Malgré un taux de chômage élevé en France, les entreprises font face à de réelles difficultés de recrutement sur certains métiers, allant parfois jusqu’à évoquer une pénurie de main d’œuvre. Ainsi, attirer les individus en réussissant à susciter le choix de ces métiers est au cœur des enjeux des acteurs du marché de l’emploi. Ceux-ci évoquent régulièrement la question de l’image des métiers. En ce sens, de nombreux travaux en sciences sociales se sont intéressés au processus de choix professionnel en plaçant l’image métier au cœur de cette démarche sans pour autant avoir cherché à l’explorer. Dès lors, la compréhension de ce qu’est l’image métier et de son processus de formation présente un intérêt certain d’un point de vue académique et managérial. / Despite a high unemployment rate in France, some companies are facing real difficulties in recruiting in certain profession. They sometimes evoke a shortage of labor. Thus, attracting individuals and lead them to raise the choice of those professions is at the core of this issues that concern companies and professional branch. They regularly raise the question about the image of these professions. In this sense, many studies in social sciences investigated the process of vocational choice by placing profession image at the heart of this approach without exploring it. Therefore, understanding profession image and how it is processed in peoples’ mind presents some interest from an academic and managerial point of views.

Abstract The purpose of this study is to examine the international news coverage of the 1981 Northern Irish hunger strike. The media had plenty of emotionally and politically charged incidents to report, and they rendered it in various manners. This study discusses why these different representations of the hunger strike were born. This thesis analyses news about the hunger strike published in fifteen international newspapers. For this kind of research, historical contextualization is of great importance. Methodological starting point lies in the traditions of imagological methods. A mental image is understood here as something in our thoughts that steers us to see the world in a certain way. A newspaper depicts news stories in a way the newspaper and the society in which it operates see its worth. Media representations have a very complex background. Based on the findings, it seems likely that existing mental images play a major role in the way a news topic is covered and given meaning. In this case, news coverage was not based solely on the hunger strike but also on historical discourse which had created a certain meaning for the event. The coverage of each newspaper was based on their own worldviews. Internationally, the level of interest is determined by varied cultural and political factors. News coverage both reflects and affects. News from other countries is more likely to be reported if some links exists, something to identify and consider significant. The findings of the research suggest that news coverage is not always just the reporting of events. It can reflect more profound features. Each media source has its own reasons to represent news in a certain way. Primarily, the reasoning points to the medium itself. However, we can argue that news coverage also reflects the values of a community. News is usually produced to appeal to the majority of the intended audience. This case illustrates that international news coverage is a useful method in revealing and understanding mental images and their influence. / Tiivistelmä Tässä tutkimuksessa tarkastellaan Pohjois-Irlannin tasavaltalaisvankien nälkälakon kansainvälistä uutisointia vuonna 1981. Tapahtuma sisälsi poliittisesti ja emotionaalisesti latautuneita tilanteita, joita kansainvälinen media uutisoi eri tavoin. Tässä tutkimuksessa selvitetään, miksi erilaisia mediarepresentaatioita syntyi. Tutkimuksen päälähteenä käytetään viittätoista sanomalehteä eri puolilta maailmaa. Historiallisella kontekstoinnilla on suuri merkitys tämänkaltaisessa tutkimuksessa. Tämän työn metodologinen lähtökohta nojaa voimakkaasti mielikuvatutkimuksen periaatteisiin. Tässä tutkimuksessa mielikuva käsitetään ajattelua ja maailmankuvaa ohjaavana käsityksenä, ja sanomalehtiuutisoinnin luomat mielikuvat heijastavat niin lehden itsensä kuin ympäröivän kontekstin käsityksiä. Median luomilla mielikuvilla on monitahoinen tausta. Tutkimustuloksien perusteella on todennäköistä, että jo olemassa olevat mielikuvat vaikuttavat voimakkaasti uutisoinnin luonteeseen ja annettuun merkitykseen. Nälkälakon uutisointi ei perustunut pelkästään itse lakkoon ja sen tapahtumiin, vaan uutisointiin vaikuttivat myös historian kautta annetut merkitykset. Jokainen lehti uutisoi tapahtumasta omaan maailmankuvaansa perustuen. Uutisointi sekä heijastelee että vaikuttaa: media uutisoi herkemmin tapahtumista, joilla koetaan olevan merkitystä. Tämän tutkimuksen perusteella uutisointi ei aina ole pelkästään raportointia. Jokaisella tiedotusvälineellä on omat syynsä uutisoida tietyllä tavalla. Ensisijaisesti syyt ovat mediassa itsessään, mutta media heijastelee myös ympäristönsä arvoja ja käsityksiä.

