Mitl Valdez's film Los confines (1987) is an adaptation of several works of fiction by the Mexican author Juan Rulfo. The director chose to adapt two short stories ("Talpa" and "¡Diles que no me maten!") and an episode from the author's first novel, Pedro Páramo. Valdez's intent was to "capturar el sentido" of the Jaliscan author or, in other words, to remain faithful to certain elements of his writing while adjusting them to the filmic medium. The musical score of Los confines is the method of appropriation that this study endeavors to investigate, since it shares common themes, metaphors, and imagery with the source texts. The musical language of Los confines not only communicates meaning within the film, but echoes elements of Rulfo's writing as well. Musical motifs in the score evoke concepts and symbols that form part of the writer's fictive universe and illustrate how Valdez finds "un equivalente en la expresión cinematográfica" for Rulfian material (qtd. in Pelayo).

La thèse se propose d’étudier les conduites de certains professionnels du théâtre dans leur dimension interculturelle. Une observation de type qualitatif a été menée auprès d’une compagnie de théâtre occitan et d’un lieu de diffusion offrant une programmation méditerranéenne, tout deux situés à Montpellier. Une troisième structure théâtrale, installée en Région Provence-Alpes-Côte d’Azur, a complété l’enquête : cette compagnie crée des spectacles à partir d’échanges avec la Palestine. Une étude des conventions de ces entreprises théâtrales démontre un rapport à l’Autre privilégié. Cette parcelle du monde du théâtre élabore et expérimente une compétence de la frontière dans sa volonté d’échanges culturels. Cette compétence conforte le statut particulier du comédien comme citoyen suscitant l’’’éveil’’. L’analyse du financement de ces structures a permis en outre de préciser les positionnements et actions des différents partenaires publics. La place et la fonction de telles pratiques ont été confrontées à l’émergence d’une politique culturelle européenne / We conducted a qualitative observation, about a theater company of Occitanie, south of France and a theater production and diffusion company. Both are located in Montpellier and have regional and mediterranean culture as a core value. We completed the observation with a third theater company based in the Provence region : this company creates performances based on exchanges with Palestinia. Agreements used by these theater enterprises demonstrates a strong relationship with Alterity. The theater in this part of this art world builds and experiments a competence about the concept of border in its search for cultural exchanges. This competence reinforces the particular status of the actor in his role of citizen in charge of awakening for political and cultural identities. The analysis of the funding practices of these theater structures also allowed us to clarify the positioning and actions of the various parties, including public service parties. Finally, the place and the function of the above practices were confronted to the emerging European Cultural Policy