Tesi sul tema "Le Brésil contemporain"
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Buffo, de Capua Carla Maria. "L'influence des cultures indigènes sur l'art contemporain au Matto Grosso". Montpellier 3, 2001. http://www.theses.fr/2001MON30047.
Goldberg-Salinas, Anette. "Le dire et le faire féministes : une approche socioculturelle du Brésil contemporain". Paris 7, 1991. http://www.theses.fr/1991PA070133.
Rodrigues, de Mello Glaucia Boratto. "Millénarismes brésiliens : contribution à l'étude de l'imaginaire contemporain". Grenoble 2, 1999. http://www.theses.fr/1999GRE29035.
Hugues, Henri. "1914-2014, un siècle d’anthropophagie féminine dans l’art brésilien : pertinence et actualité ?" Thesis, Antilles-Guyane, 2014. http://www.theses.fr/2014AGUY0766/document.
At the beginning of the twentieth century, in Brazil, a radical artistic rupture took place, which marked the beginning of a new era. The resulting modernity differed from its European counterpart by the awareness of geographical, cultural and political distances that alienated Brazil from Europe and more specifically from its former colonial owner, Portugal. Brazilian modernity sought to define its identity through important basic elements that constitute the stuff that the New World is made of: cross-breeding, mythology and post-colonialism. The Brazilian avant-garde emerged around 1928 with the publication of The Anthropophagy Manifesto by Oswald de Andrade (1890-1954), who is thus the founder of the Anthropophagy, that we can define as a backward step into a reinvented form of ″Amerindianness″. The ″bad savage″ voices his criticism against impostures of the world. « Anthropophagy art is not a literary revolution, nor is it a social plea, nor a political pamphlet, nor a religious tract. It is all these things at the same time. Its law is simple: everything that is not me is of interest to me. The law of men is the law of Anthropophagy ». It thus prescribes eating up imported models and digesting them through the process of hybridization in the name of Brazilian identity. By displacing Freudian concepts, «Anthropophagy is the permanent transformation of the Taboo (man-eating) into a Totem (Brazilian identity) ». The permeating influences of psychoanalysis and anthropology need to be put in perspective: the displacement of the anthropophagous taboo remains a symbolic act of transgression, a metaphor, but the anthropophagic reference does not concern the pre-Columbian period, because it is updated. We propose to study this phenomenon through four questions: 1°- What are the relations between Anthropophagy, history, esthetics and ideology? 2°- What is the place of women Brazilian artists in the emergence of this movement, taking into account their decisive presence right from the start? 3°- Taking into account the resurgence of Anthropophagy from the second half of the 20th century onwards, what is the place of women artists in this phenomenon? Are they pursuing the same interests as the founders of the movement?4°- Can we deduce that there exists a specifically female genre within the anthropophagic movement of yesterday and of today? If so, what is its relevance? Where does it stand with respect to the contemporary concepts of post-modernity and globalization in the present-day art world?
David, Maurício Dias. "Dynamique et permanence des exclusions sociales au Brésil : l'économie des pauvretés, des inégalités et de l'accumulation des richesses dans le Brésil contemporain". Paris 13, 2001. http://www.theses.fr/2001PA131011.
Penjon, Jacqueline. "Nature et culture dans le roman brésilien contemporain : lexique de la faune et de la flore". Paris 4, 1994. http://www.theses.fr/1994PA040003.
The purpose of this thesis is to study the adaptation of a language transplanted in another nature, another climate. It is therefore made up of an introductory chapter explaining the criteria used for selecting the vocabulary and the authors (twentieth century), based on the results of a former study about the romantic period. The first section focuses on structuring the vocabulary in accordance with categories (approximations, regionalisms, multiple designations). The object of the second section is to study the vocabulary as different sets: European learned words, neologisms, African words, Tupi words, double designations (European and Tupi, European and African, etc. ). The third section is intended to examine the lexicon as a tool for the civilizations to construct their vision of the world. Volumes II and III present as fauna and flora dictionaries, the detailed lexical study what permitted the first volume synthesis, and suggest French translations (West Indies Guiana, French-speaking Africa)
Corneloup, Bernard. "Génération MPB : filiations, dialogues et ruptures : Mouvements musicaux et dynamique socioculturelle dans le Brésil contemporain". Thesis, Lyon 2, 2012. http://www.theses.fr/2012LYO20087/document.
