scaron;tva i uspostavljanja ekonomske<br />saradnje sa privatnim posedom. Novu politiku karakteri&scaron;e<br />dobrovoljnost kooperacije i značajnije ulaganje u prerađivačku<br />industriju i poljoprivredu proizvodnju.</p> / <p>Agrarian policy of the Government in the period from 1945<br />to 1950, according to ideological determinations, was<br />pointed to the changes of social relations in a village. However,<br />beside ideological reasons, it should not be neglected<br />the fact that fragmented land property had already shown<br />many weaknesses and that in the circumstances of higher<br />requests for agricultural products, those issues persuaded<br />the Government in the necessity of gathering land and<br />forming large collective economies. In order to realize that<br />goal, rigid economic and political measures were taken,<br />especially in the territory of Vojvodina, some of them very<br />brutal, totally opposite to traditional values and ethical codex<br />preserved in rural areas. This agrarian policy caused<br />great discontent among peasantry and huge decline of agricultural<br />production. Different ways of obstruction by people<br />towards the state and the fear of hunger in the middle<br />of the conflict with Soviet Union (USSR), persuaded the<br />Party leader-ship of the State in the necessity of changing<br />the relation towards agriculture and peasantry.<br />Even though it was not easy to give up the policy of collectivization,<br />reasons mentioned above brought to it&#39;s abandonment<br />in 1950, and collective economy sys-tem was<br />transformed in 1953 into economically more rational organizations.<br />Those changes did not led to the end of use<br />revolutionary measures in a village. They were even emphasized<br />in 1953 by limiting the private properties to 10<br />hectares per house-holds. However, agrarian policy since<br />that period was developing on the principles of higher respect<br />of the peasantry and establishing cooperation with<br />private property. New policy was characterized by willingly<br />cooperation and significant investment in manufacturing<br />industry and agrarian production.</p>

Le droit français des procédures collectives a connu pas mal de modifications ces dernières années. La profession d’administrateur judiciaire pour sa part, n'a également pas cessé d’évoluer avec des succès et des échecs qui ont attiré notre attention. Il s’agit d'examiner cette évolution pour la modernisation de la profession dans le contexte actuel de la mondialisation. En droit chinois il n’existait pas une vraie loi sur les procédures collectives au sens strict avant la publication de la nouvelle loi du 27 août 2006 sur la faillite d’entreprises. Par rapport à l’ancienne loi de 1986, la nouvelle loi adoptée après 12 ans d’élaboration, est venue apporter des changements importants et constitue un effort majeur pour constituer un système juridique correspondant au développement vers une économie de marché. Parmi de nouveaux régimes établis par la nouvelle loi 2006, nous notons que la mise en place du régime d’administrateur de faillite est un des plus remarquables. Toutefois étant un régime établi dans le droit de la faillite, qui lui- même est apparu assez récemment, le dispositif ne peut que fournir un cadre juridique pour l’administrateur de faillite. Pour autant, la recherche sur l’administrateur de faillite, s’investissant d’un rôle très important, dans les procédures collectives chinoises est sans aucun doute un sujet nécessaire et urgent. Espérant pouvoir faire progresser le régime chinois d’administrateur judiciaire vers une profession libérale juridique en s'inspirant de l’expérience française, nous traitons successivement la nature juridique de l’administrateur judiciaire du point de vue historique et de droit positif, les conditions d’accès aux fonctions d’administrateur judiciaire, ainsi que sa rémunération, ses fonctions, et sa responsabilité en droit français et en droit chinois. / In the last years, the French and Chinese Bankruptcy law has been quite changed. So has the profession of « Judicial administrators » (administrateurs judiciaires), with more or less success. Both the successes and failures of these changements have drawn our attention. Our scope is to analyse the evolution of this profession in the perspective of its modernisation in the today's context of a global economy. There was no specific Chinese Bankruptcy law until the publication of the new law of August 27th 2006 on Enterprise Bankruptcy. The new law which has been prepared for 12 years has brought some remarkable improvements to the existing law of 1986 and has been a major effort to build up a complete legal system in line with the modern open market economy. One of the most remarkable features of the new 2006 law has been the implementation of the « Judicial administrators » profession. Nevertheless, the « Judicial administrators » profession, who was established within the Bankruptcy Law, which has itself been defined quite recently, must only be considered but as an initial framework for the profession. Yet, as the « Judicial administrators » plays an important role in the Bankruptcy Law, making research on this subject appears to be both necessary and urgent. Our hope is to help transforming the « Judicial administrators » profession into a « liberal profession », similarly to their equivalents in the French system. We therefore analyse successively the juridical nature of the profession, from an historical point of view and in the perspective of the « effective law » (droit positif), the access conditions to this profession, its remuneration, the involved functions and responsibilities in both the French and Chinese law.