No description available.

Cette thèse porte sur ce que l'on ne voit pas dans les images et qui pourtant s'y trouve. C'est ce que signale l’expression « visiblement manquant » : le foyer émotionnel au creux duquel les signes semblent s'agencer et désigner ce qui n'est pas vu mais qui est essentiel à l'image, à l'artiste et au spectateur. L’hypothèse ici développée pose qu’il s’agirait d’un moment antérieur à l’élaboration de l'image, s'originant dans la conscience par les souvenirs, les rêves, les pensées obsessionnelles, images mentales dont le corps porte et entretient la mémoire dans ses actes moteurs comme dans l’acte même de percevoir, d’anticiper l’expérience du réel et d’éprouver la présence d’une image. S'appuyant sur ma pratique artistique de la vidéo et un ensemble d'œuvres photographiques, cinématographiques et vidéographiques puisées dans le champ des Arts visuels contemporains, la recherche chemine par des analyses précises de leurs registres iconique, plastique et sémantique. Établissant des relations entre le vu, le perçu hors-vision et le nommé, elle dessine finalement les contours d'une esthétique qui pourrait être celle de la défaillance : défaillance recherchée comme l’expression d’une fragilité, que le regard du spectateur reconnaît par sa proximité paradoxale avec sa propre vulnérabilité. / This thesis explores what is not seen and yet what can be found in images: "the visibly missing". This expression points to the center of emotions in which signs seem to be organizing themselves and designating what is unseen, and nevertheless essential to the image, to the artist and to the viewer. Our working hypothesis defines this moment as prior to the creation of the image. It originates in the conscious mind through memories, dreams, obsessional thoughts, mental images which help maintain memory alive, as well as motor behaviors like the very act of perceiving, of anticipating our experience of reality, and the act of appreciating the presence of the image itself. The research is based on my fine art video practice, as well as photographic, cinematographic and video graphic works from contemporary artistic fields, and aims to analyze precisely their iconic, artistic and semantic ranges. It also establishes links between what is seen, what is felt behind the vision, and what is named. Finally, it outlines an "aesthetics of the fainting": a deliberate fainting, expressing a fragility that the viewer's eye recognizes as such by the paradoxical proximity with its own vulnerabity.

Esta pesquisa fundamentou-se nos pressupostos teóricos da epistemologia genética de Piaget e teve por objetivo principal investigar as relações entre a compreensão do modelo científico sobre célula por alunos de ensino médio e a transformação de seus modelos e operações mentais. Trata-se de uma pesquisa experimental de cunho qualitativo, na qual a metodologia de coleta de dados inspirou-se no método clínico e na metodologia de resolução de situações-problema. Esta foi aplicada por intermédio de um jogo construído especificamente para os propósitos desta pesquisa e denominado \"dominó do ciclo celular\". O experimento foi conduzido em oficinas de jogos oferecidas a alunos de primeiro e terceiro anos de ensino médio. Os dados coletados foram transformados em narrativas que possibilitaram inferir as estruturas do pensamento dos alunos que se ajustavam aos dados empíricos. Os resultados obtidos sugerem que a compreensão do modelo científico sobre célula, e talvez de outros conceitos referentes a objetos que não possuem atributos observáveis diretamente, depende diretamente da produção de inferências pelos procedimentos de indução, abdução e dialética. Estes procedimentos permitem aos alunos agir cognitivamente sobre objetos que não poderiam atuar diretamente. Constatou-se também que os modelos mentais dos alunos sobre célula se transformam em função do nível de operações mentais empregadas, e assim os modelos mentais podem ser bons indicadores para a avaliação da aprendizagem do modelo científico e do desenvolvimento das operações mentais. Os resultados indicam também a importância da integração entre a ação e a linguagem na compreensão de conceitos dessa natureza. A linguagem esteve presente tanto no diálogo, essencial para acessar as operações mentais, como na criação das metáforas que constituem os modelos mentais e científicos. Esta pesquisa propõe que a integração e evolução das operações mentais por meio das inferências, associadas à linguagem metafórica, possibilitem a construção da noção de um tipo de objeto permanente pertinente ao estádio das operações formais: a noção do objeto \"invisível\". / This research evaluated the relationship between the comprehension of cell\'s scientific models by secondary level school students and the changes on their mental models and skills. It was based on Piaget\'s theoretical frameworks, Genetic Epistemology, and it