Ce mémoire porte sur le caractère heuristique et critique du discours utopique qu’il conviendra de mettre en lumière à travers les écrits du Sous-Commandant Marcos, écrits qui constituent un cas exemplaire des mécanismes que met en œuvre le discours utopique. Partant de la définition opératoire de l’utopie comme expression d’un imaginaire social qui relèverait d’une pratique utopique dont la fonction serait de critiquer le caractère idéologique des représentations spatio-temporelles induites par l’ordre dominant et, se questionnant par la suite sur la nature de l’ordre dominant contemporain et le caractère spatial de son hégémonie grâce aux travaux d’Henri Lefebvre et de David Harvey, il s’agira de montrer comment, au sein de ses textes, Marcos parvient à produire un espace représentationnel alternatif dans lequel opère un mécanisme de neutralisation des contradictions (Louis Marin), une véritable épochè, une suspension du jugement, seule condition de possibilité du dépassement des contraintes de l’ordre dominant dans le discours et les représentations. / This thesis focuses on the heuristic and critical character of the utopian discourse, as it will be demonstrated through the Subcomandante Marcos’ writings, which present an exemplary case of the mechanisms at play in the utopian discourse. Starting with the operational definition of utopia as an expression of a social imagination resulting from a utopian practice whose function would be to criticize the ideological nature of spatiotemporal representations imposed by the dominant order and, subsequently questioning the contemporary dominant order and the spatial nature of its hegemony with the help of Henri Lefebvre and David Harvey’s works, the objective will be to demonstrate how, in his texts, Marcos produces an alternative representational space in which a mechanism of neutralization of oppositions (Louis Marin), an epoché, a judgment suspension occur, that is the only condition of possibility for overcoming the dominant order constraints in the realm of discourse and representations.

Uppsatsen är en rumslig läsning av Ulla Isakssons Kvinnohuset (1952) där romanens rumsliga aspekter och Huset som motiv undersöks med narratologiska verktyg. Romanen diskuteras också utifrån rollteori och sin ideologiska kontext i det socialdemokratiska välfärdssamhället. Romanen kretsar kring några av de kvinnor som bor i “Huset” - ett kollektivhus för självförsörjande kvinnor. Triangeldramat mellan Tryggve (en regissör med en våning på Stan), Anna (som är hans fru men bor i Huset) och Eva (en skådespelerska och Tryggves nya älskarinna) är centralt i romanen då Tryggve ordnar en lägenhet åt Eva i Huset. Studien visar att det i Kvinnohuset finns en stark sammanlänkning av rumslig, social och känslomässig ordning. De rum de olika kvinnorna tillskrivs hjälper till att definiera både dem själva och deras relationer - i romanen finns det ett tematiserat samband mellan den plats där kärleksrelationer utspelas och den karaktär dessa relationer har. Trapphuset är det främsta rummet för interaktion mellan kvinnorna och därigenom ett rum där de tydligast kämpar om att definiera situationer och upprätthålla roller och masker. Huset fungerar som en viktig organiserande princip för romanen, vilket märks på fabulaplan men också genom att narrerandet placeras i Husets lägenheter, även när de händelser som beskrivs skett på andra platser. Huset beskrivs i romanen både som ett väsen och som ett begrepp för kvinnokollektivet. Att vara bosatt i Huset är i romanen starkt förknippat med att inneha en viss erfarenhetsposition - den erfarna och svikna kvinnans. I uppsatsen undersöker jag också konstruktionen av manligt och kvinligt i relation till hem och offentliga platser. Trots att kvinnorna inte bor tillsammans med män fokuserar de flesta av kvinnorna sin längtan på män, och flera av dem får under romanen tillfälle att agera värdinnor i det egna hemmet. / This thesis is a spatial reading of the Ulla Isaksson novel Kvinnohuset (first published in 1952) where the focus is on the spatial aspects of the novel and the House as a motif. Kvinnohuset is set in 1952 and revolves around a group of women who live in a residential building for single working women, Stockholm. The main plot is a love triangle between the director Tryggve, his wife Anna and his new mistress Eva, an actress. For the analysis I use contextualization on both an internallevel and an external level and an interdisciplinary selection of theories are used – performativity theory, spatial theory, narratology. The novel is also seen in relation to the historic context of socialdemocrat twentieth century Sweden. The house is found to function as a main organizing principle of the novel. The novel is also found to be a rich example of narrative space being intertwined with the social and emotional aspects of the text. The fabula revolves around the