Notre propos est d’interroger la place qu’elle tient dans les imaginaires des projets urbains exprimée en particulier dans leur mise en récit, formulée par les outils du marketing urbain et du storytelling. Notre hypothèse principale est qu’il y a une dialectique entre imaginaires de la mobilité, individuels et collectifs dans les projets urbains ; dialectique qui accompagne l’émergence de nouvelles manières de se déplacer et l’abandon de modèles marqués entre autres par l’usage de l’automobile. La mise en récit innovante et le déploiement des imaginaires, sont saisis au travers d’une étude de cas, le mégaprojet Bordeaux Euratlantique, nouvelle étape de la transformation de la métropole bordelaise. Opération d’Intérêt National, conduite par une maîtrise d’ouvrage ad hoc, elle est un laboratoire expérimental qui préfigure la mobilité de demain et qui en reconfigure les imaginaires. S’y articulent l’idée de vitesse (hypermobilité, connexion, réseau) et de lenteur (proximité et recherche de sobriété énergétique), combinaison soutenue par les experts et une partie des habitants. Le projet révèle aussi des imaginaires individuels, progressivement sédimentés à partir des pratiques et des expériences de chacun, que nous qualifions sous la forme de quatre figures, « opportuniste », « optimisé », « smart », « vertueux » : elles incarnent les tendances contemporaines de la mobilité. Selon nous, l’imbrication de ces imaginaires offre un angle original d’appréhension de la fabrication urbaine en soulignant l’importance des représentations et des discours pour tracer le futur des villes. D’un point méthodologique, notre thèse mobilise une variété de méthodes qualitatives : entretiens collectifs, entretiens individuels, revues de presse, analyse documentaire, figurative et archivistique, observations directes des sites de projet ; participation aux réunions de concertation.Notre démonstration s’organise en trois parties. La première synthétise un état de l’art qui cadre notre thématique et affine nos choix analytiques. La lecture d’une littérature pluridisciplinaire associe sociologie, science politique, urbanisme, géographie et paysage, pour montrer la valeur du concept de projet urbain et de l’idée de mise en récit centrée sur le thème de la mobilité. Nous précisons notre grille d’analyse sur la base d’une discussion de la notion d’imaginaire. Dans la deuxième partie, nous analysons l’expérience bordelaise et le mégaprojet Euratlantique, porteur d’une approche renouvelée de la mobilité. Dans la troisième partie, nous confrontons imaginaires individuel et collectif en œuvre dans le projet urbain pour saisir la dynamique complexe du changement des imaginaires. Nous détaillons en annexes les dispositifs d’enquête, le corpus iconographique et nous situons les projets et opérations citées via des documents cartographiques. / The mobility of men and women is a major issue in the manufacturing of contemporary territories. Long linked to technical issues and to the efficiency of public and individual transport, it becomes the basis for a redefinition of social and spatial practices in a context of metropolisation and shared values on the protection of the environment. In local public policies and urban projects, the organization of mobility, technical systems and services is a key element in the national and international attractiveness of cities to populations and businesses. It is also the significant support for daily change in lifestyles and aspirations.Our purpose is to question the place it holds in the imaginations of urban projects expressed in their narrative, formulated by the tools of urban marketing and storytelling. Our main hypothesis is that there is a dialectic between the imaginary of mobility, individual and collective, in urban projects; dialectic that accompanies the emergence of new ways of moving and the abandonment of models marked among others using the automobile. The innovative narrativization and unfolding of imaginaries are captured through a case study, Bordeaux Euratlantique megaproject, a new stage in the transformation of the Bordeaux metropolis. Operation of National Interest, led by an ad hoc project management, is an experimental laboratory that foreshadows the mobility of tomorrow and reconfigures the imaginary. There is the idea of speed (hypermobility, connection, network) and slowness (proximity and search for energy sobriety), a combination supported by experts and some of the inhabitants. The project also reveals individual imaginaries, gradually sedimented by the practices and experiences of each, that we qualify in the form of four figures, "opportunistic", "optimized", "smart", "virtuous": they embody the tendencies contemporary mobility. In our opinion, the interweaving of these imaginaries offers an original angle of apprehension of urban manufacturing, emphasizing the importance of representations and discourses to chart the future of cities. From a methodological point of view, our thesis mobilizes a variety of qualitative methods: collective interviews, individual interviews, press reviews, documentary, figurative and archival analysis, direct observations of project sites; participation in consultation meetings.Our demonstration is organized in three parts. The first synthesizes a state of the art that frames our theme and refines our analytical choices. The reading of a multidisciplinary literature combines sociology, political science, urbanism, geography and landscape, to show the value of the concept of urban project and the idea of narrative centered on the theme of mobility. We specify our analysis grid based on a discussion of the notion of imaginary. In the second part, we analyze the Bordeaux experience and the Euratlantique megaproject, which brings a renewed approach to mobility. In the third part, we confront imaginary individual and collective work in the urban project to grasp the complex dynamic of the change of the imaginary. We detail in appendices the survey devices; the iconographic corpus and we situate projects and operations mentioned via cartographic documents.