deals with an experimental qualitative study. Data was obtained by a procedure based on clinic method and on the principles of problem solving. A game, specifically constructed for the purposes of this investigation and named \"Domino of cellular cycle\" was used to conduct the experiment. First and third class students of secondary level school played this game and the dialogues, occurred at each match, were recorded and transcripted in the style of narratives. Afterwards, the narrative allowed us to infer the students thought structures suitable to the empirical data. The results of the research draw to the conclusions that the comprehension of cell\'s scientific models, and maybe of other concepts relative to objects that do not present observable characters depend on the use of inferences. These were created by procedures of induction, abduction and dialectic, therefore these allow the contact with this type of object because the students could not act directly upon them. We also verify that students\' mental models change accordingly to their level\'s skills. In this way, mental models can be good indicators to evaluate the concept learned and the skills developed. The results also draw to the important role of inference to connect action and language in the process of this type of concept comprehension. Language, in this way, was essential to access mental skills and to create the metaphors, and also constitute mental and scientific models. We propose that the use of inferences associated to the creation of metaphors allow the construction of a type of knowledge related to the formal operatory stage, a type of \"permanent object notion\": the \"invisible\" object notion.

A imagem mental e a memória visual têm sido consideradas como componentes distintos na codificação da informação, e associados a processos diferentes da memória de trabalho. Evidências experimentais mostram, por exemplo, que o desempenho em tarefas de memória baseadas na geração de imagem mentais (imaginação visual) sofre a interferência do ruído visual dinâmico (RVD), mas não se observa o mesmo efeito em tarefas de memória visual baseadas na percepção visual (memória visual). Embora várias evidências mostrem que tarefas de imaginação e de memória visual sejam baseadas em processos cognitivos diferentes, isso não descarta a possibilidade de utilizarem também processos em comum e que alguns resultados experimentais que apontam diferenças entre as duas tarefas resultem de diferenças metodológicas entre os paradigmas utilizados para estuda-las. Nosso objetivo foi equiparar as tarefas de imagem mental visual e memória visual por meio de tarefas de reconhecimento, com o paradigma de dicas retroativas espaciais. Sequências de letras romanas na forma visual (tarefa de memória visual) e acústicas (tarefa de imagem mental visual) foram apresentadas em quatro localizações espaciais diferentes. No primeiro e segundo experimento analisou-se o tempo do curso de recuperação tanto para o processo de imagem quanto para o processo de memória. No terceiro experimento, comparou-se a estrutura das representações dos dois componentes, por meio da apresentação do RVD durante a etapa de geração e recuperação. Nossos resultados mostram que não há diferenças no armazenamento da informação visual durante o período proposto, porém o RVD afeta a eficiência do processo de recuperação, isto é o tempo de resposta, sendo a representação da imagem mental visual mais suscetível ao ruído. No entanto, o processo temporal da recuperação é diferente para os dois componentes, principalmente para imaginação que requer mais tempo para recuperar a informação do que a memória. Os dados corroboram a relevância do paradigma de dicas retroativas que indica que a atenção espacial é requisitada em representações de organização espacial, independente se são visualizadas ou imaginadas. / The mental image and visual memory have been considered as different components in the coding of information, and associate to different processes of working memory. Experimental evidence demonstrate, that Dynamic Visual Noise (DVN) impairs the performance of memory tasks based on mental image generation (visual imagination), but have no effect on memory tasks based on visual perception (visual memory). Although several evidences demonstrate that imagination and visual memory tasks have cognitive distinct processes, it doesnt rule out the possibility that they share common processes and that some experimental results that indicate differences between the cognitive processes are resulted from different methodological paradigms used to studied them. Our objective was to equate tasks of visual mental imagery and visual memory, using a recognition task and spatial retro-cue paradigm. Sequences of roman letters were presented in visual (visual memory task) and acoustic (visual mental imagery task) forms, each letter presented in four different