house – from Eva moving in to Anna being brought out – and narrating is often situated within the apartments, even when the events narrated take place in the city or elsewhere. The House is referred to as a creature, sometimes at the sametime referring to the collective of women residents as a social unit. The character of The House depends on the focalizor, and therefore shifts. Individual women characters' spaces are also used tocharacterize them and their relations – to the House, the novel and the narrative universe. The interplay between rooms and human relationships are thematized in the novel – each love affair isassigned its own space. The interaction in the stairways and the connection between the collectiveand the outside male world are also found to be central for the novel. In this thesis the construction of female and male in relation to homes and public space is also explored, since the novel is set in the 1950's when the idea of the woman as a housewifepeaked in popularity. The women are found to act as hostesses in their homes, using housework as acomforting practice in difficult situations.

The aim of this dissertation is to study urban domesticity in Polish film and literature against the background of the political and social transformations that have taken place in recent decades. The study begins with the so-called belle époque of the Polish People’s Republic and the decade of Edward Gierek, continues through the political upheavals, the period of martial law, and the system transformation of 1989 and the two following decades, which have been marked by the introduction of democracy, global capitalism, consumerism etc. The primary sources consist of almost thirty literary and cinematic works from various genres covering a period of forty years – twenty before the system change, and twenty after. Their common denominator is their setting in the socialist housing projects (blokowisko).  The dissertation places itself in the field of geocriticism and literary/cinematic spatiality. The object of the study is the ̒social space’ (Henri Lefebvre) of the urban home, and the main analytical frames are spatial representations and narrative space, which are viewed as important in shaping both character and plot. The analysis also draws from cultural theory by Michel Foucault, Marc Augé, Mikhail Bakhtin, Mircea Eliade, and Loïc Wacquant. The dissertation detects a shift in the representations of the urban home that indicates that the home has become more private and secluded after 1989, also suggesting that a spatial and social marginalization of the socialist housing projects has occurred. These findings are interpreted as consistent with theories in human geography on changes in the perception and experience of space due to global paradigm shifts and changes in the production system.

Ce mémoire porte sur le caractère heuristique et critique du discours utopique qu’il conviendra de mettre en lumière à travers les écrits du Sous-Commandant Marcos, écrits qui constituent un cas exemplaire des mécanismes que met en œuvre le discours utopique. Partant de la définition opératoire de l’utopie comme expression d’un imaginaire social qui relèverait d’une pratique utopique dont la fonction serait de critiquer le caractère idéologique des représentations spatio-temporelles induites par l’ordre dominant et, se questionnant par la suite sur la nature de l’ordre dominant contemporain et le caractère spatial de son hégémonie grâce aux travaux d’Henri Lefebvre et de David Harvey, il s’agira de montrer comment, au sein de ses textes, Marcos parvient à produire un espace représentationnel alternatif dans lequel opère un mécanisme de neutralisation des contradictions (Louis Marin), une véritable épochè, une suspension du jugement, seule condition de possibilité du dépassement des contraintes de l’ordre dominant dans le discours et les représentations. / This thesis focuses on the heuristic and critical character of the utopian discourse, as it will be demonstrated through the Subcomandante Marcos’ writings, which present an exemplary case of the mechanisms at play in the utopian discourse. Starting with the operational definition of utopia as an expression of a social imagination resulting from a utopian practice whose function would be to criticize the ideological nature of spatiotemporal representations imposed by the dominant order and, subsequently questioning the contemporary dominant order and the spatial nature of its hegemony with the help of Henri Lefebvre and David Harvey’s works, the objective will be to demonstrate how, in his texts, Marcos produces an alternative representational space in which a mechanism of neutralization of oppositions (Louis Marin), an epoché, a judgment suspension occur, that is the only condition of possibility for overcoming the dominant order constraints in the realm of discourse and representations.