Ce travail porte l’étude des innovations autour d’activités agricoles, notamment la valorisation de la culture du sésame considérée comme une culture de femmes dans l’Ouest du Niger. Pour appréhender les dynamiques en cours, l’étude procède d’une analyse des rapports de genre à travers les pratiques sociales et culturelles au sein du milieu concerné. L’analyse des processus d’émergence des initiatives collectives des femmes a permis de mettre en évidence des positions sociales mais aussi des capacités d’action ayant favorisé des reconnaissances institutionnelles. Les groupements constitués dans le cadre des activités maraîchères et de celles de la mise en valeur du sésame offrent un cadre d’apprentissage associatif favorable à la construction d’une identité collective. La mise en œuvre d’innovations techniques et les interactions qu’elles nécessitent permettent aux femmes l’acquisition de compétences contribuant à l’émergence d’une identité socioprofessionnelle. / This study is based on innovations in agricultural activities, notably the valorization of sesame cultivation which is considered as women’s activity in Western Niger. To understand the current dynamisms, this study proceeds by analyzing gender relationship through social and cultural practices within the study region. The analyses of the emergence of women’s collective initiatives permitted us to bring to light their social positions and their capacity to act has greatly favored their institutional recognition. The groupings involved in horticultural activities and those valorizing sesame offer a favorable learning framework for the construction of collective identity. The implementation of technical innovations and the necessary interactions as a result let women acquire the competence that contributes to the emergence of their socioprofessional identity.

Este trabalhou tomou como ponto de partida a presença, no meio artístico brasileiro, entre 2000 e 2015, dos assim chamados coletivos de artistas. Ele procurou circunscrever histórica e conceitualmente as \"práticas artísticas colaborativas\" e as \"estratégias de visibilidade\" desenvolvidas por esses agrupamentos de artistas \"emergentes\" - no contexto de seu envolvimento, entre 1999 e 2001, com os movimentos altermundialistas e antiglobalização, e, a partir de 2003, com movimentos sociais de luta por moradia - alinhando-se, ao menos discursivamente, com a perspectiva dos \"de baixo\". De outro lado, o trabalho também identificou o desenvolvimento simultâneo, \"pelo alto\", de um complexo de procedimentos curatoriais pautados por novos modos de apresentação (displays) de objetos artísticos em exposições de \"arte contemporânea\". Por meio dos novos procedimentos curatoriais, tanto a 27ª Bienal de São Paulo (2006) quanto as mostras de \"arte contemporânea\" do Museu de Arte do Rio (2013-2015) foram capazes de absorver e canalizar, em seus discursos, parte das demandas \"subalternas\" associadas à produção dos coletivos. Para refletir criticamente sobre esse complexo de fenômenos do campo artístico, a pesquisa procurou articular uma discussão atualizada em torno dos conceitos gramscianos de \"hegemonia\" e de \"revolução passiva\". Tais conceitos, formulados originalmente pelo pensador italiano Antonio Gramsci (1891-1937), têm sido reprocessados teoricamente, no debate da sociologia brasileira de extração marxista, para pensar o ciclo dito \"lulista\" do Brasil contemporâneo. Em síntese, uma vez verificada a absorção das práticas \"emergentes\" e \"colaborativas\" pelo circuito artístico local, este trabalho procurou estabelecer e questionar historicamente as contradições e possíveis confluências das \"estratégias de visibilidade\", associadas às demandas dos \"de baixo\", com o desenvolvimento combinado dos novos procedimentos curatoriais, operados \"pelo alto\". / This research was motivated by the raising of the so-called artist collectives in Brazilian art field, particularly between the years 2000 and 2015. The thesis aims to delineate conceptually and historically the \"collaborative artistic practices\" and the \"strategies of visibility\" carried out seemingly \"from below\" by these \"emerging\" groups of artists - engaged mainly with the alter-mundialization and anti-globalization movements between 1999 and 2001, and, since 2003, with social struggles for housing. Furthermore, this survey also realized the simultaneous development of a complex of curatorial proceedings \"from the top\", based on new modes of display artistic objects in \"contemporary art\" exhibitions. Through these new curatorial practices, both the 27th Sao Paulo Bienal (2006) and the \"contemporary art\" exhibitions held by the Art Museum of Rio (2013-2015) managed to absorb and convey, in its discourses, part of the \"subaltern\" demands brought forward in the work produced by the artist collectives. In order to critically reflect about this complex of phenomena in the art field, the research articulates a debate operating the Gramscian concepts of \"hegemony\" and \"passive revolution\". These concepts, originally formulated by the Italian thinker Antonio Gramsci (1891-1937), had been theoretically reenacted in the Brazilian sociological debate derived from a Marxist background, to think the so-called \"lulist\" cycle in contemporary Brazil. Finally, after verifying the absorption of the \"emergent\" and \"collaborative\" practices by the local art circuit, this research aims to delineate and problematize the contradictions, and possible confluences, between the \"visibility strategies\" coming \"from below\" and the combined development of the new curatorial proceedings \"from the top\".