spatial locations. The first and second experiment analyzed the time of the retrieval course for imaging process and for the memory process. In the third experiment, we compared the structure of the representations of the two components, with the presentation of DVN during the stage of generating and retrieval. Our results demonstrated that there are no differences in the storage of visual information during the retrieval period and that the DVN only affect the retrieval process efficiency, principally the imagination process. However, the retrievals time course is different for both components, since imagination requires more time than memory to retrieval information. The retro-cue paradigm reveals that spatial attention is required in representation with spatial organization based on visual perception or imagination

Esta pesquisa fundamentou-se nos pressupostos teóricos da epistemologia genética de Piaget e teve por objetivo principal investigar as relações entre a compreensão do modelo científico sobre célula por alunos de ensino médio e a transformação de seus modelos e operações mentais. Trata-se de uma pesquisa experimental de cunho qualitativo, na qual a metodologia de coleta de dados inspirou-se no método clínico e na metodologia de resolução de situações-problema. Esta foi aplicada por intermédio de um jogo construído especificamente para os propósitos desta pesquisa e denominado \"dominó do ciclo celular\". O experimento foi conduzido em oficinas de jogos oferecidas a alunos de primeiro e terceiro anos de ensino médio. Os dados coletados foram transformados em narrativas que possibilitaram inferir as estruturas do pensamento dos alunos que se ajustavam aos dados empíricos. Os resultados obtidos sugerem que a compreensão do modelo científico sobre célula, e talvez de outros conceitos referentes a objetos que não possuem atributos observáveis diretamente, depende diretamente da produção de inferências pelos procedimentos de indução, abdução e dialética. Estes procedimentos permitem aos alunos agir cognitivamente sobre objetos que não poderiam atuar diretamente. Constatou-se também que os modelos mentais dos alunos sobre célula se transformam em função do nível de operações mentais empregadas, e assim os modelos mentais podem ser bons indicadores para a avaliação da aprendizagem do modelo científico e do desenvolvimento das operações mentais. Os resultados indicam também a importância da integração entre a ação e a linguagem na compreensão de conceitos dessa natureza. A linguagem esteve presente tanto no diálogo, essencial para acessar as operações mentais, como na criação das metáforas que constituem os modelos mentais e científicos. Esta pesquisa propõe que a integração e evolução das operações mentais por meio das inferências, associadas à linguagem metafórica, possibilitem a construção da noção de um tipo de objeto permanente pertinente ao estádio das operações formais: a noção do objeto \"invisível\". / This research evaluated the relationship between the comprehension of cell\'s scientific models by secondary level school students and the changes on their mental models and skills. It was based on Piaget\'s theoretical frameworks, Genetic Epistemology, and it deals with an experimental qualitative study. Data was obtained by a procedure based on clinic method and on the principles of problem solving. A game, specifically constructed for the purposes of this investigation and named \"Domino of cellular cycle\" was used to conduct the experiment. First and third class students of secondary level school played this game and the dialogues, occurred at each match, were recorded and transcripted in the style of narratives. Afterwards, the narrative allowed us to infer the students thought structures suitable to the empirical data. The results of the research draw to the conclusions that the comprehension of cell\'s scientific models, and maybe of other concepts relative to objects that do not present observable characters depend on the use of inferences. These were created by procedures of induction, abduction and dialectic, therefore these allow the contact with this type of object because the students could not act directly upon them. We also verify that students\' mental models change accordingly to their level\'s skills. In this way, mental models can be good indicators to evaluate the concept learned and the skills developed. The results also draw to the important role of inference to connect action and language in the process of this type of concept comprehension. Language, in this way, was essential to access mental skills and to create the metaphors, and also constitute mental and scientific models. We propose that the use of inferences associated to the creation of metaphors allow the construction of a type of knowledge related to the formal operatory stage, a type of \"permanent object notion\": the \"invisible\" object notion.

