[pt] A dissertação apresenta nosso olhar acerca do fenômeno digital influencers e como o surgimento desta nova práxis tem modificado o consumo de moda. Por se tratar de um fenômeno novo, acelerado pelo meio digital do Instagram, consideramos necessário o entendimento de sua prática — quem são as digital influencers, para o que e quem trabalham, como recebem por seu trabalho, como trabalham etc. — e quais são as instâncias de legitimação que as classificam como tal. Fruto da sociedade industrial e celebrizadas pelas redes sociais da internet, são legitimadas como tal e, portanto, inculcam gostos e tendências em quem as segue. Consideramos importante ressaltar desde já que não trataremos essa práxis como uma ação social inocente ou corriqueira, como livre do domínio industrial, o gosto dos agentes deste segmento é reflexo do que a indústria deseja vender para um público maior. Para que conseguíssemos observar este novo segmento de trabalho, focamos o estudo em três influenciadoras brasileiras, que operam para o mercado internacional e, portanto, para um nicho de mercado semelhante. No estudo destas questões utilizaremos como base a teoria social de Pierre Bourdieu, já que tentamos diferir do pensamento hegemônico produzido no Campo do Design e analisar o fenômeno socialmente, colocando-o como resultado das práticas e relações humanas. Explicaremos como o ocorre o processo de violência simbólica, por inculcação, no Campo da Moda, e como esse processo de coerção social influencia o modo de vestir e de consumir de seguidores na Internet, tornando-os naturalizados, ou coisas do dia a dia, por meio das influencers. / [en] This dissertation presents our view of the phenomenon of digital influencers and how this new praxis has modified fashion consumption. As this is a new phenomenon, accelerated by Instagram, we consider necessary understanding who are the digital influencers, what and who for they work, how they are payed for and what are the instances of legitimation that classifies them as such. Celebrities of internet, they are legitimazed as digital influencers and instill trends and forecast on who follows them. We consider important emphasizing that we are not going to study this praxis as an innocent social action, free from industrial standards, what those people wear is the reflex of what fashion industry aims to sell. To observe this new work category, we focused on three Brazilian digital influencers, whom work for international fashion brands. Pierre s Bourdieu social theory will be used along the text, as we try to differ from the hegemonic and analyze this phenomenon socially, as the result of human relations. We explain how the process of symbolic violence occurs on fashion, and how this process influences digital influencers followers on their way to dress and consume.

Cette thèse pose la question du positionnement identitaire difficile qui marque la trajectoire littéraire de l’écrivaine belge Suzanne Lilar (1901-1992). Le tiraillement vécu par l’écrivaine entre sa vocation artistique et la nécessité de préserver une image de soi conforme aux normes du milieu social dans lequel elle s’inscrit se reflète dans les scénographies construites par ses œuvres littéraires, mais également dans son discours réflexif et paratextuel ainsi que dans la manière dont son œuvre est accueilli par la presse de l’époque. Le premier volet de cette analyse s’attache à circonscrire la position occupée par Suzanne Lilar sur la scène littéraire belge, dont la proximité avec le centre parisien a toujours entretenu la menace de l’assimilation, et sur la scène de l’écriture féminine. Le deuxième volet de cette thèse porte sur l’analyse des scénographies construites par les textes de fiction et les textes à tendance autobiographique de Suzanne Lilar. Les doubles scénographies que donnent à lire ces œuvres montrent que la démarche esthétique de Suzanne Lilar, sous-tendue par le besoin de légitimation de son entreprise, est basée principalement sur la multiplication des perspectives et des moyens d’expression. Le dédoublement de la scène énonciative des récits, la mise en abyme de la figure auctoriale ainsi que le travail d’autoréécriture témoignent de la nécessité de se positionner dans le champ littéraire, mais également de la méfiance de l’écrivaine envers l’écriture littéraire. Le troisième volet de cette recherche analyse l’éthos et la posture que Lilar construit à l’aide du discours réflexif et paratextuel par lequel elle assoit sa légitimité sur la scène littéraire et sociale. Enfin, la dernière partie de cette thèse capte les échos de l’œuvre de Lilar dans la presse de son temps. L’image de l’auteure construite par les médias permet de placer Lilar au sein de l’institution et du champ littéraire, mais également au sein du groupe social dans lequel elle s’inscrit. L’accueil réservé à l’écrivaine par la presse de son époque semble suivre les fluctuations de la posture construite par l’écrivaine elle-même. Cela confirme l’hypothèse selon laquelle Lilar est une auteure qui a éprouvé de la difficulté à assumer pleinement son rôle. Le positionnement en porte-à-faux – dont témoigne la figure du trompe-l’œil qui définit sa poétique – semble avoir représenté, pour