This dissertation analyzes the possibilities and limits of art to perform upon borders in the Americas, and to open space for individuals to encounter, experience, and imagine them otherwise. I share the story here of my journeys with two touring transnational art groups working at and across borders: The Frontera Project and Maré from the Inside. The Frontera Project is a community-engaged bi-national performance of varied stories about the U.S.-Mexico border, that aims to complicate simplistic narratives of that border and build connection across difference. Maré from the Inside is an evolving multimedia exhibition addressing the Maré favela complex in Rio de Janeiro that grew out of a collaboration between 'outside' researchers and artists living in that neighborhood. I ask: how are artist/scholars experiencing and imagining borders? How does art perform and (re)shape social, cultural, and political borders? To this end, I place border/lands studies, performance studies, and feminist international relations in dialogue and draw on my ethnographic fieldwork across different sites in the United States, Mexico, and Brazil to examine the ways that politically engaged artists seek to navigate and shape multi-scalar borders. Overall, I argue that Maré and Frontera valorize artistic expression as a form of thought and open space for alternate border imaginaries that challenge existing social frames. They do this through varied performance strategies and processes of collective artmaking that involve careful consideration of the content of their work (whose stories to tell, what the stories contain, what images to use), in tandem with embodied performances that facilitate encounters at and across difference. I utilize collaborative, arts-based methods, drawing on the artists' insights, and further reflect on the possibilities of these methods to challenge prevailing approaches in international relations. / Doctor of Philosophy / This dissertation considers how art can shift the way people imagine the world around them. More specifically, I look at how art acts upon, or shapes, how people imagine borders of different kinds. This includes international boundaries, neighborhood divisions, and the contours of identity in North and South America. I investigate how two art groups have sought to create opportunities to re-think, experience, and imagine borders in new ways. The Frontera Project is a community-engaged bi-national performance of varied stories concerning the U.S.-Mexico border that offers daily-life narratives of that boundary and builds connection across difference. Maré from the Inside is an evolving multimedia exhibition addressing the Maré favela complex in Rio de Janeiro that grew out of a collaboration between 'outside' researchers and artists living in that neighborhood. In this dissertation I ask: how are these artist/scholars experiencing and imagining borders? How does art perform and (re)shape social, cultural, and political borders? Placing border/lands studies, performance studies, and feminist international relations in dialogue and drawing on visits to different sites in the United States, Mexico, and Brazil, I argue that Maré and Frontera valorize artistic expression as a form of thought and open space for alternate border imaginaries that challenge existing social frames. They do this through careful considerations of the content of their work (what the stories contain, whose stories to tell, what images to use), in tandem with embodied performances that facilitate encounters at and across difference.

In the global West, electronic devices such as smartphones and tablets have become ubiquitous tools for daily life. They facilitate communication, navigation, and commerce, among other online activities that generate unprecedented amounts of user data. This licentiate thesis examines the perspectives of scholars employing feminist approaches towards understanding and conceptualizing emergent technologies, particularly artificial intelligence, machine learning, and algorithms, which utilize data as a representation of realities and lived experiences. Grounding their perspectives in the feminist tradition of critiquing power structures and hegemonies, scholars offer valuable insights into envisioning technologically supported futurities that transcend mere inclusion and instead prioritize diversity. This text examines how scholars with feminist approaches understand the datafied present and envision futurities. This thesis also explores how potential risks and benefits of datafication, the translation of action into data, are expressed in data feminist texts.  In the first article, Feminist Data Studies and the Emergence of a New Data Feminist Knowledge Domain, a series of searches were conducted in databases and search engines, followed by citation chaining to collect relevant scholarly texts. Data collection was followed by visualization and close reading, while employing sociotechnical imaginaries as a conceptual lens. This approach facilitated an exploration of how scholars with feminist perspectives envision, interpret, and reimagine data-driven technologies. The second article, Utopian and Dystopian Sociotechnical Imaginaries of Big Data in a portion of the corpus, compared framings and perceptions of big data to those identified in the policies of the European Commission.  The summary essay underscores several key findings. Firstly, the nuanced implications of visibility and representation in the context of datafication. Particularly, the tension and the contrasting imperatives, to amplify the visibility of marginalized groups and to safeguard their privacy and mitigate potential harm. Secondly, the centrality of power dynamics and minority group vulnerability in discussions surrounding control over data flows. Finally, corrective approaches and feminist refusal were found to be the ways in which scholars are attempting to contribute to shaping more equitable and inclusive technological futures. These findings contribute to making visible the hegemonies and power imbalances in datafied systems from the perspectives of scholars with feminist approaches as well as to understanding how they are pushing back against them.