A imagem mental e a memória visual têm sido consideradas como componentes distintos na codificação da informação, e associados a processos diferentes da memória de trabalho. Evidências experimentais mostram, por exemplo, que o desempenho em tarefas de memória baseadas na geração de imagem mentais (imaginação visual) sofre a interferência do ruído visual dinâmico (RVD), mas não se observa o mesmo efeito em tarefas de memória visual baseadas na percepção visual (memória visual). Embora várias evidências mostrem que tarefas de imaginação e de memória visual sejam baseadas em processos cognitivos diferentes, isso não descarta a possibilidade de utilizarem também processos em comum e que alguns resultados experimentais que apontam diferenças entre as duas tarefas resultem de diferenças metodológicas entre os paradigmas utilizados para estuda-las. Nosso objetivo foi equiparar as tarefas de imagem mental visual e memória visual por meio de tarefas de reconhecimento, com o paradigma de dicas retroativas espaciais. Sequências de letras romanas na forma visual (tarefa de memória visual) e acústicas (tarefa de imagem mental visual) foram apresentadas em quatro localizações espaciais diferentes. No primeiro e segundo experimento analisou-se o tempo do curso de recuperação tanto para o processo de imagem quanto para o processo de memória. No terceiro experimento, comparou-se a estrutura das representações dos dois componentes, por meio da apresentação do RVD durante a etapa de geração e recuperação. Nossos resultados mostram que não há diferenças no armazenamento da informação visual durante o período proposto, porém o RVD afeta a eficiência do processo de recuperação, isto é o tempo de resposta, sendo a representação da imagem mental visual mais suscetível ao ruído. No entanto, o processo temporal da recuperação é diferente para os dois componentes, principalmente para imaginação que requer mais tempo para recuperar a informação do que a memória. Os dados corroboram a relevância do paradigma de dicas retroativas que indica que a atenção espacial é requisitada em representações de organização espacial, independente se são visualizadas ou imaginadas. / The mental image and visual memory have been considered as different components in the coding of information, and associate to different processes of working memory. Experimental evidence demonstrate, that Dynamic Visual Noise (DVN) impairs the performance of memory tasks based on mental image generation (visual imagination), but have no effect on memory tasks based on visual perception (visual memory). Although several evidences demonstrate that imagination and visual memory tasks have cognitive distinct processes, it doesnt rule out the possibility that they share common processes and that some experimental results that indicate differences between the cognitive processes are resulted from different methodological paradigms used to studied them. Our objective was to equate tasks of visual mental imagery and visual memory, using a recognition task and spatial retro-cue paradigm. Sequences of roman letters were presented in visual (visual memory task) and acoustic (visual mental imagery task) forms, each letter presented in four different spatial locations. The first and second experiment analyzed the time of the retrieval course for imaging process and for the memory process. In the third experiment, we compared the structure of the representations of the two components, with the presentation of DVN during the stage of generating and retrieval. Our results demonstrated that there are no differences in the storage of visual information during the retrieval period and that the DVN only affect the retrieval process efficiency, principally the imagination process. However, the retrievals time course is different for both components, since imagination requires more time than memory to retrieval information. The retro-cue paradigm reveals that spatial attention is required in representation with spatial organization based on visual perception or imagination

La réminiscence et l’apparition des images par des facteurs affectifs déclencheurs font partie inhérente du processus de création picturale qui est issue d’une nécessité intérieure. Les affects inscrits dans les souvenirs alimentent la force créatrice en s’actualisant par l’acte de réminiscence. C’est dans cette dynamique de l’intériorité que le langage pictural se forme en engageant la mémoire où le surgissement des images est soumis à l’affect. La métaphore de la nuit nous a permis d’interroger davantage l’incertitude de la mémoire et de l’état après le rêve, où les images d’intimité sont enfouies. La revalorisation de la subjectivité, de l’intime et du désir témoigne de l’intention d’une archéologie émotionnelle qui ramène la peinture à ses origines premières. Travaillant à partir des images d’images, les artistes contemporains explorent l’articulation du souvenir au présent. Nourrie de cet usage qui repose sur une interaction de l’ordre du « toucher » avec l’image, la « durée » picturale