Lilar, la seule manière d’assumer l’incontournable paratopie créatrice. / This thesis investigates the difficult positioning of identity in Belgian writer Suzanne Lilar's literary trajectory. The conflict between the writer's art and her need to project an image consistent with her environment is reflected not only in the set-pieces of her literary works, but also in her essays and paratext, and in the way her works were received by the press of the day. The first part of the analysis describes Lilar's position in Belgian literary circles, whose proximity to the mainstream was always threatened by assimilation, and within feminist writings. The second part analyzes the storylines in her fictional and more biographical works. The parallel viewpoints in these works demonstrate that Lilar's aesthetic approach, which is based on the need to legitimize her enterprise, is based mainly on multiple perspectives and forms of expression. The duplication of the plot line in her stories, the mise en abyme of the author's voice, and the constant rewriting illustrate her need to make a place for herself in the literary landscape, but also her mistrust of literary writing. The third part of this research analyzes the ethos and position Lilar constructs through her essays and paratext, upon which she bases her literary and social legitimacy. The final part of the thesis reports on how Lilar's work was received in its day. The image of Lilar propounded by the media positioned her within the literary establishment and also within her own chosen social stratum. The press of the time viewed her as she variously presented herself. This corroborates the hypothesis that Lilar had trouble in fully assuming her role as a writer. Her presentation of herself as being out of step with society − in the trompe-l'oeil manner of her poetics − appears to have been the only way for Lilar to shoulder the displacement essential to her creative work.

Le clown, personnage culturel et social, se construit par l'interaction avec son public et son milieu d'intervention. Le fait que le clown corresponde si durablement dans les représentations à la caricature d'un personnage de cirque, amène à se demander si le clown n'est pas victime de son image, pourtant si positive il fut un temps. Ce constat amène à réfléchir directement sur l'identité des clowns et leur réalité actuelle. Comprendre comment et pourquoi les clowns ont évolué ces dernières années revient à questionner à la fois les éléments de permanence et d'unicité qui les constituent mais aussi les facteurs de variations et de variabilité de leur travail artistique. L'analyse des transformations passées et en cours de la figure du clown à travers un état des lieux sur la figure du clown puis la construction identitaire des nouveaux clowns et enfin leurs formes diverses et récentes, donne au sujet une profondeur et une compréhension plus vaste. Ce travail, relevant d'une approche sociologique, a pour objectif de rendre compte d'une identité, d'une profession et d'un art qui entrent en lien avec des enjeux sociaux, politiques et économiques des sociétés contemporaines et occidentales. Questionner les ressources que le clown met en œuvre à l'heure actuelle pour survivre est une façon de comprendre son identité sociale et par là, la société dans laquelle il vit. L'existence sociale des nouveaux clowns est en rapport constant avec les arts frères que sont la danse, le théâtre, le cirque, mais aussi avec les mondes des amuseurs publics que constituent par exemple les humoristes desquels ils se nourrissent et avec lesquels ils se confrontent dans un même temps. / The clown, a cultural and social character, is shaped in interaction with his public and his environment. Yet, the fact that the figure of the clown is consistently associated with the caricatural representation of the circus character leads to question if the clown could be a victim of his own image, which was once so positive. Furthermore, this highlights the relevancy of reflecting directly on the identity of the clowns and their present reality. Understanding how and why the clown has evolved in recent years requires identifying the elements of durability and uniqueness which establish the clown, but also of the variations and variability of the artistic work. The analysis of both past and present transformations through an overview of the figure of the clown and the identity-building of the “new clowns” and finally, their diverse and recent forms, allows for a deeper and wider understanding of the subject. The objective of this thesis is, through a sociological approach, to highlight an identity, a profession and an art form and it's relation to social, political and economic issues in contemporary western societies. To question the resources that the clown must presently mobilize to survive allows an understanding of his social identity and thus also of the society in which he lives. The social existence of the “new clowns” is in constant interaction with related artistic disciplines such as dance, theater, and circus, but also with the worlds of public entertainers, for example humorists, in whom they find inspiration at the same time as grounds to confront ideas.