In the age of imperialism the British Empire imposed multiple projects of water management,like the Aswan Dam, on its colonies. These projects had to bring economic benefits to the colonies and coloniser while British politicians and engineers saw these projects also as an instrument to modernise and civilise the local people. This study explores the motivations behind the construction of the Aswan Dam in Egypt within the public discourse. Previous research has primarily relied on several political documents and technical reports about the Aswan Dam and has thus focused on the political and economic motivations behind the construction of the dam. Through economic and political perspectives these studies have characterised the dam as an economic project not only for the beneficence of Egypt, but also for the British Empire. This study, however, investigates newspaper articles from The Times, The Daily Telegraph and the Daily Mail between 1894−1902 from the planning to the completion of the dam. This is carried out through a discourse analysis to explore how the Aswan Dam was justified towards the public to add a new social-cultural perspective. Findings indicate that newspapers represented the dam within different social imaginaries as an achievement of British engineers, the British monarchy and the British Empire. The Aswan Dam was thus not only justified through economic purposes. The dam was rather represented in the newspapers as a way of bringing back the glory of Egypt and as “England’s greatest enterprise” that would make the British Empire surpass the great empires from the past.

Il est largement établi que l’innovation industrielle doit tenir compte des imaginaires, qui peuvent provoquer des effets d’engouements ou de rejets. Aussi les concepteurs s’efforcent-ils aujourd’hui d’en tenir compte dans les processus de conception. Une première logique consiste à considérer qu’il existe un imaginaire stable, exogène, qui peut être modélisé ex-ante et qui vient conformer les produits et services à concevoir. Peut-on envisager une seconde logique qui ne ferait pas l’hypothèse de stabilité et éviterait ainsi d’imposer aux concepteurs, comme aux usagers, une forme de fixation et d’enfermement ? La thèse porte sur l’étude de cette seconde logique qui endogénéise les imaginaires pour prendre en compte leur faculté de renouvellement. Elle aborde trois questions : Comment rendre compte de la dynamique de transformation des imaginaires en relation avec l’objet technique innovant ? Quelle ingénierie de stimulation des imaginaires pour nourrir les processus d’innovation ? Et enfin, quels dispositifs de gestion et pilotage managérial pour supporter collectivement une stimulation des imaginaires dans un contexte industriel ?Le travail s’appuie à la fois sur un effort de modélisation et sur un ensemble d’études et d’expériences empiriques conduites dans le domaine de l’automobile. Il aboutit à trois principaux résultats. Premièrement, à partir d’un objet technique concret, le Twizy de Renault, la thèse propose des critères originaux pour caractériser la transformation des imaginaires, grâce à : l’hétérogénéité, le nombre, les tensions et la non-polarisation des imaginaires. Deuxièmement, la thèse propose un modèle théorique de l’expansion des imaginaires par un processus de conception, doté d’une structure de connaissances Lacanienne, redéfinies par l’approche de conception – celles du « réel », du « symbolique » et de « l’imaginaire ». Le modèle permet d’analyser des situations empiriques et de formuler des hypothèses d’actions managériales. Troisièmement, les expérimentations menées sur quatre dispositifs collaboratifs, enrichissent les hypothèses amenées par le modèle théorique. Les travaux montrent ainsi que la générativité des imaginaires proviennent moins de l’injection d’un imaginaire exogène que d’un effort de conception de l’individu mobilisant les substrats réels et symboliques. Il devient donc possible de faire évoluer les imaginaires par des dispositifs de stimulation et de pilotage spécifiques pour obtenir des processus d’innovation à forte générativité. / It is widely established that industrial innovation has to take into account imaginaries which could cause enthusiasme or rejection effects. That is why, nowadays designers consider them in their design processes. The traditionnal approach considers as stable as exogenous imaginaries, which could be shaped ex-ante and conformed new products and services to be designed. Could it be possible to plan a new approach, that would overpass the stability hypothesis, avoiding a kind of fixation and narrow-mindedness for designers or users ?The thesis focuses on this second approach, which endogenizes imaginaries by considering their renewal properties. It tackles three matters: how the transformation of imaginaries could account for the innovative technical object ? What an engineering system to stimulate imaginaries and feed innovation processes ? Lastly, what managerial actions to collectively support a stimulation of imaginaries, in an industrial context ?Thanks to the recent progress in design theory and empirical experiences led in the automotive industry, we could expand a modelisation effort. This work finds out three main results. Firstly, the thesis characterises the imaginaries dynamic transformation from a concrete and original technical object, by new criterias: heterogeneousness, number, tensions and non-polarity of imaginaries. Secondly, the thesis suggests a theoretical modelisation of the imaginaries expansion throughout a design process made of a knowledge structure with three logics hanging on together, based on the Lacanian approach and redefined by the design way: “real”, “symbolic” and “imaginary”. The thesis shows how to analyse empirical dynamics and set out managerial hypothesis in order to expand imaginaries. Thirdly, the experimentations led on four collective organisations of imaginaries, chosen for their complementarity, confirm, enrich and precise the hypothesis suggested by the theoretical model. It shows that the generativity of imaginaries is directly connected with their diversity and dynamism. Their transformation comes less from the injection of exogenous imaginaries than from a design effort combining with real, symbolic, and available substrates. Thanks to that, it is possible now to create an evolution on imaginaries through a stimulation organisation and a specific management to obtain strong generativity innovation processes.

