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As of the 19th C up until our present day, big cities have set the stage for many literary works, and Barcelona is no exception to this occurrence.  This study aims to address the urban imagery of a postwar Barcelona through the walks described in three novels, written by Spanish women writers. Each one will be analyzed both individually and contrastively. The necessary comparisons will be established and we will further prove the suitability of the theories of Certau, Lefebvre and Lynch. Finally, we will establish the appropriate conclusions derived from our investigation. / Las grandes metrópolis han sido escenario de multitud de narraciones desde el s. XIX hasta la actualidad y Barcelona no es ninguna excepción de ello. Este estudio se aborda el imaginario urbano de la Barcelona de postguerra en los paseos descritos en tres novelas de escritoras españolas, analizándolas individual y contrastivamente. Se procede a establecer las comparaciones necesarias y se observa la idoneidad de algunas teorías de Certeau, Lefebvre y de Lynch. Se aportan, por fin, las conclusiones pertinentes

社群網站集結了線下各種社會關係於平台中的特色，幫助使用者重整自我人際關係。社群網站中的各種功能得以應對不同社交情況，然而，根據東方線上的調查報告指出，以多重帳號分流管理人際關係的現象愈加普遍，社群媒體打破了虛實人脈的界線，在隱私權與形象管理等需求下，衍生出「雲端多重人格症」，出現多帳號、人際分流的狀態。 　　尤其當人們踏入職場後，將比起學生族群面臨更為多樣的社會交際互動。因此，本研究以擁有多個Facebook帳號的上班族為對象，探究他們在使用多重Facebook帳號時所採取的戰術策略、所面臨的人際關係與權力影響，以及在不同帳號中所呈現的自我形象。 　　本研究透過深度訪談法蒐集了八位在Facebook中經營多重帳號之上班族的使用經驗，發現上班族使用者們以創建多個Facebook帳號，作為閃躲Facebook意圖讓使用者間更加緊密連結的主要手段，藉由「與現實生活中可連結之假名」、「不完整的個人資料編輯」、「帳號間的互相封鎖或追蹤」等戰術，來對抗Facebook希望達到的人際關係串聯。另一方面，這種策略運用可被視為對de Certeau所提出之「戰略」與「戰術」的顛覆，Facebook使用者不僅運用戰術躲避網站空間的戰略，亦用以閃躲其他戰術使用者，形成另一種「戰略」與「戰術」的共舞狀態。此外，Facebook多重帳號的上班族使用者藉著「戰術」使用，不僅翻轉了原先de Certeau對「戰略」與「戰術」之二元觀點，更推翻費孝通早期所提出的人際親疏遠近模型。社群網路中的人際關係與權力影響充滿不確定性，親疏遠近的定義隨著不同使用者而改變，透過將不同層面之好友加入不同帳號的過程，上班族使用者能夠更彈性地控制這些關係中親疏遠近的變更，並在Facebook人際互動的過程中獲得更多自主權。同時，多重帳號的使用模式將傳統虛擬社群中人們得以自由探索自我之特性帶入與現實生活緊密相連的社群網站中，藉由在不同親疏關係的帳號中有不同程度的展演，上班族使用者得以同時在前／後台中現身，一邊整飾自我形象，一邊解放真實自我。 / Given the function of representing offline social relations, social media platforms, such as Facebook, facilitate users to maintain their online relationships based on different social conditions. According to a report of Eastern Online, some users, for the reasons of privacy and image control, manage their interpersonal relationship with multiple accounts, resulting in the online phenomenon of ‘multiple accounts, multiple relations’. This is especially true when students graduate from schools and start to work. Once becoming job employees, they have to encounter their bosses, colleagues, and other phatic relations, enhancing their desire for manipulating multiple accounts. Therefore, the purpose of this study is to examine Facebook users who have created multiple accounts for social groupings, to explore their tactics against the potential power subjects such as their parents, their bosses, or Facebook itself, and to discover how they formulate their images in different accounts. Eight employee subjects with multiple Facebook accounts were recruited for in-depth interviews. The study found that, although the Facebook policy encourages world-wide users tightly interconnected, users tend to escape from this strategy by using pseudonym, partial and falsified personal data, and block and trace tactics among Facebook friends. On the other hand, users not only use tactics against the strategy made by Facebook, but also against other tactic users such as their parents or elders who are relatively powerless in using Facebook and would like to tactically detect their children’s actions all the times. Such findings have challenged de Certeau’s theory of everyday life practice, since the binary distinction of strategy and tactic is no more warranted. The study also found the uncertainty of interpersonal relationship in Facebook. Thanks to Facebook design, users are allowed to join different friends into different accounts. In other words, they can define who are ‘close friends’ and who are ‘not so close’ online. And this definition may change from time to time. Such self-control provides users with flexibility to rewrite the closeness of their Facebook ‘friends’ in different life periods. Consequently, they rewrite the stable nature of Fei Hsiao-Tung’s sense of ‘relationship’, in which closeness and strangeness would not change easily over time. Finally, with the use of multiple accounts, the study found both front-stage and back-stage selves in Facebook, making image management more complex and increasing the possibility of liberating the true selves.

Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal / Pour respecter les droits d'auteur, la version électronique de cette thèse ou ce mémoire a été dépouillée, le cas échéant, de ses documents visuels et audio-visuels. La version intégrale de la thèse ou du mémoire a été déposée au Service de la gestion des documents et des archives de l'Université de Montréal.

Le constat de départ de cette recherche, souligné par la littérature, est celui du débat permanent au sein des organisations créatives, entre priorités artistiques et créatives d'un côté et intérêts économiques de l'autre côté. Nous interrogeons la manière dont les acteurs créatifs gèrent les contraintes économiques qui les entourent dans ce contexte marqué par la rationalisation. Au travers d'une étude qualitative et approfondie de l'industrie de la mode -entretiens et travail ethnographique, nous avons observé les pratiques quotidiennes des acteurs créatifs du secteur. Premièrement, et au travers du travail de Michel de Certeau, nous révélons ici les différentes tactiques et autres arrangements que ceux-ci développent vis-à-vis des contraintes, une forme d'action qui joue un rôle important dans les organisations créatives. Cette forme d'action, que l'on nomme trouble du créatif, entretient une ambiguïté autour du travail créatif en organisation, nécessaire pour créer. Ensuite, nous révélons les forces socio-matérielles et affectives qui constituent les pratiques créatives de façon intrinsèque, et soulignons le poids de telles forces dans la négociation permanente avec les motifs économiques. Subséquemment, nous proposons le concept de créativité-en-action, une manière à la fois incarnée, matérielle et affective d'agir créatif, au sein des industries créatives. / This PhD departs from the research literature that underlines the on-going debate arising in creative companies, between art/creative priorities on the one hand and economic/business interests on the other hand. We wonder how actors involved into the creative process deal with economic and rationalization constraints. Through an in-depth, qualitative study in fashion industry -interviews and ethnographic work, we investigate empirically the daily practices of creative actors. First, and notably through Michel de Certeau's work, we reveal the various tactics and arrangements that they develop towards such constraints, as a form of action that plays an important role in creative organizations. This form of action we call creative fuzziness maintains a necessary ambiguity around creative work. Second, we underline the socio-material and affective forces that inherently constitute creative practices, and how much such forces weigh in the economic negotiation. We then suggest the concept of creativity-in-action, an embodied-material and affective way of acting creative, within creative industries.

I use my art practice in conjunction with environmental behaviour research and Michel de Certeau’s practice of the everyday, to enable a re-examination of socially engaged art and through art to activate environmental behaviour change. Questions Clarify contemporary debate about demonstrable and desirable aspects and issues of socially engaged art practice and through my own practice identify its key characteristics. Examine the claim for change offered by many socially engaged practitioners. Context The socially engaged artist operates outside of the gallery, in everyday lives and real situations, often engaging in issues of meaning to society at large, where participation and facilitation of dialogue are the common characteristics. I identify participation, the ambition of social change, aesthetic representation and a failure to communicate beyond the participative event as key considerations. (Bishop 2004; Bourriaud 2002; Kester 2004; Kwon 2004) I propose an aesthetic of presence, to recognise community as a creative vernacular and as pooled knowledge. Drawn from Michel de Certeau’s research into everyday life (Michel de Certeau 1985; Michel de Certeau et al. 1998a) this also provides a refocusing on participation through conversation and describes rupture events, which signify change occurring. Method This thesis compares research in an alternative field, environmental behaviour, which investigates the impediments to change (the value-action gap), how change happens and identifies the change agent, as essential to encourage change at a personal level. (Ballard and Associates 2005b; Darnton et al. 2006) I use the value-action gap, the tension point between knowing about climate change and failing to make changes in our own behaviour, (Blake 1999; Darnton 2004b; Kollmus and Agyeman 2002) as a direct impetus to make participative artwork that examines the idea of a sustainable lifestyle. My art practice recognises a three-stage process: an admission of my own environmental behaviour; encouraging reciprocal participation and conversation and enabling personal reflection; representing conversation offering shared vernacular knowledge and enabling others’ engagement with the artwork and behaviour change. Equating the socially engaged artist with the environmental change agent, I synthesised the Model for Change Agents (S. Ballard and Ballard 2005a; Ballard and Associates 2005b) with research on participation in the arts (Matarasso 1997), as a basis for understanding how participation occurs and how change could happen in socially engaged artworks. An analysis of pilot artworks extends this model to identify the conditions for change, which also equate to the aesthetic aspects of the artwork, in a new model for Practice, Participation and Progression. Outcomes I propose key characteristics for socially engaged practice based on analysis of contemporary commentators and the model for practice, participation and progression. The role of the socially engaged artist is identified as comparable to the change agent. Representing conversation, addresses an issue of socially engaged practice to communicate beyond documentation of the event’s provocation and participation. I develop discussion of the discursive site beyond participation itself to a community of common sensibility and pooled knowledge as a demonstration of personal agency that is able to redefine the public ideal and challenge dominant culture. Re-presenting conversation is a means of sharing knowledge, stimulating change and expanding community. Contributing to environmental behaviour research my art practice reveals our ability to abstract behaviour, identifies our main areas of concern within lifestyle, our motivations for making change and the importance of the preservation of personal agency. I also comment on de Certeau, identifying the problems with individual resistance through the everyday, exploring mini-rupture events signaling change and proposing a reversal of the aesthetic of absence to an aesthetic of presence creating a new narrative that utilises personal agency.

