The aim of this thesis is to present the literary activities of Zdenek Kalista in 1919- 1924, a period which saw him becoming one of the most prominent figures of the young post- war generation of writers. The research has been primarily based on materials that had been so far ignored or insufficiently reflected (literary remains of Zdenek Kalista, Antonin Matej Pisa, Cestmir Jerabek, Lev Blatny, Jiri Wolker etc., as well as articles from contemporary magazines and daily newspapers) together with Kalista's memoirs. The thesis is divided into five chronologically sorted parts, each reflecting one year of Kalista's life and work and relating them to the literary situation of that time, while continuously describing them from multiple perspectives. In the first part, Kalista's personal life and the activities of the youngest literary generation are analyzed. After that, the focus shifts to the contemporary art groups (Umelecky klub, Literarni skupina, partly Devetsil) and Kalista's relationship with his contemporaries and various key figures of the literary scene (Jiri Wolker, Antonin Matej Pisa, Frantisek Gotz, Stanislav Kostka Neumann etc.). Then, Kalista's activities in the respective years are analyzed, be it for his work in contemporary magazines (Den, Orfeus, Host), his books (collections of...

The work of Antonin Tenzer involves his activities in the period of six decades in the turbulent era of development of Czechoslovak history of architecture. The architect is known as one of the representatives of the avant-garde and High functionalism, author of Faculty Hospital in Prague-Motol and other medical buildings or the Jalta hotel, a building associated with socialist realism. In my dissertation, I tried to map the main typological fields that Antonín Tenzer used in his work. My goal was to widen the portfolio of famous buildings, and on the basis I defined the architect's major themes and current issues, which were responded in his effort. I based primarily on historic materials - published projects, plan documentation and writings of public and private archives, as well as personal heritage, made available to me by the architect's family. In particular thematic areas I focused on Tenzer's vital and successful implementation of competition projects, which he later followed and extended. In addition to impulses from his collaborators, debates and majors works of those days I was looking for elements and methods of Tenzer that influenced the architecture environment. I observed the influence of historical events and the socio-political situation in his work, for example, housing issues in...

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / A obra de Hélio Oiticica põe em questão o estatuto, as instituições, as fronteiras e a relação da arte com à politica, do neocroncretismo ayté a arte ambiental, passando pelas conexões com a antiarte e a arte conceitual. O campo de análise se concentra no período em que Hélio Oiticica se envolve com a comunidade da Mangueira, no Rio de Janeiro, anos 1960 e 1970. Esta dissertação se propõe a analisar as intervenções e as propostas de Hélio Oiticica do ponto de vista dos processos sociais que lhe animam e são reconfigurados no ânimo da produção de subjetividade. Assume como enfoque uma transição das práticas e processos artísticos entre o marco da modernidade e da pós-modernidade, que tem consequências diferentes matrizes de produção social, economia do desejo e formas de organização política. Em especial, sob o ponto de vista da resistência, é aprofundada a diferença conceitual entre uma arte voltada à afirmação de identidades e à emancipação, em relação ao marco pós-moderno dos processos de singularização e diferenciação constituinte / In the word of brazilian artist Helio Oiticica, there is a systematic questioning of art pratices, conditions, limitations and connections, concerning its relations to politics, both in the micropolitical level and institutional frame. This research goes from Brazilian art movement of Neoconcretism to the holistic Environmental Art, and also through a (briefly discussed) journey upon Antiart and Conceptual Art. My analysis focuses Mangueiras favela community imbrications, where Helio Oiticica did much experimentation along the sixties and seventies. I endeavor to address social processes that animate and reconstruct, from conceptual point of view, his Works in relation to subjectivity production.It assumes as its central point a certain periodization, from modern matrices of art process to post-modern, in the sense established by Brazilian art critic Mario Pedrosa. Specially, under the light of resistance, I wish to examine how Helio Oiticica, both in his writings and his actual Works, he strives to radicalize differentiation and singularisation processes within artistic, political and social interwoven matrices of poor communities in Brazil