Cette thèse s’intéresse aux contacts de langues présents dans la formation des enseignants de français langue étrangère. Depuis quelques années, l’enseignement des langues étrangères se répand au Mexique. En 2009, 22 licences formaient des enseignants de langues, sans compter les institutions privées, et ce chiffre continue d’évoluer. Les étudiants y débutent leur contact avec le français avec certains imaginaires sociaux, issus de deux siècles de colonisation et de traditions culturelles nées des contacts de langues. Ainsi, plusieurs images restent ancrées dans l’imaginaire collectif, notamment celles de Malinche, et certaines idées sur l’altérité perdurent, suscitant des postures enseignantes particulières. À partir des imaginaires des langues et des locuteurs, nous analyserons les rapports de pouvoir existant dans le contact de langues en cours de français. Prenant en compte cet héritage comme un écran socio-culturel de perception de l’autre, notre étude repose sur les témoignages des enseignants et apprenants mexicains en licence de langues et en master de didactique du français, qui racontent leurs parcours linguistiques et leurs expériences lors des formations. / The main subject is the contact between languages present in the formation of French as a Foreign Language teachers. Globalization has fostered that teaching foreign languages, particularly French, spreads throughout Mexico. However, Mexican students have their first contact with the French language permeated by certain social imaginaries. Over time, the imaginaries -particularly those related to Malinche- have had a significant role. The different imaginaries surrounding foreign languages and their speakers bring back old conceptions and behaviours while interaction with the other and when we speak another language. Imaginaries also serve to analyse power relationships between languages. Thus, heritage can be considered a socio-cultural screen that shapes our perception of otherness.

To many in the global North, the favelas of Rio de Janeiro are the most visible face of violence and poverty in Brazil. While the favela film genre (and its subset, the favela documentary) has received significant study, there is a gap in understanding how these filmic texts are created as a result of individual production processes. How do decisions made during the course of production translate into imaginaries, representations, and on-screen content? This research locates multiple forms of non- fiction video within the wider context of mediated representations of poverty and violence in favelas, identifying the tools, mechanisms, and specific tactics employed by both favela stakeholders and production personnel in the co-production of these often heavily-mediated images. Utilizing key informant interviews with Rio-based documentary production personnel actively shooting in favelas, this research highlights specific production processes to understand how implicit incentive structures embodied in production shape and influence representations of the favela space. These findings make the case for understanding non-fiction favela films as the product of a highly structured and nuanced, if asymmetrical, co-production between filmmaker and subjects, rather than a simple linear imposition of meaning from above. These results suggest that the combination of individual production strategies with ongoing changes within the city related to “pacification” serves to simultaneously undermine and re-inscribe traditional imaginaries and mediatic geographies of the favela space. / text

Le paysage urbain contemporain de la ville de Tunis, caractérisé par une forte hétérogénéité référentielle, interroge quant aux facteurs de son émergence. L'histoire récente du pays, marquée par l'indépendance en 1956, suggère l'existence d'un rapport étroit entre ce moment de prise d'autonomie politique, économique, mais surtout culturelle, et la portée qu'il a eu sur la détermination du langage des architectures à édifier.Cette recherche soulève donc la problématique de l'évolution des références de la production architecturale savante en Tunisie indépendante entre 1956 et 2011. Il s'agit d'explorer comment, dans le cadre de la construction de l'État indépendant, une architecture est fabriquée, et dans quelles mesures elle traduit sa stratégie culturelle pour en devenir l'image même.En partant de l'hypothèse que l'interaction entre la commande officielle et la conception architecturale a induit la pluralité référentielle du paysage urbain actuel, Tunis est ainsi exploré dans une perspective historique interrogeant l'architecture édifiée dans le processus commande-conception-communication. L'hétérogénéité des architectures de la ville découlerait surtout de la disparité des postures officielles, mais aussi savantes, dans la définition d'une tunisianité contemporaine culturelle, et donc architecturale, cloisonnée dans le