Organizational size is a common way to describe and understand organizations invarious settings: in every-day situations as well as in organizational research. Withinorganization theory, organizational size has been seen variously as a basic feature ofthe organization (an independent variable); as a result of a reaction to the environmentof the organization (a dependent variable); or as a basic criterion for the selectionand categorizing of empirical cases (a selective variable). Often, organizationalsize is measured through the number of employees, budget or turnover; but linked toit are also associations that might not always match the organizational reality as experiencedby those managing and working in the organization. "is mismatch can causeproblems for the organization as for its members, and illustrates that organizationalsize is not only a variable that can be operationalized quantitatively, but a figure ofthought, affecting our expectations of the organization. "e purpose of this thesis isto develop the understanding of organizational size as a figure of thought by describinghow it has been used traditionally and by developing an alternative definition ofthe concept. This is done with the help of a case study of an organization that was perceived as differentin size compared to what it was when measured traditionally. An ethnographicapproach, including shadowing, semi-structured interviews, and the collection ofprinted and digitally stored material related to the case, has generated the empiricalmaterial which has been analyzed through a narrative approach. Understanding organizational size as a figure of thought makes it apparent that thetraditional view of organizational size builds on certain implications regarding theorganization, implications not acknowledging the ongoing organizing aspects. "eempirical case illustrates that the size of the organization is not only a question ofwhere the borders around “the organization” are drawn, but when they are drawn,since it can be seen to be a continuously constructed action net. Two types of actionsare identified: actions of narrativization and actions of realization. Whereas the firsttype involves actions that lead to the emergence of narratives about the organization,the second type constitutes actions that inscribe the organization into differentmaterialities. "ese two types of actions illustrate how the borders around “theorganization” are drawn and help explain the mismatch between expectations of theorganization based on perceptions of its size. "e conclusion is that “organizationalsize” is not only something that is, but something that is done. "ese two dimensionsof the concept are called “the ostensive” and “the performative”, respectively. Eventhough “organizational size” makes “the organization” present, it has limitations as atheoretical concept if its performative dimensions are not acknowledged, since it createsa simplified impression of “the organization” as being a static entity. / QC 20100716

[pt] Esta dissertação se propõe a trabalhar a forma como o resgate histórico é capaz de referenciar uma compreensão do encontro entre raça e classe no interior do sindicalismo indígena boliviano da segunda metade do século XX. Partindo de uma crítica à qualificação sócio-política da indigeneidade como uma atualização particular da luta de classes no país, o trabalho busca abordar a mediação entre o reconhecimento da diferença, em uma mão, com a afirmação ou reivindicação de um espaço de igualdade, na outra, para entender o complexo processo de negociação que balizou a integração e o reconhecimento político do indígena boliviano, desde a ofensiva latifundiária de meados do século XIX até após a revolução de 1952. A preocupação com sua subjetivação histórica, nesse sentido, intercruza dois processos fundamentais: o regime de suplementação que possibilita a aparência de fechamento significativo e as mediações representativas que condicionam sua visibilidade e possibilidade de ser ouvido. Assim, a partir de uma sobreposição narrativa, propõe-se explorar as liminariedades das categorias analíticas capazes de revelar, em seus traços, formas imiscíveis de ser e agir no interior da comunidade política que possibilitam solidariedades supranumerárias e irredutíveis a uma esquematização