Ce mémoire interroge le rôle des initiatives alimentaires communautaires dans l’expression du droit à la ville, tel qu’énoncé par Henri Lefebvre en 1968. Une étude de cas portant sur Notre Quartier Nourricier (NQN) (Centre-Sud, Montréal) a été conduite afin de vérifier en quoi ce projet, articulé autour du droit à l’alimentation, permet aux participant/es de se (ré)approprier leur quartier et de participer davantage à la vie communautaire. Notre collecte de données, basée sur 17 entretiens semi-dirigés et plus de 100 heures d’observation, révèle qu’en cherchant à récupérer une certaine prise sur le système alimentaire local, NQN crée des lieux hétérotopiques articulés autour de la production, de la distribution et de la transformation des aliments. Ces lieux deviennent ensuite le support de relations sociales riches, en dehors des valeurs capitalistes. Le sentiment d’appartenance au quartier est ainsi renforcé, voire créé, ce qui suscite chez les participant/es à NQN une envie de s’engager dans leur communauté. À notre avis, NQN construit ainsi un véritable habiter nourricier favorisant une certaine reconquête des conditions de la vie urbaine. Cet habiter nourricier permet de revendiquer collectivement un plus grand droit à la ville. D’un point de vue théorique, allier le droit à l’alimentation au droit à la ville permet de poser un regard holistique sur la condition urbaine – marquée par l’aliénation et tissée d’histoires de dépossession –, et de mettre en lumière les racines communes de la faim urbaine et de la restructuration constante de l’espace urbain : le capitalisme. / This thesis explores the role of community food initiatives in the expression of the right to the city, as envisioned by Henri Lefebvre in 1968. We conducted a case study on Notre Quartier Nourricier (NQN) (Centre-Sud, Montreal) to verify if this project, articulated around the right to food, allows participants to reclaim their neighbourhood and participate more in community life. Our data collection, based on 17 semi-structured interviews and more than 100 hours of observation, revealing that by seeking to recover a certain reward on the local food system, NQN creates heterotopic places articulated around food production, distribution and transformation. These places become the support of rich social relations, outside of capitalist values. The feeling of belonging to the neighbourhood is thus reinforced, even created, which produces, among the participants in NQN, a desire to take part in neighbourhood life. In our opinion, NQN is thus building a « habiter nourricier », which promotes a certain reappropriation of the conditions of urban life. This « habiter nourricier » makes it possible to collectively claim a greater right to the city. From a theoretical point of view, combining the right to food with the right to the city gives a holistic look at the urban condition – marked by alienation and woven with dispossession stories –, and highlights the common roots of urban hunger and the constant restructuring of the urban space: capitalism.

When the famous African-American actor and singer Paul Robeson played the lead in Shakespeare's Othello in London in 1930, tickets were in high demand during the production's first week. The critical response, however, was less positive, although the reviews unanimously praised his bass-baritone delivery. When Robeson again played Othello on Broadway thirteen years later, critics praised not only his voice but also his acting, the drama running for 296 performances. My argument concerning Robeson uses elements first noted by Henri Lefebvre in his seminal work, The Production of Space, while I also draw on Paul Connerton's work on commemorative practices. Using spatial and memorial theories as a backdrop for examining his two portrayals, I suggest that Robeson's nascent geopolitical awareness following the 1930 production, combined with his already celebrated musical voice, allowed him to perform the role more dramatically in 1943.