clivage modernité-tradition.un détour par les différents supports de communication de l'architecture entre 1956 et 2011, a été nécessaire pour mener à bien cette recherche. Un corpus diversifié a ainsi été sélectionné et analysé.La lecture croisée de ce corpus fait ressortir trois types de discours véhiculés: un discours par, de et sur l'architecture. Le premier est perceptible aussi bien dans la revue de presse officielle que dans les représentations architecturales sur les billets de banque, les timbres et quelques cartes postales depuis l'indépendance. Son exploration a permis de dégager les images que l'État fabrique d'une architecture "emblématique" comme réalisation officielle. Le discours de l'architecture reflète, quant à lui, la représentation que le concepteur propose pour définir l'architecture tunisienne. La recherche dans les fonds d'archives des documents graphiques rend compte de l'évolution du langage architectural proposé. L'analyse des profils des architectes relève l'importance de leur culture architecturale dans le modelage du paysage urbain actuel. Enfin, le discours sur l'architecture, matérialisé par l'examen des articles des périodiques d'architecture et de la revue de presse indépendante, dépeint la réception des œuvres. Il permet de voir la production architecturale au delà du discours officiel du maître d'ouvrage et de celui du maître d'oeuvre. Les représentations caricaturales d'un paysage urbain hétéroclite, ainsi que d'une architecture "moderniste" rhabillée par une enveloppe ornementale "historiciste" caractérisent essentiellement ce dernier discours.La référence architecturale des édifices paraît évoluer à l'image de la fondation de l'État et de la définition de ce qui est désormais "tunisien". L'analyse des discours relevés dans l'étude du corpus nous a permis de dégager trois imaginaires différents. Un imaginaire de développement caractérise les premières décennies de l'État indépendant. Il opère par une esthétique allusive qui s'aligne sur les tendances architecturales des grandes métropoles occidentales. Un imaginaire historique émerge par la suite. Il se construit, entre autres, à travers un héritage dont on cultive l'image et qu'on promeut au rang de patrimoine. Ainsi, la vénération du modèle "médinal" et plus récemment la revendication de l'héritage "protectorial", procurent à certains édifices un statut référentiel quant aux conceptions à venir. Enfin, un imaginaire syncrétique, oscille entre la modernisation du traditionnel et la traditionalisation du moderne en vue d'un idéal de fusion d'influences qui définirait l'architecture tunisienne contemporaine. / The high heterogeneity of the Tunisian cityscape raises important questions about the context of its emergence. A historical analysis of the country's last decades seems to be necessary towards understanding its origins. Since the State independence in 1956, several political, economical, and especially cultural evolutions have occurred. These have seemingly a great impact on the language of the contemporary architectural production.The present research focuses on the evolution of the references behind the Tunisian architecture from the independence until 2011. It mainly explores how an architecture was produced during the independent State establishment, and to what extent this architecture reflects the State's cultural policy.The main explored hypothesis concerns the impact of the interaction between the constructions initiated by the State and the architectural design on the current country's cityscape. Most of the project initiated by the independent State were built in the capital. Thus, Tunis is studied from a historical standpoint and buildings are analyzed in the triple process of architectural order, design, and communication, in order to understand the emergence circumstances of the current referential heterogeneity. A cross-reading of architecture publications highlights the different speeches that shape several imaginaries so to define contemporary Tunisian specificities, between modernity and tradition.Answering such a question implies a deep knowledge of the main State's projects during this period, but also the profiles of the different architects behind these projects design. A diverse corpus including graphical representations of the considered projects, general and specialized press publications, bank notes, stamps, and postcards, were selected for analysis. Besides its historical dimension, such a corpus enables observing the Architecture as a mean of communication from a cultural perspective.The cross-reading of this corpus brings out three types of speeches: a speech by, of, and on Architecture. The former, is observable on the official press, on the architectural representations of bank notes, on stamps and some postcards. Its analysis helped to determine the image that the State gives about its architectural realizations. The