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Contexte : Il subsiste encore des questionnements sur l’impact de la fréquentation d’un service de garde (SDG) sur le développement des enfants à court et long-terme. Tout d’abord, peu d’études analysent l’individu comme un « tout » multidimensionnel qui évolue dans le temps. Ensuite, très peu d’études ont considéré l’impact des SDG sur les enfants provenant de famille avec un haut statut socioéconomique (SSE). Finalement, nous connaissons encore très peu des mécanismes qui expliquent les associations à long terme entre les SDG et le développement de l’enfant. Objectif: L’objectif principal de cette thèse est ainsi d’étudier les associations entre l’exposition a certaines caractéristiques de SDG en petite enfance et le développement des enfants à court et à long terme avec une approche de parcours de vie centré sur la personne. Dans le premier article, nous étudions l’association entre les patrons de fréquentation de SDG et le profil de développement cognitif. Dans le deuxième article, nous étudions l’association entre l’utilisation d’un SDG et le taux de graduation du secondaire. Finalement, dans le troisième article, nous tentons de déterminer quel mécanisme explique l’association entre les SDG et le développement à long terme. Méthode : Les trois articles analysent les enfants provenant de l’Étude Longitudinale du Développement des Enfants du Québec (ELDEQ). Dans l’article 1, nous avons effectué une régression logistique multinomiale afin de quantifier l’association entre l’intensité et le type de SDG, et des trajectoires de développement cognitif en étudiant l’interaction avec le SSE et le sexe. Dans l’article 2 et 3, des données administratives ont été utilisées afin de déterminer si les enfants avaient obtenu un diplôme d’étude secondaire à 20 ans. Dans l’article 2, nous avons effectué une analyse de régression logistique afin de déterminer si l’intensité et le type de SDG étaient associés à la graduation. Dans l’article 3, la performance académique, les compétences sociales, et la santé sont examinées comme médiateur potentiel de l’association observé dans l’article 2. Résultats : Dans l’article 1, les enfants provenant de familles ayant un haut SSE qui fréquentaient un SDG en centre à partir d’environ 3 ans et demi avaient moins de chances de se retrouver dans la trajectoire de développement cognitif fort comparativement aux enfants étant dans un autre type de SDG. Dans les articles 2 et 3, les enfants ayant fréquenté un SDG en centre tôt (avant d’être bambin) avaient plus de chances de graduer du secondaire et la santé à 6 ans expliquait partiellement cette association. Implications: Cette thèse souligne l’importance de comprendre comment les caractéristiques des SDG et des enfants interagissent pour influencer différentes mesures du développement. Nos résultats suggèrent également que la santé pourrait être un mécanisme clé expliquant un plus haut taux de graduation pour les enfants fréquentant un SDG en centre tôt. Les études futures devraient élargir leur horizon afin d’inclure des variables comme la santé et afin de mieux comprendre comment les SDG affectent les enfants provenant de familles ayant un haut SSE. / Context : After years of research on the effects of child care services (CCS) on development, there remains questions regarding how CCS can affect development in the short and long term. Few studies have regarded the child as a whole, multidimensional being that evolves through time. Additionally, few studies have considered the impact of CCS on children from high socioeconomic status (SES) families. Finally, we still know very little about the underlying mechanisms that would explain how CCS can influence long-term development. Objective: The main objective of this thesis is therefore to study the association between certain characteristics of CCS use and child development in the short and long term using a life course, person-centered approach. The first article investigates the association between patterns of CCS use and profiles of cognitive development. The second article examines the association between patterns of CCS use and high school graduation. The third article investigates the underlying mechanisms that could explain the association between CCS and long-term development. Method: The three articles studied children from the Quebec Longitudinal Study of Child Development (QLSCD). In the first article, we performed a multinomial logistic regression to investigate the association between intensity and type of CCS through early childhood and trajectories of cognitive development while considering interactions with SES and sex. In articles 2 and 3, administrative records were used to determine whether students had obtained a high school diploma by age 20 years. In article 2, we used a logistic regression to determine if intensity and type of CCS throughout early childhood were associated with high school graduation. In article 3, academic performance, social skills, and health were examined as potential mediators of the association measured in article 2. Results: In article 1, children from high SES families who attended center-based CCS after 3 and half years were less likely to be in the high cognitive development trajectory, compared to children in all other types of care. In article 1 and 2, children who attended center-based CCS early (before toddlerhood) were more likely to graduate from high school and better health partly explained this association. Implications: This thesis underlines the importance of understanding how the characteristics of the CCS experience and of the child interact together to influence different measures of development. Our results also suggest that improved health following early center-based CCS attendance could be a key mechanism explaining positive long-term outcomes such as high school graduation. Future studies on the effects of CCS on development should broaden their scope to include new variables such as health and to better understand how CCS can affect children from high SES families.

