La Pennsylvanie est un État complexe dans sa géographie économique, urbaine et raciale et, partant, dans les comportements électoraux de ses citoyens. Cette thèse examine la manière dont le Tea Party s’y est organisé et les modes de mobilisation qu’il a adoptés. Fort d’une tradition conservatrice souvent sous-estimée, l'État de William Penn constitue un bon observatoire pour étudier l'évolution et les mutations du mouvement conservateur et de son bras armé électoral, le Parti républicain. L’observation de terrain démontre que le Tea Party ne peut pas être appréhendé indépendamment d’une large galaxie de groupes nationaux et locaux, de think tanks, de médias avec lesquels il entretient des relations souvent conflictuelles.La thèse met en lumière la mutation d’un mouvement social médiatisé en une mobilisation politique dont les efforts se concentrent à l’échelle fédérée et locale. Rétifs à toute institutionnalisation, les groupes locaux voudraient restituer aux citoyens des processus de décision que l’appareil républicain aurait confisqués à son profit. Stratégie d’entrisme, pressions sur les élus, travail idéologique d’organisations de terrain, action concertée au Congrès ont fait glisser le centre de gravité du GOP vers un conservatisme pour lequel la capacité à nouer des compromis pour gouverner est disqualifiée. En dépit d’une force militante en recul, la nébuleuse Tea Party soumet idéologiquement le mouvement conservateur et le Parti républicain à de fortes pressions qui ne sont pas étrangères à la confusion qui caractérise la situation politique actuelle du pays. / Pennsylvania is a complex state in its economic, urban, and racial geographies, accordingly complex is the electoral behavior of its citizens. This thesis examines the ways in which Tea Party groups in Pennsylvania mobilized and organized. The often overlooked conservative tradition of William Penn’s state makes it an excellent case study to examine the evolution and mutations of the conservative movement and of its electoral arm, the Republican party. The fieldwork conducted in this thesis shows that the Tea Party cannot be understood without taking into account a great number of national and local groups, think tanks, and media personalities with whom it often has chaotic relationships.This work focuses on the evolution of a visible social movement into a political mobilization that targets the state and local levels. Local Tea Party groups, who are opposed to any form of institutionalization, fight to snatch power from the hands of the GOP establishment to give it back to the voters. Gradual infiltration of the Republican party, constant pressure on elected officials, ideological work conducted by advocacy organizations, and concerted action in Congress have driven the GOP towards a brand of conservatism that rejects any idea of compromise in governing. Despite a drop in the number of activists, the Tea Party movement has subjected the conservative movement and the Republican party to heavy ideological pressure, which partly explains the current confusion in the country’s political landscape.

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.