O interesse desta tese reside na persistência da questão da \"arte brasileira\" na crítica de Frederico Morais (Belo Horizonte, 1936) em três períodos distintos de sua produção, os quais nomeio, de acordo com o comportamento de seu discurso: \"Contestação\" (1966-1973), \"Dúvidas\" (1974-1984) e \"Conciliação\" (1985-2012). Parte-se do fato de que a formulação de um debate em torno da definição do que seria uma \"arte brasileira\" surgiu ainda no século XIX - embora já tivesse se delineado em termos literários no século anterior - e foi se transformando com o passar do tempo, mantendo-se vivo, porque ainda em discussão, durante o século seguinte. Nesse contexto, procurou-se identificar, na produção de Frederico Morais, a sobrevivência da questão do nacional e, ainda, mostrar de que maneira ele se utiliza de uma prática constante de revisão da história - por meio de textos publicados na imprensa, mas também manuais, cronologias e \"enciclopédias\" - para manter essa discussão em pauta. No Capítulo 1 (\"Contestação\") analiso o primeiro período de sua crítica de arte, caracterizado pela adoção de um discurso assertivo e militante, em defesa de uma \"arte brasileira\" como um espaço privilegiado para a experimentação e a resistência. Nessa época, ele apoia incondicionalmente a \"vanguarda brasileira\", movimento que, segundo o autor, estaria sediado no Rio de Janeiro, expandindose a partir da antiga capital para o restante do país. No Capítulo 2 (\"Dúvidas\") trato de sua fase de transição, em que se revela certo desencanto com a situação da vanguarda no Brasil. No Capítulo 3 (\"Conciliação\") abordo o segundo período do crítico, quando se consolida o processo em que Frederico Morais abdica da defesa do \"novo\" enquanto principal saída para a \"arte brasileira\", passando a revisar tanto suas posições como parte significativa da história da arte brasileira. Nesse percurso, seus vai adotando posturas mais conciliatórias, menos intransigentes para o que entende como possibilidades de uma produção artística de caráter brasileiro. Esta tese procurou demonstrar que é possível encontrar ecos do desejo por uma arte nacional em críticas, ensaios e artigos que atravessam as três fases do percurso de Morais. Buscou ainda apontar as contradições e fragilidades que surgiram entre duas posturas distintas do crítico em relação à produção artística do período no país: uma, a escolha pelo que seria \"genuinamente nacional\", aproximando-se de algo que singularizasse a arte produzida no Brasil em relação àquela que se apresentava assertivamente como internacional; outra, colocandose contra o risco do isolamento, do atraso e do descompasso em relação ao mundo, adotava a opção por se deixar levar pelas correntes artísticas que vinham dos Estados Unidos e Europa. / The interest of this thesis lies in the persistence of the question of Brazilian art in the criticism produced by Frederico Morais (Belo Horizonte, 1936) in three distinct periods of his production, which I have named, according to the behavior of his discourse, as \"Contestation\" (1966-1973), \"Doubts\" (1974-1984) and \"Conciliation\" (1985-2012). The starting point resides in the debate formulated around the definition of what Brazilian art is, which emerged in the nineteenth century -- although it had already been delineated in literary terms in the previous century --, a debate that changed over time, kept alive in discussion throughout the following century. In this context, the thesis aims to identify the survival of this question of the national in Morais\' production. It also proposes to show -- through texts published in the press, but also in chronologies, manuals and \"encyclopedias\" -- how he makes constant use of historical