Aim: The aim of this study is to understand what strategies are used over time by a company facing a transgressional CSR crisis, in order to regain legitimacy, and towards which stakeholder group these strategies are directed. Methods: In order to achieve our aim, Qualitative case study based on secondary data published by Volkswagen as well as news articles were used to identify what strategies the company used over time. Results: To be able to answer our aim, different theoretical lenses were used; SCCT response strategies, legitimization strategies, strategy formulation process and stakeholder theory. Therefore, four main different strategies were identified, minimize attribution, blind adaptation to strategy 2025, US differentiation and internal moral reasoning. The former two were addressed to all stakeholders while the latter two were concerned with specific stakeholder groups. Conclusions: Strategy formulation process during a transgressional CSR crisis is a complex procedure and literature on crisis management should move away from static frameworks towards a more dynamic understanding of how strategies can come to life. Coupled with the complexity of societal expectations in general, a company might have to adopt the paradoxical approach even for one stakeholder. Lastly, an addition to Situational Crisis Communication Theory is proposed.

The thesis "The Party of the Expelled" in the Český Krumlov and Prachatice district 1970-1980 through the research of regional context deepens the knowledge of the process of establishment and legitimization of Normalization in the periphery of the Czech borderland. On the basis of archival materials, mainly from the District Committees of the Communist Party of Czechoslovakia (KSČ) in Český Krumlov and Prachatice and other sources within the Party hierarchy, it tries to map the course of the consolidation process and party purges in 1970. Compared to nationwide data, it attempts to capture the specifics of the Czechoslovakian periphery. The main task of the thesis is to analyze various fate of excluded members of the KSČ: the so-called "Party of the Expelled." The analysis focuses on their diverse life trajectories and ways of dealing with separation from the party collective, with special regard to the various loyalties that these people were tied to the party, to the society, workplaces and, last but not least, to each other. Through this analysis, the role of this segment of the population in establishing the legitimacy of the Normalization regime is shown. Since the purges resulted in the disadvantagement of a significant number of qualified workforce, they are interpreted as a process of...