Esta tese é uma investigação sobre um conjunto de mapas e diagramas produzidos por artistas e ativistas entre as décadas de 1960 e 2010, a partir de diferentes contextos de transformação social, política e econômica em momentos de crise, de conflito e de formas potenciais de resistência. Através de documentos como catálogos, manifestos, artigos, fotografias, documentários, obras de arte, reproduções de mapas e entrevistas, a pesquisa realiza uma análise sobre esse conjunto de mapeamentos desenvolvidos por três gerações de artistas. No primeiro capítulo, este trabalho examina os jogos e mapas realizados nos anos 1960 e 1970 pelo sueco-brasileiro Öyvind Fahlström (1928-1976) durante as tensões geopolíticas da Guerra Fria (1947-1991) e as mudanças estruturais e organizacionais do capitalismo global na década de 1970. No segundo capítulo, a tese discute a obra do norte-americano Mark Lombardi (1951- 2000), artista que, durante a década de 1990, procurou mapear com suas estruturas narrativas redes internacionais de poder e transações financeiras obscuras envolvendo bancos, governos e elites dominantes da sociedade neoliberal. O terceiro capítulo trata das práticas de contracartografia conduzidas entre os anos 1990 e 2010 pelos coletivos de arte ativista Bureau dÉtudes (França), Counter-Cartographies Collective (Estados Unidos) e Iconoclasistas (Argentina). Com base nas articulações entre arte contemporânea, ativismo político e cartografia crítica, a tese considera que os mapeamentos realizados por esses artistas-ativistas trazem experiências importantes de produção de conhecimento e contribuem para a visualização das relações de poder no mundo contemporâneo, opondo-se também aos mapas supostamente imparciais, objetivos e naturalizantes do mundo guiados por interesses corporativos, militares e governamentais. / This thesis is an investigation on a series of maps and diagrams produced by artists and activists between the 1960s and the 2010s, in different social, political and economical contexts of change and crisis, conflict and potential forms of resistance. Through the analysis of documents, catalogs, manifestos, articles, photographs, documentaries, art works, reproductions of maps and interviews, the research approaches mappings developed by three generations of artists. The first chapter examines the games and maps created in the 1960s and 70s by the Swedish- Brazilian artist Öyvind Fahlström (1928-1976), during the geopolitical tensions of the Cold War (1947-1991) and the structural and organizational changes in global capitalism in the 1970s. The second chapter discusses the works of the American artist Mark Lombardi (1951-2000), who, during the 1990s, has tried to map international power networks and obscure financial transactions involving banks, governments, and neoliberal elites, using narrative structures. The third chapter addresses counter-cartography practices developed between the 1990s and 2010s by activist art collectives Bureau dÉtudes (France), Counter-Cartographies Collective (United States) and Iconoclasistas (Argentina). Based on the interrelations between contemporary art, political activism and critical cartography, the thesis considers that the mappings produced by this activists-artists are important experiences of producing knowledge and visualizing power relations in the contemporary world, creating an opposition to supposedly neutral and objective maps created according to corporate, governmental and military interests.