revision to keep the discussion relative to Brazilian art on the agenda of public debate. In Chapter 1, I analyze his first period, characterized by the assertive and militant discourse adopted in defense of Brazilian art as a privileged space for experimentation, resistance and, above all, for the avant-garde. In his view, this movement was based in Rio de Janeiro, expanding from the former capital to the rest of the country. In Chapter 2, I deal with his transitional period, which reveals a certain disenchantment with the situation of the avant-garde in Brazilian art. In Chapter 3, I address the critic\'s second period, which consolidates the process in which Morais abdicates the defense of the \"new\" as the principal \"way ahead\" for Brazilian art, and comes to revise not only his positions, but a significant part of the history of the Brazilian art as well. Over the course of time, Morais gradually adopts positions that are less intransigent and more conciliatory regarding what he understands as possibilities for an artistic production with Brazilian character. This thesis has attempted to demonstrate the possibility of finding echoes of this desire for a national art in criticism, essays and articles that intersect the three phases in the trajectory of Frederico Morais. It has also sought to indicate the contradictions and fragilities that emerged between two distinct stances adopted by the critic in relation to the period\'s artistic production: the option for what could be considered \"genuinely national\", making advances in the direction of something that would singularize it in relation to an art that presents itself assertively as international; or the option to counter the danger of isolation, backwardness and being out-of-step with the world, by choosing to be carried along by the artistic currents imported from the United States and Europe.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / A obra de Hélio Oiticica põe em questão o estatuto, as instituições, as fronteiras e a relação da arte com à politica, do neocroncretismo ayté a arte ambiental, passando pelas conexões com a antiarte e a arte conceitual. O campo de análise se concentra no período em que Hélio Oiticica se envolve com a comunidade da Mangueira, no Rio de Janeiro, anos 1960 e 1970. Esta dissertação se propõe a analisar as intervenções e as propostas de Hélio Oiticica do ponto de vista dos processos sociais que lhe animam e são reconfigurados no ânimo da produção de subjetividade. Assume como enfoque uma transição das práticas e processos artísticos entre o marco da modernidade e da pós-modernidade, que tem consequências diferentes matrizes de produção social, economia do desejo e formas de organização política. Em especial, sob o ponto de vista da resistência, é aprofundada a diferença conceitual entre uma arte voltada à afirmação de identidades e à emancipação, em relação ao marco pós-moderno dos processos de singularização e diferenciação constituinte / In the word of brazilian artist Helio Oiticica, there is a systematic questioning of art pratices, conditions, limitations and connections, concerning its relations to politics, both in the micropolitical level and institutional frame. This research goes from Brazilian art movement of Neoconcretism to the holistic Environmental Art, and also through a (briefly discussed) journey upon Antiart and Conceptual Art. My analysis focuses Mangueiras favela community imbrications, where Helio Oiticica did much experimentation along the sixties and seventies. I endeavor to address social processes that animate and reconstruct, from conceptual point of view, his Works in relation to subjectivity production.It assumes as its central point a certain periodization, from modern matrices of art process to post-modern, in the sense established by Brazilian art critic Mario Pedrosa. Specially, under the light of resistance, I wish to examine how Helio Oiticica, both in his writings and his actual Works, he strives to radicalize differentiation and singularisation processes within artistic, political and social interwoven matrices of poor communities in Brazil