Cette thèse est consacrée à une analyse synoptique de la légitimité des hôpitaux publics tunisiens. Cette légitimité de l’hôpital étant construite en interne et en externe par le personnel qui y travaille et les patients qui le fréquentent, nous l’avons soumise à une catégorisation spatiale en légitimité « intra-organisationnelle » et en légitimité « extra-organisationnelle ». Au niveau intra-organisationnel, les hôpitaux publics tunisiens, ayant fait l’objet d’une réforme débutée depuis un peu plus de deux décennies, l’étude de leur légitimité ne pouvait se faire à l’insu de cet évènement. Par ailleurs, étant donné le caractère professionnel des hôpitaux publics et leur organisation en plusieurs services spécialisés, nous avons procédé à une scission de leur légitimité en légitimité « professionnelle » et en légitimité de « service ». Ces « sous-légitimités » agrégées ensemble ont permis de reconstituer la légitimité globale de l’hôpital. L’analyse de la légitimité « intra organisationnelle » s’est faite au moyen d’une analyse qualitative par étude de cas dans deux EPS tunisiens. Pour le cas de la légitimité de la réforme hospitalière et des mécanismes qui lui ont servi de support, nous avons postulé l’existence d’une relation de causalité circulaire entre institutionnalisation et légitimation, la deuxième étant un préalable à la première. Les analyses menées sur l’ensemble des mécanismes de la réforme ont conclu à une faible institutionnalisation, laissant augurer d’une faible légitimation. Pour le cas des légitimités au niveau professionnel et de service, les résultats ont affiché une grande diversité des légitimités en jeu entre les services hospitaliers et une plus grande homogénéité au sein des mêmes groupes professionnels. Ces résultats attestent du caractère discriminant de l’appartenance au service et professionnelle pour juger de la légitimité de l’hôpital. Au niveau extra-organisationnel, la légitimité de l’hôpital renvoie à celle développée par les patients en externe. Nous avons considéré deux catégories de patients : des patients appelés « classiques » qui s’adressent à l’hôpital pour l’obtention de soins et des patients personnel de l’hôpital, qui en leur qualité de citoyens peuvent s’y présenter pour se soigner. C’est ainsi que nous avons distingué entre légitimité extra-organisationnelle « profane » et entre légitimité extra-organisationnelle « expertale ». Ces deux sous-légitimités relèvent d’une légitimité « expérientielle ». Les patients « profanes » et « experts » vont juger de la légitimité de l’hôpital en s’appuyant sur leur expérience personnelle. Ces deux catégories de légitimité, soumises à une classification hiérarchique ascendante, ont affiché des divergences considérables, les patients étant plus portés vers des aspects moraux pour juger de la légitimité contrairement au personnel, qui maintient intact son ancrage professionnel, en accordant plus d’importance aux aspects techniques et financiers. / This dissertation aims to analyze synoptically the legitimacy of Tunisian public hospitals. This hospital’s legitimacy is constructed internally and externally by both the employees and the patients, has been submitted to a spatial categorization in “intra-organizational legitimacy” and “extra- organizational legitimacy”. At intra-organizational level, Tunisian public hospitals have been subject of a reform that started a little over two decades; the study of their legitimacy could not be done without the knowledge of this event. In addition, given the professional characteristic of the public hospitals and their organization in several specialized services, we conducted a split of their legitimacy in “professional legitimacy” and “service’s legitimacy”. These sub legitimacies aggregated together helped restore the overall legitimacy of the hospital. The analysis of “intra organizational” was made using a qualitative analysis, by case studies in two Tunisian public hospitals. In the case of the reform’s legitimacy and the mechanisms that have served as support, we postulated the existence of a circular causality between institutionalization and legitimization, the second is a prerequisite to the first. The analysis conducted on all the mechanisms of reform have concluded to a weak institutionalization revealing a weak legitimacy. In the case of “professional legitimacy” and “service’s legitimacy”, the results showed a wide range of legitimacy at stake between and hospital services and a greater homogeneity within the same professional groups. These results attest to the discriminatory nature of the professional and service membership to judge the hospital’s legitimacy. At extra-organizational level, the hospital’s legitimacy refers to that developed by the patients. We considered two categories of patients: patients called “classic” that go to the hospital to obtain medical care and others hospital staff patients, who in their capacity as citizens may present themselves for treatment. Thus we distinguished between “profane extra-organizational legitimacy” and “expertal extra organizational legitimacy”. These two sub-legitimacies refer to “experiential legitimacy”. Both profane and expert patients will judge hospital’s legitimacy based on their personal experience. These two categories of extra-organizational legitimacy submitted to a hierarchical cluster analysis, showed significant differences, patients are more likely to judge legitimacy based on moral aspects, unlike staff who maintain intact their professional anchor paying more attention to technical and financial aspects.