second type of speeches reflects the perception of the architect, as a designer of the Tunisian architecture. Research on graphical representations in public archives show the evolution of the architectural language. Moreover, the analysis of the diverse background of the architects, practicing during the period under study, shows the great impact of their architectural culture on the Tunisian cityscape. Finally, the last type of speech observed in specialized architectural magazines and private press, enables to extract receptions about the realized projects.References behind architectural realizations in Tunis seems to evolve together with the State evolution and the different definition of what is «Tunisian» at each moment. The study of the identified speeches led to three different imaginaries. The first is a progress imaginary, which characterizes the first decades of the independent State. It operates through an esthetic allusion following architectural inclination of great occidental metropolis. The second is a historical imaginary that emerges later and which mainly refers to a legacy architecture transformed into a protected heritage. Hence, the worship of the « medinal » architecture and recently the french protectorat legacy provide to some artefacts a status of reference for upcoming constructions. Finally, the third imaginary is syncretic and fluctuates between modernizing tradition and traditionalizing modernity towards a perfect fusion that eventually defines contemporary Tunisian architecture.

Submitted by Aline Batista (alinehb.ufpel@gmail.com) on 2018-05-02T22:30:15Z No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertacao_Alejandro_Maldonado.pdf: 2674076 bytes, checksum: aa8ae4e062430ea3031aba31fe90e3f9 (MD5) / Approved for entry into archive by Aline Batista (alinehb.ufpel@gmail.com) on 2018-05-03T20:48:21Z (GMT) No. of bitstreams: 2 Dissertacao_Alejandro_Maldonado.pdf: 2674076 bytes, checksum: aa8ae4e062430ea3031aba31fe90e3f9 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2018-05-03T20:48:21Z (GMT). No. of bitstreams: 2 Dissertacao_Alejandro_Maldonado.pdf: 2674076 bytes, checksum: aa8ae4e062430ea3031aba31fe90e3f9 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2018-02-21 / Sem bolsa / Esta dissertação aborda a relação entre os imaginários da insegurança e as transformações da vida cotidiana e na paisagem urbana nas cidades de Pelotas e Rio Grande – RS. Valendo-se de uma abordagem qualitativa que se enquadra no denominado desenho de estudo de caso e combinando diversas estratégias e técnicas de coleta de dados desde uma perspectiva etnográfica – observação sistemática, questionário e entrevistas não estruturadas –, esta pesquisa analisa as ressignificações dos imaginários sociais que advêm da cultura do medo e da vigilância para dar conta, por um lado, das mudanças na cotidianidade e, consequentemente, na sociabilidade naquelas cidades; e, por outro, da incorporação de dispositivos de securitização na paisagem urbana. Essas transformações acontecem no âmbito da segurança privada, que reflete e estrutura as significações que compõem os imaginários, a partir das valorações e as moralidades que acompanham a dinâmica de consumo desses dispositivos, como estratégia da qual se valem os indivíduos para se proteger e cuidar. Por fim, oferece considerações que, partindo de um enfoque centrado nas expressões simbólicas e materiais observadas nas cidades de Pelotas e Rio Grande, servem para teorizar e deixar abertas perguntas sobre a questão da insegurança e da sociedade contemporânea. / This dissertation approaches the relationship between insecurity imaginaries and transformations of everyday life and the urban landscape in the cities of Pelotas and Rio Grande - RS. Using a qualitative approach that fits the so-called case study design and combines several strategies and techniques of data collection from an ethnographic perspective, e.g. systematic observation, questionnaire and unstructured interviews, this research analyzes the re-significances of social imaginaries that come from the culture of fear and surveillance to account, on the one hand, of the changes in daily life and, consequently, in the sociability in those cities; and, on the other hand, the incorporation of securitization dispositives into the urban landscape. These transformations take place within the scope of private security that reflects, at the same time as it structures the meanings that make up the imaginaries, based on the valuations and moralities that accompany the consumption dynamics of these dispositives, as a strategy that individuals use to protect themselves and take care. Finally, it offers considerations that based on a focus centered on the symbolic and material expressions observed in the cities of Pelotas and Rio Grande, serve to theorize and leave open questions about the issue of insecurity and contemporary society.