This dissertation examines everyday life in selected works by Dorothy Richardson, Virginia Woolf, and Katherine Mansfield. It builds on recent scholarship by Bryony Randall (2007) and Liesl Olson (2009), who have argued that modernism marks a turn to the mundane or the ordinary, a view that runs contrary to the long-established understanding of modernism as characterized by its stylistic difficulty, high culture aesthetics, and extraordinary moments. This study makes a departure from these seminal critical works, taking on a feminist perspective to look specifically at how modernist authors use style to enable inquiry into women’s everyday lives during the modernist period. This work draws on everyday life studies, particularly the theories of Henri Lefebvre, Michel de Certeau, and Rita Felski, to analyze what attention to the everyday can tell us about the feminist aims and arguments of the literary texts. The literary works studied here include: Dorothy Richardson’s Pilgrimage (predominantly the fourth volume, The Tunnel), Virginia Woolf’s To The Lighthouse and The Waves, and Katherine Mansfield’s “Bliss” and “Marriage à la Mode.” This dissertation argues that these works reveal the ideological production of everyday life and how patriarchal power relations persist through mundane practices, while at the same time identifying or troubling sites of resistance to that ideology. This sustained attention to the everyday reveals that the transition from Victorian to modern gender roles was not all that straightforward, challenging potentially simplistic discourses of feminist progress. Literary technique and style are central to this study, which claims that Richardson, Woolf, and Mansfield use modernist stylistic techniques to articulate women’s particular experiences of everyday life and to critique the ideological production of everyday life itself. Through careful analysis of their various uses of modernist technique, this dissertation also challenges the vague or uncritical uses of the term ‘stream of consciousness’ that have long dominated modernist studies. This dissertation makes several original contributions to modernist scholarship. Its sets these three authors alongside one another under the rubric of everyday life to see what reading them together reveals about feminist modernism. The conclusions herein challenge the notion of an essentializing ‘feminine’ modernism that has largely characterized discussion of these authors’ common goals. This dissertation also contributes a new reading of bourgeois everydayness in Mansfield’s stories, and is the first to discuss cycling as a mode of resistance to domesticity in The Tunnel. It argues for the ‘mobile space’ of cycling as a supplement to the common symbol of feminist modernism, the ‘room of one’s own.’ The reading herein of Woolf’s contradictory approach to the everyday challenges the accepted view among Woolf scholars that her theory of ‘moments of being’ has transformative power in everyday life. This dissertation also makes a feminist intervention into everyday studies, which has been criticized for its failure to take account of women’s lives. / Graduate / 0593 / tarastar@gmail.com

Mémoire numérisé par la Direction des bibliothèques de l'Université de Montréal.

The purpose of this paper is to synthesize literatures on stress, social support, symbolic interaction, and de Certeau as they pertain to the recovery of a homosexually-identified individual from a homophobic interaction. A model of the initial stressful interaction as well as the interaction between a homosexually-identified individual and his socially-supportive network is posited with the consumption of culturally-disseminated roles and the salience of role-identities as the mechanisms by which it works. The model is then considered as a form of resistance in the light of broader gay liberation social movements. The study focuses on white, middle-class, American, homosexually-identified males in order to control for variations that might occur from variables of race, class, nationality, and gender. Queer theoretical, essentialist, and postpositivist realist perspectives on identity are considered. The thesis concludes with possible future directions for an empirical study using the model outlined above.

A travers l'oeuvre de Michel de Certeau, les manières de dire et de faire d'une part, dans le quotidien d'autre part dans les sciences humaines sont travaillées pour rendre compte d'une philosophie de la ruse. Sont mobilisés à cette occasion le constructivisme (Latour, Stengers), le pragmatisme (James), le structuralisme (Lacan, Barthes) et les philosophies de Deleuze et Foucaut.