本論文探討英國劇作家凱洛•邱琪兒之《九重天》以及《頂尖女孩》兩劇中深具顛覆性的時空手法。本論文由五章組成。第一章回顧多年來相關的眾多評論角度。第二章援引巴赫汀(Mikhail Bakhtin)的時空型(chronotope)概念探討兩戲中時空融匯的現象，尤其是劇中人物心理、身體狀態，戲劇時空，以及外在社會文化時空背景，三者之間緊密的互動。兩齣戲各別有著兩個不同的時空型：《九重天》第一幕代表的是性別角色僵化的時空型，第二幕則代表了1979年當時社會上傳統性別角色開放且迅速轉變的狀態；《頂尖女孩》則透過一對姐妹Marlene與Joyce對映出當時兩種不同的女性生活，一個是典型八零年代柴契爾主義的事業女強人，一個則是在此種政經趨勢下卻相對更加弱勢的傳統女性。 第三章則探討兩劇第一幕呈現長久以來隱藏空間當中的性別歧視。透過女性地理學者(feminist geographical theorist)之觀點，筆者分析兩戲當中兩性間不同的空間體驗(spatial experience)，以及公/私領域之分界(private-public distinction)所暗藏性別歧視的空間隱喻(spatial metaphor)。當男性與冒險及旅行等等充滿能動性(mobility)的字眼連結，女性卻總是被動地與家庭空間緊緊連繫。邱琪兒在此揭露空間亦為不公平的性別政治當中之一環。 第四章則著重於分析《九重天》第二幕當中的公園場景，以及《頂尖女孩》第二、三幕的辦公室與廚房場景。首先援引傅柯(Michel Foucault)的異質空間(heterotopia)概念來討論各場景間複雜的鏡像與補償關係。透過空間理論學者昂希．列菲弗爾(Henri Lefebvre)以及抵抗地景(geographies of resistance)的空間生產理論分析邱琪兒如何透過呈現特定社會族群佔領特定空間的手法，企圖激進地改變現實當中此類空間的社會意義。 雖然距兩齣劇作首演的年代已有二十多年，但其中所探討之議題依然常見於現今二十一世紀的社會當中。邱琪兒預見了現今複雜的家庭狀態以及大鳴大放的同性戀運動。即使越來越多女性在政治界或是企業界嶄露頭角，世界上多數的女性依然掙扎於找尋工作與家庭之間的平衡點。 / This thesis is to examine Caryl Churchill’s subversive temporal and spatial devices on stage in Cloud Nine and Top Girls. The chronotopes of the two plays articulate how people’s states of beings interact with the external social and cultural conditions, especially during the 1980s in London. Both plays crystallize the space politics full of gender discriminations in the patriarchal society. In addition, Churchill’s dramatic devices are the subversive spatial practice that transforms the gendered spaces into the sites of resistance in order to manifest her protest and seeks more possibilities for the gender roles in the future. There are five chapters in this thesis. Chapter One is an introduction, including the overview of two plays and the review of numerous analyses in the past two and half decades. In Chapter Two, Churchill’s theatrical temporal and spatial devices, including setting, synchronism, and anachronism in Cloud Nine and Top Girls construct chronotopes that lay bare the special social and cultural condition in a certain historical moment. Those chronotopes demonstrate how Churchill unifies people’s internal states of being and the external political structures together. Moreover, by presenting the chronotopes, Churchill criticizes the slowness of the progress in gender politics and the possible backlash about women’s right in the 1980s. In Chapter Three, I analyze how the spatiality of patriarchy constructed by the private-public dichotomy in both Act Ones of Cloud Nine and Top Girls. The spatial experiences between men and women depicted in Act One of Cloud Nine illustrate the stereotypical masculinity and femininity in the Victorian age. The spatial metaphors about movement in Act One of Top Girls expose the strict boundary between the private and the public spaces, and foreshadow the importance of mobility as being a possible strategy to transgress the boundaries. Finally, Chapter Four is the analysis about how Churchill subversively and politically explores the possibility of creating new social spaces in the park space of Cloud Nine and the office space of Top Girls. Her theatrical strategies are potential spatial practices that create the rupture to transgress the unfair restrictions and discriminations in the patriarchal and heterosexual society. The final chapter concludes that Churchill’s dramatic devices about time and space are the subversive strategies to conduct her observations and criticisms about the unfairness in society.