correspond à la réminiscence.La peinture, comme une forme intériorisée du réel, se déploie dans une mise en scène des multiples temporalités par une stratification de la matière picturale. Dans cet espace, le souvenir s’actualise dans la sensation de la couleur. En tant que qualité affective, la couleur permet d’exprimer le climat émotionnel attaché à un souvenir et de rendre visible l’affect. La surface du tableau est un tissu chaotique, mais également génératrice d’ « accidents proustiens », de retrouvailles et d’énigmes. Ici, la mémoire est la source d’où émane l’imagination. / The reminiscence and the appearance of images triggered by the emotional factors are inherited in the process of pictorial creation that comes from the inner necessity. By becoming actualized by the act of reminiscence, the affects inscribed in the memories nourish the creative force. In these dynamics of interiority, pictorial language is formed by the engagement of the memory. The emergence of images is subject to affect in the memory. The metaphor of the night has allowed us to question further the uncertainty of the memory and the after-dream state, where the images of intimacy are buried.The increase of subjectivity, the intimacy and desire reflect the intention of an emotional archaeology that brings the painting back to its origins. The use of images of the images in the contemporary artist’s works explores the connection of remembrance with the present. The pictorial time length, nurtured by this use based on an interaction between the emotional “touch” and the image, corresponds to the reminiscence.Painting, as an internalized form of the real, spreads out in a staging of multiple temporalities by a stratification of pictorial matter. In this space, memory refreshes itself in the sensation of the colour. As an affective quality, the colour enables the expression of the emotional climate attached to a remembrance and makes the affect visible. The surface of the painting is a chaotic material, but also source of "Proustian accidents," reunions and enigmas. Here, memory is the origin from which emanates the imagination.

Cette thèse propose une analyse de l’expression figée en tant que signe linguistique complexe, stable, variable et dynamique et en tant que problème de traduction à partir d’un corpus composé d’œuvres littéraires contemporaines françaises et de leurs traductions serbes. Le discours met en évidence la distance entre la signification du modèle et le sens de l’expression figée sémantiquement accomplie imbriquée dans le texte, dont l’une des réalisations est le défigement qui, lui, ne consiste simplement pas à renverser les critères syntaxiques, mais à élaborer un nouveau signifié de synthèse au service des stratégies discursives de l’énonciateur. Ce travail identifie les mécanismes linguistiques propres à l’expression figée et incontournables dans l’acte de traduire, ainsi que les incompatibilités entre les problèmes de sa traduction et certaines propriétés qui lui sont attribuées. Les problèmes que pose la traduction de l’expression figée dans le texte littéraire, dont elle façonne la progression narrative, excèdent la dichotomie entre la solution éthique et la solution ethnologique. Ils relèvent de la façon dans le locuteur établit le lien entre la conceptualisation inhérente à l’expression figée, elle-même construite sur la base des concepts préexistants - d’où l’image mentale et la charge connotative -, et la réalité à laquelle il l’applique. Sa traduction, eu égard à sa complexité pragma-sémantique, exige forcément une approche sourcière dans la phase interprétative et une solution cibliste. / This thesis proposes an analysis of a phraseme as a complex, stable, variable and dynamic linguistic sign, and as a translation problem based on a corpus of contemporary French literature and its Serbian translations. The discourse highlights the distance between the meaning of a model and the meaning of a phraseme that is semantically accomplished and embedded in a text. One of its possible realizations is a pun that does not only consist in transgressing the syntactic criteria but in developing a new global signified, serving the speaker’s discursive strategies. This work identifies linguistic mechanisms specific to lexical frozenness that are inevitable in the act of translation, and incompatibilities between the problems of translation and properties of a given phraseme. Its translation problems in a literary text, whose narrative progression it shapes, exceed the dichotomy between a domesticated translation and a foreignized translation. Translation problems result from the way in which the speaker establishes the link between the conceptualization inherent to a phraseme, built itself on the basis of pre-existing concepts - hence the mental image and the connotative surplus value - and the reality to which the speaker applies it. Its translation, given its pragma-semantic complexity, necessarily requires a source-oriented approach in the interpretative phase and a target-oriented solution.