Résumé
A scientific concept formalised by Kimberlé Crenshaw in the 1990s, intersectionality has become a hybrid subject on the web, crossing and being crossed by the boundaries between science, society and technique. By focusing on the conditions of translation and circulation of this phenomenon, this thesis takes intersectionality out of its position as « a concept that serves to explain the social world » and places it as a technical innovation. This work is a cartography of the actors who carry it, of their trajectories, of the points of entry, circulation and (de)connection of what I will call the « intersectional cause ». By putting a name to ‘the problem’, intersectionality becomes a power that leads individuals to perform, that is, to question, produce, debate and mobilise. I study a group of 34 actors who decided to create media that claim to be intersectional. I have adopted the term MultiMicroMedia (MMM) to specify that these objects are built in opposition to traditional operators (a), claim autonomy from market rules (b), but do not lead (or do not wish to lead) to mass diffusion (c). This qualitative investigation combines two complementary methodological approaches: ethnographic and digital methods. The analyses are thus based on a corpus composed of four materials: the presentation texts of the 189 accounts, profiles and pages, the performance indicators, 23 semi-structured interviews and personal annotations relating to online and offline observations over the last four years.
Source: http://www.theses.fr/2022ASSA0036
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