本研究以日常生活為研究範疇，探討使用者的手機新聞接收實踐如何鑲嵌於日常節奏中，並重新釐清該如何理解如此經驗下的新聞。故以液態現代性為基本認識架構，重新詮釋新聞如何液化；接著，再從液態的時間經驗轉向節奏，並從列斐伏爾物的節奏分析中發現「人－技術－日常節奏」的交互關係；最後以關聯性機緣了解節奏的生成，開展本文的分析架構：日常生活脈絡、主動揭露的技術、以及與整體媒介世界的關聯，進一步理解使用者殊異的手機新聞接收實踐。 因此，為了更深入瞭解使用者的個人經驗，以及如何詮釋意義，本研究採取深度訪談法。從中發現，當手機新聞進入使用者的日常生活，為了與原有日常節奏協調，使用者會形成一套調配時間與空間的邏輯，或建立特定接收規則，進而形構如「拿起來看一下」的接收節奏、和「都看討論比較熱烈」的篩選機制；這過程中，手機和接收平台的技術節奏、既有的功能條件、以及技術的社會意涵皆會影響使用者的手機新聞接收實踐；最後我們亦發現，如此接收實踐背後更隱含與整體媒介世界的關聯，且媒介世界的基礎結構亦會作為背景、認識架構滿實使用者自身的新聞接收經驗。 是以，我們不能只討論新聞本身，而需擴大到使新聞顯現的背景脈絡與整體環節，進而提出「新聞體驗」的想法，認為如此體驗是相應關聯下、具明確指向性的個人體驗，且是於世之中，由不斷連續的、當下的直接知覺形構而成，期盼能以新聞體驗的概念重新釐清新聞之於個別使用者的核心價值，這才是新聞不被淘汰的關鍵。 / This study aims at exploring how users’ daily reception of mobile news embedded in their everyday life. In order to clarify the essence of news, the study applies the concept of Liquid Modernity as the research framework, adopting Lefebvre’s rhythmanalysis to reframe the interrelationships of “human- technics- daily rhythm”. In response to this question, this study develops three analysis units: contexts of everyday life, self-revealed technics, and the interrelation to the whole media world. In-depth interview is conducted to deeply understand user experience. It is found that, when mobile news enters users’ life, users adjust their thinking patterns of zoning time and space, and restructure the rules of reception for integrating original daily pace. The technical rhythms of the mobiles and the reception platforms, the technical properties, and social affordances of the technics, all are the factors to affect users’ mobile news reception. This study also found that the practices implying the interrelation with the whole media world, and the whole media world would be the background to fulfill user experience of news reception. In conclusion, this study suggests that, ‘News’ is an activity of experience. This personal experience is instituted by continuing direct-perception at a given time. Individual users have been changed from passive acceptance to active experience and restructure the value of news. The concept of ‘news experience’ helps us think the meaning of news for each user; clarify how to ‘experience’ news rather than “reading” news.

