The thesis investigates the interaction that developed between a major art dealer, Thos. Agnew and Sons (Agnews), and a principal public collection, the London National Gallery, from 1855 to 1928. Agnews played a crucial role in the life of the National Gallery and greatly facilitated the museum accession of important paintings, such as the Madonna Ansidei by Raphael, the Rokeby Venus by Velazquez, the Portrait of Doge Vincenzo Morosini by Tintoretto, and many others. In turn, collaborating with the National Gallery allowed Agnews to penetrate the international Old Masters market and reach for higher social standing. Through the analysis of ten case studies of acquisitions, which are supported by new archival evidence and are contextualised within a broader historical and theoretical framework, this thesis charts the emergence, development and decline of the rapport between the two organisations. It analyses how Agnews and the National Gallery began as two unconnected entities in the mid-nineteenth century, explores how their distinct trajectories turned into a close, collaborative rapport during the 1880s, and finally examines how in the third decade of the twentieth century they separated and initiated a newly detached professional relationship. Appropriating sociological theories by Pierre Bourdieu, Bruno Latour, Viviana Zelizer and others, this study investigates museum acquisitions as resulting from complex interplays of cultural and commercial forces within the field of cultural production. Acquisitions are further enlightened by the analysis of the networks that underpin them, which provide additional evidence on how economic factors are embedded within broader social constructs. By detailing and locating these processes and relationships within the historical context of a broad shift towards commercialisation, yet demonstrating that cultural elements are part of the dealers activities and that commercial values are an intrinsic component of the museum, this study provides an insight into the historical origins of modern-day relationships between museums and art dealers.

Ce mémoire vise à approfondir un cadre théorique élaboré dans les années 2000 par la sociologue Viviana Zelizer pour comprendre comment l’activité économique (la consommation, la production, les échanges) prend forme à travers une pratique sociale qu’elle nomme travail relationnel. Ce concept reflète les conflits de correspondance entre transactions économiques, culture et relations sociales dans la vie économique. Depuis quelques années des chercheurs en sociologie économique et économie politique tentent d’élargir la portée de ce cadre théorique, construit à partir des relations intimes, afin de changer son niveau du micro vers le macro. J’adopte cette même problématique théorique en explorant comment le mouvement climatique étudiant à Montréal « travaille » la société québécoise pour répondre à la crise climatique. J’ai mené 10 entretiens semi-dirigés avec des activistes présentant un fort niveau d’engagement pour la lutte climatique dans plusieurs groupes militants participant à ce mouvement social au Québec. Mes résultats montrent plusieurs manières par lesquelles la culture et les relations sociales s’entremêlent aux activités économiques dans les discours des activistes concernant l’économie politique. Spécifiquement, les activistes climatiques misent sur la solidarité, le partage, l’interdépendance et la durabilité pour repenser l’économie et son architecture sociale. C’est ce que je rattache au concept de travail relationnel de Viviana Zelizer. Mon analyse m’amène à proposer le concept de travail relationnel civil pour représenter une pratique politique visant à transformer symboliquement l’« arrière-plan relationnel » de l’activité économique, c’est-à-dire l’appartenance à une communauté imaginée et des modèles normatifs d’échange. / This dissertation aims to develop a theoretical framework elaborated in the 2000s by sociologist Viviana Zelizer, meant to understand how economic activity (consumption, production, and exchange) takes shape through a social practice called relational work. This concept illustrates how conflicts of correspondence between economic transactions, meaning-making and social relations are central to economic life. In recent years, scholars in economic sociology and political economy have recognized the need to deepen the analytical scope of Zelizer’s framework by scaling-up relational work from the micro-level to the macro-level. My research follows such a theoretical puzzle and explores how the student-climate movement in Montréal “works” Québec society in the context of a climate crisis and emergency. My findings reveal multiple ways in which culture and social relations are intermingled with economic activity in the activist’s discourses of political economy. Specifically, the cultural repertoire of climate activists includes solidarity, sharing, interdependence and sustainability as tools for “rethinking” the economy and its social architecture. This cultural logic is similar to relational work as defined by Viviana Zelizer. Through my analysis I elaborate the notion of civil relational work to represent a political practice that aims to construct and transform the “relational background” of economic activity, that is, the identification with an imagined community and normative models of exchange.

El trabajo de investigación presente ha pretendido establecer conexiones temáticas y formales, pero también divergencias argumentales y estructurales entre el planteamiento de la materia caballeresca medieval y áurea en la Literatura española, y su recuperación renovada a lo largo del pasado siglo XX. La inmanencia de motivos y tópicos permitirá adaptarla formalmente a los géneros históricos, desplegando un recorrido desde el primitivo roman hasta la actual novela, sin olvidar la sólida presencia del romance caballeresco o el influjo que las contemporáneas novela lírica, histórica o bildungsroman han ejercido hasta conferirles plena singularidad. Éste es el objetivo perseguido en el análisis de obras significativas de Juan Valera (Morsamor, 1899), Benjamín Jarnés (Viviana y Merlín, 1930), Álvaro Cunqueiro (Merlín y familia, 1955), Manuel Mujica Láinez (El unicornio, 1965), Paloma Díaz-Mas (La búsqueda del Santo Grial, 1983), Soledad Puértolas (La rosa de plata, 1999) y Ana María Matute (Olvidado Rey Gudú, 1996) / he main proposal of this research has been connecting the ancient chivalry plots with a group of modern Spanish novels, which present interesting and similar points of view, however important differences. It is pretended searching how the materials have been treated in similar ways, as well as how it has been looked for the narrative strategies that have allowed creating singular novels. Historical and lyrical novels, bildungsroman, even tales, will have influenced in these last ones along the past twentieth century.