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Whereas contemporary debates in Latin American studies addressing sovereignty often focus on dictatorships and the transitions to democratic governments in Latin America in the late twentieth century, Sovereignties Displaced: Avant-Garde Prose and Authoritarianism in Spain, Chile, and Argentina (1923-1936) adopts a transatlantic framework and directs critical attention to the cultural production of the interwar period. The historical and cultural events preceding and following 1929 are connected to World War I, the political crisis of democratic systems, and the global socioeconomic instability of the period. The three countries studied in the present work would be affected by these conditions, sharing an almost synchronic development of the authoritarian governments of Miguel Primo de Rivera in Spain (1923-1930), of Carlos Ibáñez del Campo in Chile (1927-1931), and José Félix Uriburu in Argentina (1930-1932). Additionally, the rise of authoritarianism and the decay of parliamentary institutions characterizing this epoch condition and inscribe the political essays and avant-garde novels composed by the intellectuals and writers analyzed in this study: from Spain, María Zambrano (1904-1991), Ramón Gómez de la Serna (1888-1963), and Benjamín Jarnés (1888-1949); from Chile, Alberto Edwards Vives (1874-1932), Juan Emar (1893-1964), and Vicente Huidobro (1893-1948); and from Argentina, Ramón Doll (1896-1970), Norah Lange (1905-1972), and Roberto Arlt (1900-1942). It should be noted that while considering national circumstances, my argumentation is divided into sections organized not by country, but rather by subject matter: a methodological and theoretical introduction, three analytical chapters, and concluding remarks. Established critical assessments of the avant-gardes, as offered by experts like Renato Poggioli (1907-1963), have underscored that democratic forms of government would provide the initial conditions of possibility of the historical avant-gardes. Other scholars, however, have recognized the interdependency of early twentieth century artistic discourses, revolutionary ideas, and authoritarianism. Informed by the theorization of sovereignty and democracy of Jacques Derrida (1930-2004), and the concept of community of Roberto Esposito (1950-), my research examines, in political essays and vanguard novels, the opposition of individual vis-à-vis collective forms of rule. The texts of my corpus manifest a recurrent concern relating to the tension between self-rule and collective-rule, a dynamic which organizes and destabilizes avant-garde formations themselves. Consequently, I analyze the philosophical and political ramifications of these authors’ defense, negation, or destabilization of the individual-collective opposition in the context of the deterioration of parliamentarism. In my first chapter, I examine the following essays that represent a range of political positions from the interwar years: Horizonte del liberalismo (1930) by María Zambrano, Liberalismo en la literatura y la política (Con una segunda edición de: “Democracia mal menor”) (1934, n/d) by Ramón Doll, and La fronda aristocrática en Chile (1928) by Alberto Edwards Vives. Framed by the sociological assessments of José Ortega y Gasset in La rebelión de las masas (1930), this chapter considers these essayists’ observations regarding mass politics and the role of political and economic elites. I foreground the ethical problems relating to these authors’ conceptions of the human subject and their concomitant formulations of governance, deriving from various ideological orientations. The essayists’ comparable anxieties regarding the limits of democratic politics reveal the complexities of the period and serve as a springboard for the subsequent chapters that study the politics of avant-garde novels. In my second chapter, shifting from essayistic discourse to vanguard fiction, I analyze philosophical oppositions central to the configuration of sovereignty, and to the theory and practice of democracy. These tensions organize various components of the following novels: Un año (1935) by Juan Emar (pseudonym of Álvaro Yáñez Bianchi), 45 días y 30 marineros (1933) by Norah Lange, and El caballero del hongo gris (1928) by Ramón Gómez de la Serna. I demonstrate that, although these narratives do not contain explicit references to the emergence of authoritarianism and the erosion of parliamentarism of the period, these narratives are structured by problems that have implications for a thinking of issues relating to sovereignty and democracy. These novels similarly present how individuals interact with groups, such that it becomes imperative to consider the political consequences of these relations in order to critique, for example, fraternalistic and nationalistic notions