Esta dissertação visa investigar a agência da câmera na criação fotográfica e a emergência de uma estética da precariedade nos dias atuais, tendo como estudo de caso o trabalho do fotógrafo checo Miroslav Tichý (1926-2011). A partir da descrição e classificação das câmeras de baixa fidelidade, buscou-se compreender como elas teriam contribuído para a subversão dos cânones da fotografia tradicional e para a consolidação de uma estética permeada por falhas denominada como estética da precariedade. As fotografias de Tichý, com seu aspecto ruidoso e deteriorado, decorrente de seu processo fotográfico peculiar, mostraram-se particularmente propícias para evidenciar, de forma concreta, a agência de elementos humanos e não-humanos na configuração dessa estética da precariedade. Além disso, será investigado como a obra de Miroslav Tichý e a estética da precariedade passaram pelo processo de artificação e foram alçados ao estatuto de arte por diversas instâncias de legitimação, como curadores e historiadores da arte. A pesquisa reflete, ainda, sobre a a apropriação, pasteurização e mercantilização da estética da precariedade por parte da indústria da fotografia digital, por meio de aplicativos e softwares voltados para a edição de imagens. Por fim, cabe ressaltar a intenção de abordar esses fenômenos a partir de um viés crítico, buscando identificar suas contradições e seus desdobramentos no campo da cultura contemporânea. / This dissertation aims to investigate the agency of the camera in the photographic creation and the emergence of an aesthetics of precariousness. The Czech photographer Miroslav Tichý (1926-2011) will be used as a case study. Beginning with the description and classification of \"low fidelity\" cameras, we sought to understand how they contributed to the subversion of the canons of traditional photography and to the consolidation of an aesthetic permeated by failures called the \"aesthetics of precariousness\". The photographs by Tichý, with their noisy and deteriorated appearance due to his peculiar photographic process, were particularly propitious to concretely evidence the agency of human and nonhuman elements in the configuration of this aesthetic of precariousness. In addition, it will be investigated how the work of Miroslav Tichý and the aesthetics of precariousness went through the process of artification and were elevated to the status of art by various instances of legitimation, as curators and art historians. This research also reflects about the appropriation, pasteurization and mercantilization of the aesthetics of precariousness by the digital photography industry, through image editing applications and software. Finally, it is worth emphasizing the intention to approach these phenomena from a critical point of view, seeking to identify their contradictions and their development in the field of contemporary culture.

Depuis plus de dix ans, l'émergence des pratiques de contrôle de gestion en environnement public ont donné lieu à de nombreuses contributions dont certaines abordent le rôle des contrôleurs dans cette dynamique de changement.L'objectif de ce travail est de comprendre les déterminants de la légitimité des contrôleurs de gestion dans cet environnement et de déterminer comment les individus qui incarnent cette fonction ont pu « survivre » jusqu'à présent dans des organisations d'ordinaires hostiles au contrôle. Nous nous appuyons pour cela sur une étude de cas que nous avons mené auprès du Commissariat à l'Energie Atomique et aux Energies Alternatives. Quatre profils-types de contrôleurs y sont étudiés : le jeune premier, le nouveau converti, le caméléon et le conseiller du roi.Ce travail de recherche contribue donc à enrichir la connaissance de la fonction de contrôleur en liant notamment les différentes composantes de l'activité des contrôleurs autour de la recherche quotidienne de légitimité. Il permet également d'approfondir le rôle du contrôleur et de resituer l'individu dans le processus d'institutionnalisation du contrôle et dans la mise en œuvre du nouveau management public. / For more than ten years, the development of management control practices inpublic sector gave rise to many researches which some, focus on role that accountants play.The aim of this paper is to understand the determinants of management accountants' legitimacy in professional bureaucracies and to define how individuals, who embody this function, had survived in this unfriendly environment. From a case study at the French Atomic Energy Commission, we highlight four profiles of management accountants: the young novice, the new convert, the chameleon and the king's advisor.The results show that the legitimacy of the controllers should not be studied through his generic definition. Instead, it must be considered as a polymorphic judgment based on manifold determinants. It also allows to replace the individual at the center of the study field of the new managerial practices in public organizations.