A tese investiga as texturas teatrais produzidas no âmbito dos processos de criação colaborativa vivenciados por coletivos teatrais de Belo Horizonte, a partir de sua experiência de participação dentro do projeto Cena 3x4. O projeto, realizado de 2003 a 2005, pela Maldita Cia. em parceria com o Galpão Cine Horto, propunha a criação concomitante de quatro espetáculos teatrais por meio da pesquisa dos princípios colaborativos e do diálogo não somente criativo, mas também metodológico ocorrido entre os núcleos de criação compostos por grupos teatrais da cidade e por diretores e dramaturgos orientados por Antônio Araújo e Luiz Alberto de Abreu. A principal questão da tese concerne às possibilidades de texturas teatrais polifônicas que podem ser tecidas, tanto no plano enunciativo como no plano ficcional, em um processo de criação colaborativa. Ou seja, na medida em que o processo colaborativo garante aos criadores da cena um espaço de proposição eqüipolente, a partir de suas funções artísticas específicas, e privilegia o embate entre as matérias cênicas heterogêneas, ele como um sistema de criação polifônico resultaria, necessariamente, em uma dramaturgia também polifônica, cuja articulação textual tornaria visível tanto as marcas processuais quanto os rastros das vozes presentes na criação? Visando responder essas questões, examino o conceito de dramaturgia e texto, bem como as relações entre texto e cena no âmbito do pensamento teatral do século XX e da contemporaneidade e, por meio dos princípios colaborativos e das noções de polifonia, escritura e performatividade, analiso as relações entre os processos de criação investigados e as suas resultantes textuais. / The thesis investigates the theatrical textures produced within the scope of the collaborative creation processes lived by theatrical collectives from Belo Horizonte, taking into account their active experience in the Cena 3x4 project. The project carried out by Maldita Cia from 2003 to 2005, together with Galpão Cine Horto, proposed the simultaneous creation of four stage shows through the research of collaborative principles and a, not only creative, but also methodological, dialogue which took place between the creation teams, composed by theatrical groups of the town, and by directors and playwrights managed by Antônio Araújo and Luiz Alberto de Abreu. The main question of the thesis concerns the possibilities of polyphonic theatrical textures that can be woven, either on the enunciative level or the functional level, within a process of collaborative creation. In other words, as far as the collaborative process assures the scene creators some space from a equipollent proposition, considering their specific artistic functions, and favors the clash between the heterogeneous scenic subjects, would it as a system of polyphonic creation necessarily result in a polyphonic dramaturgy, too, whose textual connection would make both the processual marks and the traces of the voices present in the creation visible? Aiming at answering these questions, I examine the concept of dramaturgy and text, as well as the relations between text and scene in the scope of the 20th century and contemporaneity theatrical thought; and, by means of the collaborative principles and the notions of polyphony, scripture and performativity, I analyze the relations between the creation processes investigated and their textual outcomes.

Esta pesquisa pretende unir forças a outros trabalhos que, sob diferentes abordagens teóricas e empíricas, investigam formas alternativas de organização social e de produção, tomando como objeto os coletivos de trabalhadores-artistas no Brasil e em Portugal, com destaque para os coletivos teatrais. A noção de trabalhador-artista refere-se àqueles que têm consciência da sua condição de trabalhador e atuam estética e politicamente a partir dessa condição. Para compreender os sentidos desse coletivismo, utilizou-se uma estratégia metodológica que integrou a análise de fontes históricas, estatísticas e documentais, realização de um inquérito por questionário, entrevistas, observação participante e o aprofundamento de dois estudos empíricos. O coletivismo é analisado sob a dupla perspectiva das formas de organização coletiva da produção e das dinâmicas de ação coletiva, o que por sua vez se articula com o contexto geral das relações de trabalho e produção no neoliberalismo. A problematização de nossa abordagem situa-se entre o processo de precarização do trabalho, as estratégias de auto-organização e a transformação social emancipatória. / This research intends to join forces with other works that, from different theoretical and empirical approaches, investigate alternative forms of social and production organization, taking as object the collectives of artist-workers in Brazil and Portugal, notably the theater collectives. The notion of artist-worker relates to those who are self-conscious of their condition as workers and act politically and aesthetically from that condition. In order to understand the meanings of this collectivism, the methodological strategy integrated the analysis of historical, statistical and documentary sources, conducting a survey, interviews, participant observation and the deepening of two empirical studies. Collectivism is envisaged under the double perspective of the forms of collective organization of production and the dynamics of collective action, which in turn relates to the general context of work and production relations within neoliberalism. Our issue lies between the process of work precariousness, self-organizing strategies and emancipatory social transformation.

O presente trabalho tem por escopo constatar a existência generalizada do assédio moral em sua modalidade organizacional nos bancos e analisar como o movimento sindical da categoria bancária enfrenta o problema para poder perceber que as negociações coletivas são o palco adequado para resolver o problema. A apreensão jurídica do assédio moral organizacional, a análise transdisciplinar de sua ocorrência nos bancos e a crítica às negociações coletivas no Brasil e no setor serão analisados para que se visualize a hipótese. / Ce travail a pour objectif de constater l\'existence généralisée du harcèlement moral dans sa modalité organisationnelle aux banques et d\'analyser comment le mouvement syndical de la catégorie bancaire se trouve face à ce problème, pour pouvoir s\'apercevoir que les négociations collectives sont la scène adéquate pour le résoudre. L\'appréhension juridique du harcèlement moral organisationnel, l\'analyse transdisciplinaire de son occurrence dans les banques e la critique aux négociations collectives au Brésil et dans le secteur seront analysées pour que l\'hypothèse soit verifiée.