of political filiation. My final chapter studies the narrative presentations of radical political projects that aim to restructure society in Los siete locos (1929) by Roberto Arlt, La próxima (1934) by Vicente Huidobro, and Lo rojo y lo azul (1932) by Benjamín Jarnés. In contrast to the narratives included in the second chapter, these avant-garde novels establish an explicit dialogue with the conditions of crisis of the interwar years. From insurrections and utopian settlements, to revolutionary military revolts, these narrations depict small vanguard groups that propose various plots that seek to radically reshape the social order. Even though poetry is often positioned as the paradigmatic form of vanguard literary expression, my research theorizes the understudied phenomenon of Hispanic avant-garde prose. In particular, I account for the variation among avant-garde novels of the period, by sustaining that there are gradations of vanguard narrative depending on different factors that range from the transparency or opacity of linguistic expression, to the organization of the narrative material. In this sense, some novels considered vanguardist, while approaching a certain radicality in terms of language and form, may incorporate elements of the realist-naturalist novelistic tradition. Likewise, I assert the importance of attending to the varied uses of meta-reflexive procedures in Hispanic vanguard prose. Given their implicit and explicit interaction with contemporary historical conditions and political and artistic discourses of the 1920s and 1930s, I contend that the essays and avant-garde novels analyzed offer a fertile ground to examine the nature of sovereignty, while also presenting, in some crucial instances, potential images of what a democracy worthy of this name could look like. / Spanish

Ce mémoire se penche sur l’absurde dans les oeuvres de deux mangakas de l’après Deuxième Guerre mondiale, soit Tsuge Yoshiharu（つげ義春） et Sasaki Maki（佐々木マキ）. Cette étude comparative approche l’absurde comme expérience et tente de penser l’écho que le concept a pu ou non avoir chez les auteurs en question. Pour ce faire, une exploration de divers courants underground des années 50 et 60 au Japon (culture kasutori, nouvelle vague japonaise et avant-garde) est menée afin de retracer comment ceux-ci auraient éventuellement influencés les oeuvres des auteurs analysées, elles-mêmes s’inscrivant dans la culture manga underground de l’époque. Cette section sert également de point d’appui afin de réfléchir sur la place que l’absurde aurait pu prendre au sein de la société japonaise, voyant ses fondements basculer à l’aube de la défaite et contrainte à coopérer sous tutelle américaine. C’est dans cette optique que nous proposons une lecture de l’oeuvre culte de Tsuge Yoshiharu, Nejishiki (ねじ式) comme exprimant une nostalgie propre à une « sensibilité absurde », telle que théorisée par Camus, via le motif de la réparation du corps. Parallèlement à ceci, nous nous attarderons à l’oeuvre de Sasaki Maki au coeur de laquelle le nansensu, compris comme interjection ainsi que référence au courant de l’ero-guro-nansensu, s’érige. À la suite de quoi, nous conclurons sur une comparaison entre les deux expressions de l’absurde chez les mangakas étudiés de manière à dégager, également, ce qui différencie le nansensu de l’absurde. / This text focuses on the artwork of two mangakas of the post Second World War, Tsuge Yoshiharu（つげ義春） and Sasaki Maki（佐々木マキ）. This comparative study investigates the absurd through its experimental component and tries to think the resonance that the concept might have had (or not ) among the authors cited. To this effect, we will explore diverse movements of the 50’s and 60’s in Japan (kasutori culture, Japanese new wave and avant-garde) in order to retrace how they might have eventually influenced the works of the mangakas analysed, themselves being part of an underground culture in the manga community of the time. This section also serves as a starting point for reflecting on the place that the absurd had in the Japanese society of that era, the country being recently defeated and obliged to cooperate under the American occupation which will bring profound changes to the society. It’s in the same vein that we propose a reading of Tsuge Yoshiharu’s masterpiece, Nejishiki (ねじ式), as expressing a nostalgia specific to what Camus calls an « absurd sensibility » through the motive of a body in search of repair. Alternatively, we will analyse Sasaki Maki’s work in the heart of which nansensu, thought as an interjection and in reference to the movement of the ero-guro-nansensu, is present. Finally, we will conclude on a comparison between the two expressions of the absurd in Tsuge and Sasaki’s respective work in order, as well, to elucidate what distinguishes nansensu from the absurd.