Everyware, ubiquitous computing, connexion ambiante, condition hyperconnectée, hypersphère,… Dans la dernière décennie, les chercheurs de tous domaines confondus ont convoqué une série de termes très différents pour évoquer les conséquences de l’introduction des dispositifs mobiles ont engendrés sur notre manière de vivre et habiter l’espace. En poursuivant les réflexions entamées par les chercheurs appartenant au « tournant spatial », cette thèse se propose d’interroger l’imaginaire spatial dans la littérature numérique contemporaine tel que modifié par les nouvelles technologies ainsi que les modalités dont la littérature s’est emparé de ces technologies pour les détourner ou les intégrer en tant qu’éléments poétiques à part entière. Quel est le nouveau rapport à l’espace que dessinent le téléphone intelligent, les réseaux sociaux et la géolocalisation ? Comment la littérature se modifie-t-elle en devenant géolocalisée ? Qu’il soit question de l’espace urbain ou d’autres types d’espaces, cette thèse interroge l’intégration d’outils, de pratiques et de techniques numériques à l’écriture littéraire de l’espace. Au moment où la présence d’une technologie de géolocalisation participe également au processus de redéfinition de notre position dans le monde, en redéfinissant notre rapport à la fois personnel et littéraire à l’espace, comment notre position spatiale devient-elle une donnée partageable, conversationnelle et sémiotique – signifiant et matière poétique à part entière, tout autant que le langage ? / Everyware, ubiquitous computing, ambient connection, hyperconnected condition, hypersphere... In the last decade, researchers from all fields have used a series of very different terms to evoke the consequences of the introduction of mobile devices on our way of living and inhabiting space. By continuing the reflections started by the researchers belonging to the "spatial turn", this thesis proposes to question the spatial imaginary in contemporary digital literature as modified by the new technologies as well as the modalities in which literature has seized these technologies to divert them or integrate them as poetic elements in their own right. What is the new relationship to space that the smart phone, social networks and geolocation draw? How does literature change by becoming geolocated? Whether we are talking about urban space or other types of space, this thesis questions the integration of digital tools, practices and techniques into the literary writing of space. At a time when the presence of geolocation technology also participates in the process of redefining our position in the world, redefining our personal and literary relationship to space, how does our spatial position become a shareable, conversational and semiotic datum - a signifier and poetic material in its own right, as much as language?

Originating from a disenfranchisement with the contemporary definition and realisation of Westernised architecture as a commodity and product, this thesis seeks to explore alternative examples of positive socio-spatial practice and agency. These alternative spatial practices and methodologies are drawn from participatory and grass-roots development agency in informal settlements and contexts of economic absence, most notably in the global South. This thesis explores whether such examples can be interpreted as practical realisations of key theoretical advocacies for positive social space that have emerged in the context of post-Second World-War capitalism. The principal methodological framework utilises two differing trajectories of spatial discourse. Firstly, Henri Lefebvre and Doreen Massey as formative protagonists of Western spatial critique, and secondly, John F. C. Turner and Nabeel Hamdi as key advocates of participatory development practice in informal settlements. These two research trajectories are notably separated by geographical, economic and political differentiations, as well as conventional disciplinary boundaries. However by undertaking a close textual reading of these discourses this thesis critically re-contextualises the socio-spatial methodologies of participatory development practice, observing multiple theoretical convergences and provocative commonalities. This research proposes that by critically comparing these previously unconnected disciplinary trajectories certain similarities, resonances and equivalences become apparent. These resonances reveal comparable critiques of choice, value, and identity which transcend the gap between such differing theoretical and practical engagements with space. Subsequently, these thematic resonances allow this research to critically engage with further appropriate surrounding discourses, including Marxist theory, orientalism, post- structural pluralism, development anthropology, post-colonial theory and subaltern theory. 5 In summary, this thesis explores aspects of Henri Lefebvre's and Doreen Massey's urban and spatial theory through a close textual reading of key texts from their respective discourses. This methodology provides a layered analysis of post-Marxist urban space, and an exploration of an explicit connection between Lefebvre and Massey in terms of the social production and multiplicity of space. Subsequently, this examination provides a theoretical framework from which to reinterpret and revalue the approaches to participatory development practice found in the writings and projects of John Turner and Nabeel Hamdi. The resulting comparative framework generates interconnected thematic trajectories of enquiry that facilitate the re-reading and critical reflection of Turner and Hamdi's development practices. Thus, selected Western spatial discourse acts as a critical lens through which to re-value the social, political and economical achievements of participatory development. Reciprocally, development practice methodologies are recognised as invaluable and provocative realisations of the socio-spatial qualities that Western spatial discourse has long advocated for, and yet have remained predominantly unrealised in the global North.