Pourquoi semble-t-il impossible de se départir du département ? Comment fonctionne ce sparadrap institutionnel ? Partant du double constat de la longévité du Département et de sa résistance aux tentatives de réforme successives, ce travail de thèse s'intéresse aux (f)acteurs clés de l'apparente immuabilité départementale. Il considère successivement trois dimensions majeures de l'institutionnalisation et de la légitimation du Département (englobant non seulement le Conseil général mais aussi ses ramifications cantonales et nationales par le biais du cumul de mandats et de l'activité de lobbying accompli par l'Assemblée des Départements de France). Afin de saisir les modalités de la naturalisation de cette institution, il revient sur sa plasticité et son multipositionnement en abordant les apports complémentaires d'une (re)légitimation par l'élection (que celle-ci soit politisée ou non), d'une (re)légitimation par l'action publique (bien que celle-ci soit contrainte par les obligations émanant des compétences transférées et des attentes locales) et d'une (re)légitimation via le cumul des mandats et fonctions (qui trouve concrètement à s'exprimer lors des débats parlementaires consacrés à l'organisation territoriale française). Véritable carrefour des carrières politiques, le Département est et demeure ainsi un acteur majeur du paysage politique français, même si, paradoxalement, cela coïncide parfois avec une instrumentation de l'institution. / French departments are both long-lasting and reform-resistant institutions. This PhD thesis focuses on the key (f)actors involved in such an immutability. We successively consider three dimensions of the departmental legitimization and institutionalization. Such an institutional naturalization relies on electoral legitimization (with or without any kind of politicization), policy-based legitimization (even when most of departments competencies are compulsory) and multi-mandating ensuing legitimization (which is particularly obvious when decentralization bills are debated). Even though it is sometimes instrumented, the Département remains the cornerstone of political careers and still lies in the very core of the French political scene.

Esta dissertação visa investigar a agência da câmera na criação fotográfica e a emergência de uma estética da precariedade nos dias atuais, tendo como estudo de caso o trabalho do fotógrafo checo Miroslav Tichý (1926-2011). A partir da descrição e classificação das câmeras de baixa fidelidade, buscou-se compreender como elas teriam contribuído para a subversão dos cânones da fotografia tradicional e para a consolidação de uma estética permeada por falhas denominada como estética da precariedade. As fotografias de Tichý, com seu aspecto ruidoso e deteriorado, decorrente de seu processo fotográfico peculiar, mostraram-se particularmente propícias para evidenciar, de forma concreta, a agência de elementos humanos e não-humanos na configuração dessa estética da precariedade. Além disso, será investigado como a obra de Miroslav Tichý e a estética da precariedade passaram pelo processo de artificação e foram alçados ao estatuto de arte por diversas instâncias de legitimação, como curadores e historiadores da arte. A pesquisa reflete, ainda, sobre a a apropriação, pasteurização e mercantilização da estética da precariedade por parte da indústria da fotografia digital, por meio de aplicativos e softwares voltados para a edição de imagens. Por fim, cabe ressaltar a intenção de abordar esses fenômenos a partir de um viés crítico, buscando identificar suas contradições e seus desdobramentos no campo da cultura contemporânea. / This dissertation aims to investigate the agency of the camera in the photographic creation and the emergence of an aesthetics of precariousness. The Czech photographer Miroslav Tichý (1926-2011) will be used as a case study. Beginning with the description and classification of \"low fidelity\" cameras, we sought to understand how they contributed to the subversion of the canons of traditional photography and to the consolidation of an aesthetic permeated by failures called the \"aesthetics of precariousness\". The photographs by Tichý, with their noisy and deteriorated appearance due to his peculiar photographic process, were particularly propitious to concretely evidence the agency of human and nonhuman elements in the configuration of this aesthetic of precariousness. In addition, it will be investigated how the work of Miroslav Tichý and the aesthetics of precariousness went through the process of artification and were elevated to the status of art by various instances of legitimation, as curators and art historians. This research also reflects about the appropriation, pasteurization and mercantilization of the aesthetics of precariousness by the digital photography industry, through image editing applications and software. Finally, it is worth emphasizing the intention to approach these phenomena from a critical point of view, seeking to identify their contradictions and their development in the field of contemporary culture.