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.

This thesis investigates possible connections between the music of Erik Satie (1866-1925) and the later surrealist movement, turning to Parade (1917) in a case study that seeks to understand surrealism in music through the idea of self-exploration, a well-established interpretive approach in studies of surrealism in the visual arts. This thesis seeks to redefine surrealism in music not as a set of concrete musical characteristics, but as a collection of techniques meant to evoke subconscious turbulence by blurring the boundary between the "outside" and "inside," between conscious and subconscious, leading to a new discovery of higher or deeper truth. Satie's music aligns with the psychoanalytic elements of the discourse on surrealism. Psychoanalysis, pioneered by Sigmund Freud (1856-1939) and his followers in the 1890s in Vienna, permeated France around the time of the creation of the work. It inspired early surrealist techniques like automatism, illusory formal structures, collage, and stylistic allusion. This thesis demonstrates that such techniques can be discerned throughout Parade, not only in Satie's music, but also in its scenario, staging, costumes, and choreography. As such, Parade was a foundational work for the surrealist movement, with Satie's music contributing with the other media equally to the emotional and psychological impact of the ballet.

Il y a peu d’hommes dans les milieux de garde et beaucoup de ceux qui optent pour le métier d’éducateurs finissent par l’abandonner. La recherche présentée dans ce mémoire vise à comprendre comment s’articule l’identité de genre des hommes qui deviennent éducateurs avec leur choix de carrière et leur expérience du métier. L’enquête par entretiens menée auprès de treize éducateurs montre que ceux qui optent pour ce métier le font souvent dans le cadre d’une réorientation ou alors qu’ils sont déjà dans la vingtaine et après avoir longuement hésité. Ils découvrent ce métier le plus souvent par l’entremise d’une femme de leur entourage, qui est elle-même éducatrice, et leur choix de carrière est généralement bien reçu par leur entourage. Ils apprennent à jouer leur rôle d’éducateur d’abord en observant et en imitant des femmes éducatrices, puis développent des manières de faire qui leur sont propres et qu’ils décrivent comme masculines et différentes des manières de faire des éducatrices. Ceux-ci se réfèrent à des modèles masculins pour jouer leur rôle d’éducateur et envisagent celui-ci comme centré sur le jeu, la communication et l’expressivité.