A pesquisa aqui apresentada centra-se na movimentação cultural conhecida como Movimento Mangue ou Manguebeat, que tomou forma no Recife, na década de 1990. Mais especificamente, estudam-se as obras das duas bandas de maior repercussão dentro do movimento: Chico Science & Nação Zumbi e Nação Zumbi. Através de sua descrição e estudo, deseja-se verificar se é possível caracterizar o Manguebeat enquanto um movimento de vanguarda. Para isso, busca-se nos estudos de Guillermo de Torre, Peter Bürger, Gonzalo Aguilar, Antonio Candido, Ferreira Gullar, entre outros críticos, uma definição para o conceito de vanguarda. Depois, procura-se traçar de que modo os conceitos angariados norteariam as análises desta dissertação. A seguir, verifica-se a possível existência de duas vertentes dentro do Manguebeat: uma representada por Chico Science & Nação Zumbi e por Nação Zumbi e seu conceito de Mangue; e outra que agrupa os demais artistas participantes da movimentação. Ao fazer esta distinção, é possível compreender as diferenças entre o trabalho das duas primeiras bandas e o dos outros vários artistas que também se integraram ao movimento. Será visto que Chico Science & Nação Zumbi e Nação Zumbi concentram em suas canções um ideal vanguardista bastante relevante, especialmente no que concerne o afastamento do particular, conforme noção de Guillermo de Torre. Foi organizado, então, um corpus de canções dessas bandas, de modo a verificar quais características vanguardistas encontradas nos estudos acerca do tema estariam presentes em suas obras. Busca-se também mostrar alguns aspectos e trabalhos mais relevantes dentre aqueles que fazem parte do segundo conjunto de artistas, que também fizeram parte do movimento, mas compartilhando com as primeiras apenas a noção de liberdade criativa, e não todos os preceitos do conceito de Mangue. Acredita-se que foi possível determinar que tanto o trabalho de Chico Science & Nação Zumbi e Nação Zumbi, quanto o Manguebeat como um todo, podem ser considerados movimento de vanguarda, graças, entre outros aspectos, à ruptura que provocam em seu contexto cultural. / The research presented here is focused in the cultural movement known as Movimento Mangue or Manguebeat, which appeared in the Brazilian city of Recife in the 1990’s. More specifically, the works of the two most important in the movement bands is studied: Chico Science & Nação Zumbi and Nação Zumbi. Through its description and study, it is wished to verify if it is possible to characterize Manguebeat as an Avant-garde movement. In order to achieve that objective, we will analyze the studies of Guillermo de Torre, Peter Bürger, Gonzalo Aguilar, Antonio Candido, Ferreira Gullar, and other critics, searching for a definition to the concept of Avant-garde. Afterwards, we will trace in which ways the concepts raised will guide the analysis of the thesis. Hereafter, a possible existence of two sides inside Manguebeat will be verified: one represented by Chico Science & Nação Zumbi and Nação Zumbi and their concept of Mangue; and another one that groups the other artists that took part in the movement. By making this distinction, it will be possible to understand the differences between the work of the two first bands cited and that of the other artists that also joined the movement. It is observed observed that Chico Science & Nação Zumbi and Nação Zumbi concentrate in their songs an Avant-garde ideal quite relevant, especially in what concerns the rejection of what is particular, following the notion of Guillermo de Torre. A corpus will then be organized, formed by songs of these two bands, in order to verify which Avant-garde characteristics found in the studies of the theme would be present in their works. It is also our intention to show some aspects and more relevant works among those that are part of the second group of artists: those who took part in the movement, but only sharing with the first two the notion of creative freedom, and not the whole concept of Mangue. It is intended then to determine whether both the works of Chico Science & Nação Zumbi and Nação Zumbi and Manguebeat as a whole can be considered Avant-garde, thanks to, among other aspects, the break they bring to their cultural context.

