{"record":{"leader":"cx  r22     2  45","datafield":[{"ind2":" ","ind1":" ","subfield":{"code":"a","content":"20171020afrey50      ba0"},"tag":100},{"ind2":" ","ind1":" ","subfield":[{"code":"a","content":"fre"},{"code":2,"content":"639-2"}],"tag":101},{"ind2":" ","ind1":" ","subfield":{"code":"a","content":2015},"tag":103},{"ind2":" ","ind1":" ","subfield":[{"code":"a","content":"k"},{"code":"f","content":"fre"}],"tag":104},{"ind2":" ","ind1":" ","subfield":[{"code":"a","content":0},{"code":"b","content":"#"},{"code":"c","content":"#"}],"tag":106},{"ind2":" ","ind1":" ","subfield":{"code":"a","content":"AFNOR"},"tag":152},{"ind2":" ","ind1":" ","subfield":{"code":"a","content":"Oeuvre Textuelle"},"tag":189},{"ind2":" ","ind1":" ","subfield":[{"code":7,"content":"ba0yba0"},{"code":"t","content":"Scream for Life, usages politiques de la culture en Chine, échanges et résistance au sein de communautés alternatives, le cas des punks et des cinéastes indépendants"}],"tag":241},{"ind2":" ","ind1":" ","subfield":[{"code":7,"content":"ba0yba0y"},{"code":"a","content":"Cette thèse propose d\u2019analyser l\u2019émergence de la contre-culture en République Populaire de Chine à travers le prisme de la contestation politique, à partir des productions culturelles et d\u2019enquêtes menées dans plusieurs villes chinoises de 2012 à 2015. Deux communautés contre-culturelles ont été étudiées durant la thèse, celles des punks et des cinéastes indépendants. Ce choix permet de révéler des logiques similaires au sein de ces deux communautés concernant leur rapport au politique et aux espaces qu\u2019ils ont créés, dans un État qui contrôle encore fermement l\u2019expression culturelle. La contre-culture chinoise doit être tout d\u2019abord replacée dans le contexte de la gestion, par le Parti communiste, de toute forme d\u2019expression culturelle, et ce depuis les thèses de Qu Qiubai et du Discours sur la littérature et l\u2019art de Mao Zedong. Punks et cinéastes indépendants se placent ainsi dans l\u2019histoire de la résistance des artistes et des intellectuels à la mainmise des autorités chinoises sur le domaine culturel, et trouvent de nouveaux moyens d\u2019exprimer leurs désaccords à travers l\u2019appropriation mineure de techniques qui sont à leur disposition. La thèse propose ainsi d\u2019étudier ces deux formes de contre-culture à travers les effets qu\u2019elles produisent sur les acteurs eux-mêmes, mais également dans la recherche d\u2019espaces autonomes, qui symbolisent la lutte contre la monopolisation de l\u2019espace public par le Parti communiste chinois. L\u2019analyse abordera également l\u2019expression contre-culturelle comme une forme du discours de vérité (parrêsia), dans une société où, selon Liu Xiaobo, « refuser le mensonge constitue précisément la force la plus efficace pour saper la tyrannie »."}],"tag":300},{"ind2":" ","ind1":" ","subfield":[{"code":7,"content":"ba0yba0y"},{"code":"a","content":"His thesis offers a study of the emergence of counter-culture in the People\u2019s Republic of China through the lens of political contestation, with the help of cultural productions and a fieldwork carried on in several Chinese cities from 2012 to 2015. Two counter-cultural communities have been studied in this thesis, the punks and the independent filmmakers. This choice allows us to reveal similar logics within these two communities about their relationship to politics and to the spaces they have been able to create in order to produce and release their works, in a State which still tightly controls cultural expression. Chinese counter-culture must first be put back into the context of the management, by the Communist Party, of all forms of cultural expression, from Qu Qiubai\u2019s theories to Mao Zedong\u2019s Talks about literature and art. Punks and independent filmmakers thus place themselves into the history of artists and intellectuals\u2019 resistance against the control by Chinese authorities of the cultural field. They find new tools in order to express their disagreements, through the minor appropriation of available techniques. The thesis proposes to study this two forms of counter-culture through the effects they produce on the actors themselves, through the new forms of subjectivity they create, but also through the search of autonomous spaces, which embodies the struggle against the Chinese Communist Party\u2019s monopoly of public space. The analysis will also address the counter-cultural expression as a kind of speech of truth (parrhesia), in a society where, according to Liu Xiaobo, \u201cto refuse lies is precisely the most effective way to undermine tyranny\u201d."}],"tag":300},{"ind2":0,"ind1":" ","subfield":[{"code":"b","content":"Thèse de doctorat"},{"code":"c","content":"Science politique"},{"code":"e","content":"Paris, Institut d'études politiques"},{"code":"d","content":2015}],"tag":328},{"ind2":" ","ind1":" ","subfield":[{"code":7,"content":"ba0yba0"},{"code":"t","content":"Scream for life, l'invention d'une contre-culture punk en Chine populaire"}],"tag":441},{"ind2":" ","ind1":" ","subfield":[{"code":7,"content":"ba0yba0"},{"code":"t","content":"Scream for Life, political uses of culture in China, exchanges and resistance in alternative communities, the example of punks and independent filmmakers"}],"tag":441},{"ind2":1,"ind1":" 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