cumulativa de enfrentamento da desigualdade por parte de movimentos sociais. / [en] This dissertation aims to discuss the way historical recollection serves as a point of reference to comprehend the encounter, in the second half of the 20th century, between race and class inside the Bolivian indigenous labour movement. Starting from a criticism of the social-political understanding of indigeneity as a particular form of actualization of class struggle in the country, this study discusses the mediation between the reckoning of difference, in one hand, with the assertion or vindication of equality, on the other, as a manner to understand the complex negotiation that fundaments the integration and political recognition of the Bolivian indian, from the estate expansion in mid-19th century to the period that follow the 1952 revolution. Focusing on their historical subjectification, in this sense, overlaps two underlying processes: the supplementary regime that makes possible the appearance of a signifying totality and the representational mediations that condition their ability to be seen and heard. Therefore, through a narrative juxtaposition, it is proposed to explore the liminalities of analytical categories as a way to reveal, in its traces, immiscible forms of being and acting inside a political community that makes possible supernumerary forms of solidarity, irreducible to the schematization of a cumulative confrontation of social movements with inequality.

Dans sa période particulièrement dense de production au cours des années 1980 et 1990, le spectacle dit « postdramatique » affirme régulièrement sa volonté de rompre avec toute forme de narration qu’illustrent des formes dramatiques plus conventionnelles. C’est même devenu un topos critique de dire que le théâtre postdramatique échappe à la narration ou la rend problématique, tant pour qualifier sa production (en termes de projet dramaturgique) que sa réception par le public.<p>Cependant, la force du déni installe le doute. Je me suis inquiété de l’insistance avec laquelle une certaine manière de concevoir le théâtre écartait ou s’opposait à un élément aussi structurant et persistant que le récit (en termes culturels, littéraires, dramatiques, …). Après avoir posé les termes de sa définition, j’ai voulu vérifier si le spectacle postdramatique ne contenait vraiment plus aucune forme de récit, quand bien même cette fonction lui serait implicitement ou explicitement contestée. Ma décision de mener l’enquête a été essentiellement provoquée par deux phénomènes :une intuition narrative qui se manifeste quand même vis-à-vis de ces spectacles (sur quoi est-elle fondée ?), et l’existence de textes qui en font le compte-rendu sur un mode narratif à la réception. Par ailleurs, j’ai senti le besoin d’analyser de manière un peu plus fine cette poétique non-narrative déclarée par les auteurs.<p><p>* * *<p><p>During a particularly dense production period running in the 1980s and 1990s, the so-called “postdramatic” theatre regularly attempted to break from all forms of narration utilized in more conventional dramatic forms. It became a recurring critical leitmotif to say that postdramatic theatre either eschewed narration entirely or rendered it problematic, whether as a qualifier to its production (in dramaturgical terms) or to explain audience reaction.<p>However, repeated denial definitely inspires doubt. I was concerned that one particular way of thinking about theatre seemed to refuse or rule out such a consistent and structural element as the narrative (culturally, dramatically, as well as in literary terms). I therefore wished to be sure that certain postdramatic pieces really had not retained any form of storytelling, had the choice been made implicitly or explicitly to exclude it. My decision to begin this investigation was triggered by two specific phenomena: a narrative intuition which manifests itself whether one wants it or not when one sees one of these pieces (what is its foundation?), and the existence of texts produced at the reception level which still seem to form a narrative stream when examined. I also felt the need to undertake a more detailed analysis of this non-narrative poetics as laid out by its creators.<p> / Doctorat en Langues et lettres / info:eu-repo/semantics/nonPublished