Se pourrait-il que le cinéma ne se soit pas mis à parler parce qu’il avait quelque chose à dire, mais afin de faire parler la parole, de la mettre sur écoute, de renseigner les imaginaires discursifs qui configurent notre expérience commune ? Se pourrait-il que le langage soit ainsi inscrit au cœur du septième art, comme il fut au centre des savoirs de la modernité théorique ? Notre époque a inventé les moyens de reproduire techniquement la parole, mais n’a sans doute pas tout à fait pris la mesure de la révolution anthropologique induite par la visibilité exceptionnelle que ceux-ci lui donnent. Nous partons de l’hypothèse qu’il y a une pensée cinématographique du langage et de ses usages, un savoir (esthétique, rhétorique, poétique) qui s’ajoute à la parole dès lors qu’elle est représentée dans les films. Plaçant la parole filmée au centre de l’analyse de quatre fables cinématographiques — Fury (1936) de Fritz Lang, Fail Safe (1963) de Sidney Lumet, Salò (1975) de Pier Paolo Pasolini et Film Socialisme (2010) de Jean-Luc Godard —, ce travail donne à entendre quatre "leçons de langage", interrogeant les puissances et les infortunes de la parole dans un monde persuadé qu’il communique massivement. À quoi pensent les films quand ils parlent ? Entre autres choses, ils méditent la portée sociale et politique des actes de parole. / Could it be that movies did not started talking because they had something to say, but in order to make the speech speak, to overhear it, to inform the discursive imaginaries that shape our common experience ? Could it be that language is at the very heart of the art of film, as it has been at the centre of modern theoretical knowledges ? Our times have invented the means of reproducing speech technically, but we have probably not fully appreciated the importance of the anthropological revolution induced by the exceptional visibility that it provides to it. Our hypothesis is that there is a cinematographic thought of language and of its uses, an aesthetical, rhetorical and poetical knowledge that is added to speech when it is represented in films. Putting the filmed speech in the centre of the analysis of four cinematographic fables — Fritz Lang’s Fury (1936), Sidney Lumet’s Fail Safe (1963), Pier Paolo Pasolini’s Salò (1975) and Jean-Luc Godard’s Film Socialisme (2010) — our work proposes four « language lessons », questioning the powers and misfortunes of speech in a world convinced that we communicate massively. What do films think when they talk ? Among other things, they meditate the social and political significance of speech acts.

L'objectif de cette étude est de comprendre comment circulent les imaginaires touristiques de la ville de Tanger à travers de sa trajectoire touristique. Le discours touristique sur la destination repose sur un imaginaire puissant de la ville qui configure des représentations hétérogènes héritées du passé de la ville qui s'est, très tôt, imposée comme ville-monde puis comme un haut-lieu littéraire du XIXème siècle. Le travail sur le décalage narratif dans les points de vue des divers acteurs en coprésence sur le territoire, et dans leur action urbanistique, révèlent les modes de consommation et de (re) production des imaginaires touristiques en vue de construire ou freiner la métropolisation de la ville postcoloniale. D'une part, la dynamique de l'action autour des patrimoines permet de comprendre le rôle du tourisme dans l'ancrage territorial d'imaginaires géographiques en déshérence. D'autre part, la conception des acteurs étatiques du projet urbain met en évidence la manière dont sont récupérées et aseptisées les images du tourisme dans l'élaboration de la relation de la ville au monde afin de l'intégrer à l'économie globale. / The objective of this study is to understand how circulates the tourism imaginaries of the city of Tangier through its touristic trajectory. The tourism discourse on the destination rely on a powerful imaginary of the city which configures heterogeneous representations inherited from the past of the city which stood out, early, as city-world then as a literary top-place of the 19th century. The work on the narrative gap in the points of view of the diverse actors in copresence on the territory reveals the modes of consumption and of (re) production of the tourism imaginaries to build or slow down the metropolisation of the post­colonial city. On one band, the dynamics of the action around the heritages allows to understand the role of the tourism in the territorial anchoring of dormant geographical imaginaries. On the other band, the urban project conception by the state actors highlights the way are got back and disinfected the images of the tourism in the elaboration of the relation of the city to the world towards to integrate it into the global economy.