Abstract The author Markku Lahtela was a central figure in the 1960’s generation rebellion, called the spirit of the 60’s, that criticised the basic values of the old generation and through which the young artists presented their avant-garde ideas. The study focuses on the early 1960’s. The primary data is provided by Lahtela’s second novel called Se and its manuscript. The novel deals in an original way with issues such as the sexual revolution and sexual morality, which were popular themes in the 1960’s. As a secondary source of data, the study also deals to some extent with the rest of Lahtela’s production. The substantial topic is the problematics of change in the 1960’s that arose as a result of modernisation, which only then gained momentum in Finland. The research approach is contextual in that the discussion is based on the postmodern viewpoint. Context is understood as consisting of elements of cultural dialogicality thematised by the author through individuation, which is to be seen in the dialogue of his books. The study focuses on the extraliterary historical context. Among the contexts of the 1960’s, attention is paid mainly to the crisis of representation caused by the changes, by interpreting its commentary and attempts to solve it in Lahtela’s texts. Despite the focus on the extraliterary historical context, textual dimensions are also taken into account in the interpretations. I also discuss to some extent the conditions through which it is possible in literary research to find intermediate standpoints to overcome the opposition between textuality and reality. In the interpretation of the extra- and intraliterary dialogues in Lahtela’s texts, the tools used include the alter ego, the textual “I” and, in neutral cases, the narrator. The novel Se not only participated in topical cultural and literary dialogue, but also reformed Finnish prose by representing autobiographical materials in a fragmentary and fictitious manner. The discussion also shows that Freudian psychoanalysis has contributed significantly to both Se and Lahtela’s production in general. The same also applies to Friedrich Nietzsche’s philosophy of life; some of his ideas have directed the discussion of moral issues characterised by Lahtela’s books and the search for an alternative (sexual) morality. / Tiivistelmä Kirjailija Markku Lahtela oli keskeinen hahmo vanhan polven perusarvoja arvostelleessa 1960-luvun sukupolvikapinassa, jota nimitettiin 60-lukulaisuudeksi ja jossa nuoret taiteilijat esittelivät avantgardistisia ideoitaan. Tutkimuksen ajallinen pääkohde on 1960-luvun alkupuoli. Primaariaineistona on Lahtelan toinen romaani Se ja sen käsikirjoitus. Teos käsittelee omaperäisesti muun muassa seksuaalista vallankumousta ja seksuaalimoraalia, jotka olivat 1960-luvun muotiteemoja. Sekundaariaineistona tutkimuksessa käsitellään jonkin verran myös Lahtelan muuta tuotantoa. Substantiaalisena aiheena on 1960-luvun muutosproblematiikka, joka syntyi Suomessa vasta tuolloin voimistuneen modernisaation vaikutuksesta. Tutkimukseni lähestymistapa on kontekstuaalinen siten, että tarkastelut pohjaavat myöhäismodernin näkökulmaan. Kontekstin ymmärrän koostuvan kulttuurisen dialogisuuden elementeistä, joita kirjailija tematisoi teostensa dialogina näkyvässä individuaatiossaan. Tutkimuksessani korostuu ulkokirjallinen historiallinen konteksti. 1960-luvun konteksteista olen päähuomion kiinnittänyt muutosten synnyttämään representaation kriisiin tulkitsemalla Lahtelan teksteistä sen kommentointeja ja ratkaisuyrityksiä. Siitä huolimatta, että tutkimuksessani painottuu ulkokirjallinen historiallinen konteksti, otan tulkinnoissani huomioon myös tekstuaalisia ulottuvuuksia. Lisäksi selvitän jonkin verran niitä ehtoja, joiden vallitessa kirjallisuuden tutkimuksessa voidaan löytää välittäviä kantoja tekstuaalisuus–todellisuus–opposition ylittämiseksi. Tulkitessani Lahtelan tekstien ulko- ja sisäkirjallisia dialogeja ovat apuvälineinäni alter ego, tekstuaalinen minä ja kertoja neutraaleissa tapauksissa. Se-romaani paitsi osallistui ajankohtaiseen kulttuuriseen ja kirjalliseen dialogiin myös uudisti suomalaista proosaa representoimalla katkelmallisesti ja fiktiivisesti autobiografista materiaalia. Tarkastelut osoittavat myös sen, että freudilainen psykoanalyysi on ollut Se-romaanin ja laajemminkin Lahtelan tuotannon synnyn tärkeä innoittaja. Sama koskee Friedrich Nietzschen elämänfilosofiaa, jonka tietyt näkemykset ovat suunnanneet Lahtelan teoksissa keskeistä moraalikysymysten käsittelyä ja vaihtoehtoisen (seksuaali)moraalin etsintää.