This thesis examines the relationship between the three artists' workshops Røde Mor (Red Mother), Folkets Ateljé (The People's Studio) and GRAS, who worked between 1968 and 1975 in Denmark, Sweden and Norway. Røde Mor was from the outset an articulated Communist graphic workshop loosely organised around collective exhibitions. It developed into a highly productive and professionalised group of artists that made posters by commission for political and social movements. Its artists developed a familiar and popular artistic language characterised by imaginative realism and socialist imagery. Folkets Ateljé, which has never been studied before, was a close knit underground group which created quick and immediate responses to concurrent political issues. This group was founded on the example of Atelier Populaire in France and is strongly related to its practices. Within this comparative study it is the group that comes closest to collective practises around 1968 outside Scandinavia, namely the democratic assembly. The silkscreen workshop GRAS stemmed from the idea of economic and artistic freedom, although socially motivated and politically involved, the group never implemented any doctrine for participation. The aim of this transnational study is to reveal common denominators to the three groups' poster art as it was produced in connection with a Scandinavian experience of 1968. By ‘1968' it is meant the period from the late 1960s till the end of the 1970s. It examines the socio-political conditions under which the groups flourished and shows how these groups operated in conjunction with the political environment of 1968. The thesis explores the relationship between political movements and the collective art making process as it appeared in Scandinavia. To present a comprehensible picture of the impact of 1968 on these groups, their artworks, manifestos, and activities outside of the collective space have been discussed. The argument has presented itself that even though these groups had very similar ideological stances, their posters and techniques differ. This has impacted the artists involved to different degrees, yet made it possible to express the same political goals. It is suggested to be linked with the Scandinavian social democracies and common experience of the radicalisation that took place mostly in the aftermath of 1968 proper. By comparing these three groups' it has been uncovered that even with the same socio-political circumstances and ideological stance divergent styles did develop to embrace these issue.

Centrée sur le droit pénal face à la migration transfrontière, la présente étude prend le parti d’intégrer en son sein deux formes de migration spécifiques : la migration irrégulière et la migration pour motif terroriste. Elle choisit également de faire du droit pénal son objet central. Ce choix conduit naturellement à renverser les perspectives initiales et à envisager, non les effets du droit pénal sur la migration transfrontière, mais l’inverse : les incidences de la migration transfrontière sur le droit pénal. À cet égard, migration irrégulière et migration pour motif terroriste ont en commun d’ébranler le droit pénal. Face à la migration irrégulière, le droit pénal subit une instrumentalisation : sa mobilisation n’est effectuée que dans une finalité administrative d’éloignement de la migration présente à la frontière (particulièrement dans les zones d’attente et frontalières). Plus encore, la politique de prévention contre l’immigration irrégulière développée à l’échelle de l’Union européenne a entraîné un véritable enchevêtrement de normes pénales, agissant dans de multiples espaces géographiques, dont certaines sont détournées afin d’entraver la migration en mer, et d’autres créées pour l’empêcher de se former sur terre, au sein des États tiers de départ. À l’inverse, le droit pénal apparaît absent face à la migration pour motif terroriste. Alors qu’il pourrait se saisir de ce phénomène, il semble au contraire dépassé par la montée en puissance de mesures de police administrative. De nature à anticiper d’une manière quasiment prédictive le risque terroriste porté par la migration transfrontière, ces mesures entraînent l’obsolescence du droit pénal. Penser le droit pénal face à la migration transfrontière permet enfin de révéler que la migration irrégulière et la migration pour motif terroriste sont liées par le droit, en étant envisagées sous le prisme du risque qu’elles portent en elle. / This study focuses on the link between criminal law and crossborder migration and will address two specific forms of migration : irregular migration and migration with a terrorist purpose. The main focus of this study is criminal law. This choice has resulted in a reversal of the original focus ; that is to say the effects of crossborder migration on criminal law as opposed to the effects of criminal law on crossborder migration. Both irregular migration and migration with a terrorist purpose undermine criminal law. With respect to irregular migration, criminal law is used as an administrative instrument to repel migrants from national borders particularly those in waiting zones and crossborder zones. Prevention policies against irregular migration implemented at the EU level have resulted in an entanglement of criminal norms, in various geographic areas, some of them were diverted to prevent migration by sea and other were created to stop migrants trying to enter by land via third countries. On the contrary, criminal law seems absent with regards to migration with a terrorist purpose. While it could effectively tackle this phenomenon, it seems overwhelmed by the rise of administrative police measures. These measures are able to anticipate in a quasi-predictive manner the risk of terrorism via crossborder migration and they in fact render criminal law ineffective. Thinking criminal law in the face of crossborder migration has allowed to reveal that irregular migration and migration with a terrorist purpose are legally contected, when they are considered through the prism of the risk conveyed.