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http://eprints.org/relation/isVolatileVersionOf http://etheses.bham.ac.uk/id/document/2481 http://eprints.org/relation/ispreviewThumbnailVersionOf http://etheses.bham.ac.uk/id/document/2481 http://eprints.org/relation/isVersionOf http://etheses.bham.ac.uk/id/document/2481 archive 4031 disk0/00/00/10/00 2010-10-26 13:22:32 2020-08-01 02:40:03 2011-07-19 16:27:30 thesis show 0 Levasseur Bruno Laachir Karima Ince Kate University of Birmingham unpub NX HM PC 10col_artl The archive referred to on the title page is at the rear of the thesis, page 426 onwards Cette thèse s’assigne comme objectif d’examiner l’évolution des évocations culturelles et théoriques des grands ensembles français entre les années 1960 et 2000. Notre recherche s’articule autour de la Cité des Quatre-Mille de La Courneuve. Prenant en compte les productions journalistiques disséminées par les grands médias durant ces quatre dernières décennies, les contrastant avec des créations artistiques plus dissidentes, les comparant avec des créations culturelles réalisées par les habitants de cette cité, nous élaborons un «complexe culturel» permettant un questionnement à la fois différent et «démocratique» des représentations historiques des grands ensembles. Le chapitre premier détaille l’armature théorique et méthodologique de notre étude. Le chapitre II propose une analyse rancièrienne des principes d’égalité, de démocratie et de politique. Les chapitres suivants (chapitre III, IV et V) retracent la trajectoire spécifique de la Cité courneuvienne. Le chapitre III se focalise sur les représentations journalistiques des Quatre-Mille au sein de la nation. Le chapitre IV est dévolu à la culture artistique et contraste d’autres formes de représentations esthétiques de la Cité et de l’identité nationale. Centré sur les productions quotidiennes de banlieusards, le chapitre V donne lieu à différentes représentations entre «banlieues» et citoyenneté. 2010-07 2009-09 graduation fre author unchecked This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. public 506 University of Birmingham School of Languages, Cultures, Art History and Music, Department of Modern Languages d_ph na 2010-07 graduation