Considéré depuis des siècles comme un sujet dénué de réflexion et d’autonomie, l’enfant comorien reste soumis à une protection spécifique communautaire. Celle-ci est complétée par une protection étatique inspirée des instruments juridiques relatifs aux droits fondamentaux de l’enfant qui la renforcent d’une manière constante. L’enfant comorien grandit dans une société multiculturelle, marquée par la pauvreté. La protection dont il bénéficie s’appuie à la fois sur les traditions éducatives propres aux Comores, et sur la modernité, représentée par les apports juridiques liés à la colonisation et à la ratification de textes internationaux. Notre thèse se propose d’analyser les droits de l’enfant comorien dans un contexte complexe, caractérisé par la pluralité des sources juridiques. De ce fait, nous avons choisi deux angles d’approche : d’une part, nous avons essayé d’analyser les droits de l’enfant en fonction de l’organisation de la société comorienne et des balises de la protection de l’enfant sur le plan de la juristique, de l’histoire du droit, de l’anthropologie, de la sociologie et de l’ethnologie. Ceci nous a également permis de réfléchir à la protection de l’enfant tout en tenant compte des deux systèmes (formel et informel). D’autre part, nous avons tenté d’analyser l’application de la CIDE dans une société multiculturelle dominée par l’oralité. Ont également été analysés les textes internes et internationaux, les acteurs de la protection de l’enfance et leurs failles. Cette étude prétend amener l’Etat et la société civile à réfléchir à un modèle optimal de protection qui mettrait en conformité le droit positif avec les conventions dûment ratifiées, tout en tenant compte des réalités du pays . Une telle hypothèse nous a conduite à proposer un réaménagement du droit positif en matière de droit de l’enfant afin de parvenir à une réforme tant législative que judiciaire et en conformité avec le droit international. / Regarded for centuries as a subject devoid of any reflection, Comorian children are protected by a specific type of community protection. This is complemented by protection from the state which, inspired by the legal instruments relating to fundamental rights of the child, reinforces this community protection in a consistent manner. Comorian children grow up in a multicultural society, marked by poverty. The protection offered to these children is based on both the Comoros’ own educational traditions, and on modernity, represented by legal contributions related to settlement and ratification of international agreements. Our thesis analyzes the rights of Comorian children in a complex environment, characterized by a plurality of legal sources. Therefore, we chose two angles of approach. Firstly, we analyzed children’s rights based on the organization of the Comorian society and the markers of child protection in terms of legal sociology, history, law, anthropology, sociology, and ethnology. This also allowed us to reflect on the protection of children taking into account both formal and informal systems. Secondly, we analyzed the implementation of the CRC in a multicultural society dominated by the spoken word. We also analyzed domestic and international texts; actor’s involved in child protection, and their flaws. This study aims to have the state and civil society reflect on an optimal model for protecting children that would comply with ratified conventions, all while taking into account the realities of the country. This hypothesis led us to propose a reform of the law regarding children’s rights to achieve both legislative and judicial reform, all in accordance with international law.

Puisque de plus en plus d’enfants sont exposés à la séparation de leurs parents, plusieurs d’entre eux doivent partager leur temps entre les logements et la supervision de leur mère et leur père. Qu’on nomme cette réalité « garde », « résidence » ou « temps parental », elle complique grandement la description et la mesure des structures familiales dans lesquelles évoluent les enfants. Dans ce contexte, la thèse comporte deux objectifs principaux. Le premier consiste à préciser l’évolution historique des différents concepts légaux et sociologiques en jeu et à montrer comment le flou terminologique entourant la garde entraîne des problèmes lors de la mesure des arrangements résidentiels des enfants. Pour exposer la problématique, je tente de déterminer la prévalence de la double résidence égalitaire en faisant une évaluation critique des sources de données disponibles au Québec et au Canada. En fin de compte, en raison des lacunes de ces diverses sources et de leurs résultats parfois divergents, il s’avère pratiquement impossible de répondre à la question : « Combien d’enfants vivent en garde partagée (ou en double résidence) ? ». Le second objectif, qui occupe la majeure partie de la thèse, vise à illustrer le caractère dynamique des arrangements de temps parental, un aspect souvent ignoré dans la littérature scientifique. À partir des données des treize premiers passages de l’Étude longitudinale du développement des enfants du Québec (ÉLDEQ) (n=2120), je distingue quatre arrangements de temps parental postséparation : 1) la résidence maternelle (avec peu ou pas de contacts père-enfant) ; 2) la résidence maternelle (avec contacts père-enfant réguliers) ; 3) la double résidence ; 4) la résidence paternelle. En ordonnant les informations disponibles à différents points dans le temps pour un même enfant, j’ai pu reconstituer des trajectoires de temps parental complètes. Les analyses réalisées sur ces trajectoires sont rapportées dans deux articles. Je m’intéresse, dans le premier article, aux caractéristiques familiales liées à l’établissement d’un arrangement donné au moment de la séparation ainsi qu’à la durée de cet arrangement. J’y montre par exemple que la part du temps parental assumée par le père au moment de la séparation est positivement associée au niveau de scolarité des parents, au travail à temps plein des mères et au sentiment de plaisir parental des pères. On y constate aussi que les arrangements initiaux ne sont pas tous aussi durables les uns que les autres. Même si les facteurs associés à cette durée sont plus difficiles à discerner, le niveau de scolarité des parents semble être important dans le processus. Dans le second article, je construis des tables de survie multiétats afin de résumer les trajectoires de temps parental de la perspective d’un enfant « moyen ». Je cherche entre autres à déterminer combien de temps les enfants passent dans chacun des quatre arrangements définis plus tôt et à identifier les facteurs sociodémographiques associés à cette répartition. J’y conclus que le temps passé en double résidence par un enfant moyen est faible, mais qu’il augmente avec le niveau de scolarité des deux parents. La double résidence est cependant une composante centrale de la paternité postrupture. Malgré une grande fluidité dans les trajectoires de temps parental, l’arrangement établi au moment de la séparation demeure un bon prédicteur de l’expérience parentale ultérieure. Les enfants initialement en double résidence, par exemple, perdent rarement contact avec leur père au cours des cinq années qui suivent la séparation, et ce, même si plusieurs d’entre eux finiront par habiter principalement avec leur mère. / As more children are exposed to the separation of their parents, many of them have to share their time between the homes and the supervision of their mother and father. Whether this reality is referred to as “custody”, “residence” or “parenting time”, it greatly complicates the description and measurement of the family structures in which children evolve. In this context, the thesis has two main objectives. The first is to clarify the historical evolution of the various legal and sociological concepts involved and to show how the terminological confusion surrounding child custody raises problems when trying to measure children’s living arrangements. In particular, I try to determine the prevalence of egalitarian dual residence by critically assessing the various data sources available in Quebec and Canada. In the end, because of the shortcomings of these various sources and their sometimes divergent results, it is virtually impossible to answer the question: “How many children live in shared physical custody (or dual residence) ?” The second objective, which comprises most of the thesis, aims to illustrate the dynamic nature of parenting-time arrangements, an element often overlooked in the scientific literature. With data from the first thirteen waves of the Quebec Longitudinal Study of Child Development (QLSCD) (n = 2120), I distinguish four postseparation parenting-time arrangements: 1) mother residence (with little or no father-child contact); 2) mother residence (with regular father-child contact); 3) dual residence; 4) father residence. By ordering the information available at different time points for each child, I was able to reconstruct complete parenting-time trajectories. The analyzes carried out on these trajectories are reported in two articles. In the first article, I look at family characteristics related to the establishment of specific arrangements at separation and at the duration of this arrangement. For instance, I show that the share of parenting time assumed by fathers following separation is positively associated with parents’ education level, mothers’ full-time employment and father’s feeling of parental enjoyment. The article also shows that initial arrangements are not all as durable as each other. Although the factors associated with this duration are difficult to identify, the parents’ level of education appears to be play an important role. In the last article, I build multistate life tables in order to summarize parenting-time trajectories from the perspective of an average child. I try to determine, inter alia, how much time children spend in each of the four arrangements defined earlier and what sociodemographic factors are associated with this distribution of time. I show that time spent in dual residence by an average child is low, but that it increases with the education level of both parents. Dual residence is, however, a central component of postseparation fatherhood. Despite great fluidity in parenting-time trajectories, arrangements established at separation remain good predictors of the subsequent parenting experience. Children initially in dual residence, for instance, seldom lose contact with their father during the first five years following separation even if many of them eventually end up living mainly with their mother.

La politique de l'Union européenne a suscité des débats académiques sur son impact potentiel et l'effet qu'elle exercerait sur les processus politiques au niveau national. les récentes réformes des politiques familiales allemandes et anglaises peuvent être attribuées à l'influence de l'Union européenne au travers de la participation dans les processus d'apprentissage initiés par cet organisme. Cette étude examine les éventuels glissements dans les objectifs des politiques familiales vers la politique de l'Union européenne. / The policy of the European Union has packed academic debate on its potential impact on the political process at national level. Recent reforms of german and english family policies can be attributed to the European Union influence through its participation in the learning process initiated by this organisation. This examines the potential shifts in the objectives of national families to European Union objectives.