In 1958, a new musical genre appears in Brazil: the Bossa nova, which looks like a revolution in the traditional musical landscape. Twenty years later, 1978 is the year of political openness, Chico Buarque, poet musician who dominated the decade through his songs as well as his resistance against the millitary dictatorship, launches an album on which he records some songs that were censored until then. This event puts an end to a period of great artistic creativity, punctuated with social and cultural changes, statements of intents, ruptures, standpoints on the political or cultural life of the country, which often are one. These twenty years witnessed the appearance of the most striking figures of Brazil’s 20th century music scene, and of the acronym whereby the urban song gained respectability: MPB, initials of Música Popular Brasileira. Rooted in tradition though defending itself from it, exchanging with outside influences which it influences as well, distancing itself till the rupture of the movements of which it was the closest, today this generation seems to us much more united and limited in time than it thought it was. That’s why the time has come, with historical perspective, to look at the musical production of that period with fresh eyes, in order to define the characteristics that unite and distinguish it at the same time
1958, nasce no Brasil un gênero musical novo, a Bossa Nova, que se anuncia comme uma revolução na paisagem musical. Vinte anos depois, 1978, é o ano da "Abertura" política, Chico Buarque, poeta músico que dominou a década tanto pelas suas canções como pela sua atitude de resistência contra a ditadura, lança um disco no qual ele grava músicas até então proibidas pela censura. Esse acontecimento conclui um período de intensa criatividade artística, acompanhada por grandes mudanças sociais e culturais, declarações de intenções e rupturas, tomadas de posição em relação com a vida política ou cultural do país, que muitas vezes faz uma só. Esses vinte anos viram emergir as figuras mais marcantes da canção brasileira do século XX, concomitantemente à sigla pela qual a canção urbana moderna foi consagrada : MPB, iniciais de Música Popular Brasileira. Ancorando-se na tradição sem reivindicá-lo, dialogando com as influências externas que ela influencia por sua vez, demarcando-se até à ruptura dos movimentos que lhe eram próximos, essa geração nos aparece hoje muito mais unida e circunscrita no tempo do que ela o percebia. Por essa razão, o tempo veio, com o recuo histórico, de questionar com um olhar novo a produção musical daquela época, para definir as características que a unificam e distinguem ao mesmo tempo
De, Souza Sabadini Mauricio. "Le capital fictif et ses effets sur la macroéconomie et sur le monde du travail au Brésil". Phd thesis, Université Panthéon-Sorbonne - Paris I, 2008. http://tel.archives-ouvertes.fr/tel-00354467.
Cassilde, Stéphanie. "Choix rationnel, langage et représentations des inégalités et des discriminations. Une étude des déclarations de couleurs de peau dans le Brésil contemporain". Phd thesis, Université d'Auvergne - Clermont-Ferrand I, 2012. http://tel.archives-ouvertes.fr/tel-00713948.
Cassilde, Stéphanie. "Choix rationnel, langage et représentations des inégalités et des discrimations : une étude des déclarations de couleurs de peau dans le Brésil contemporain". Clermont-Ferrand 1, 2010. http://www.theses.fr/2010CLF10330.
In Brazil skin colour declarations are influenced by individuals’ socio-economic characteristics. To analyze this phenomenon I conducted a nine-months field research (2006-2007) in two enterprises located in São Paulo city. I link Economics and Sociology to identify the motivations and the mechanisms of skin colour declarations. The Brazilian skin colour mosaic is here taken as a whole. I underline the fluidity of the definitions of categories and of categorization processes. The cor [colour] becomes a concept per se and I describe a relation of chromatic dependency. I explain some elements which are linked to declarations and which are usually implicit. Then I built a chromatic mobility model to explain the construction of these declarations. I underline that the consistency of skin colour declarations given different classifications hides a modification of skin colour categories’ definitions through a change in the effective distribution of individual’s socio-economic variables. Then I study the possibility to have a racial calculus equation to instrument the variable “skin colour” in econometrical applications in the case of an endogeneity problem. Finally I question what is analyzed with inequality and discrimination measurements, because the interaction between rational choices (declarations) and language (basis of the declarations) underlines the representational aspect of these measures rather than a pure link with individual physical materiality
Ruschel, Nascimento Garcez Luciane. "Persistances et récurrences de l’histoire de l’art dans l’art contemporain à partir des oeuvres d’Hubert Duprat". Thesis, Aix-Marseille, 2016. http://www.theses.fr/2016AIXM3062.
The text is a study of the recurrence and persistence of the story - artistic, cultural, technical - in contemporary art from the works of the French artist Hubert Duprat. The research was divided into four parts: The Movable, The Immovable, Contemporary Dialogues, and The Archive Becomes Oeuvre. In the first two parts,The Movable and The Immovable, I treated of Hubert Duprat's achievements by analyzing the remnants of the form, history, use of the material, technique, all seen as survivals as a potentiality of the work. In Part 3, Contemporary Dialogues, I addressed several Brazilian contemporary artists, whose works offer links, dialogues, open common references to the work of Duprat. I want to make a bridge between the two countries, France and Brazil and their artistic productions, without ever losing the motivation of the study: look for recurrences of history in the contemporary. In Part 4, And the archive becomes oeuvre is an analysis of a Duprat's work, very dear to the artist, who did not fall in the categories I had pitched: movable or immovable, because it attended both. This accomplishment remains anything but a work of art, it is an essential articulation of the artist's thought and procedures in dialogue with his poetic corpus. This work was included in this study as a dessert, an achievement that completes the set, but does not belong to the main body of the text
O texto se trata de um estudo sobre a recorrência e a persistência da história – seja da arte, da cultura, da técnica – na arte contemporânea a partir do corpus artístico do artista francês Hubert Duprat. A pesquisa foi dividida em 4 partes: Os Mobiliários, Os Imobiliários, Diálogos contemporâneos, E o arquivo virou obra. Na primeira e segunda partes, Os obiliários e Os Imobiliários, eu tratei de obras de Hubert Duprat analisando as sobrevivências percebidas como potência da obra. Na parte 3, Diálogos contemporâneos, abordei artistas contemporâneos brasileiros, cujas obras me trazem ligações, diálogos, referências nas obras de Duprat. Eu quis fazer uma ponte entre os dois países e suas produções artísticas, França e Brasil, sem jamais perder o objeto do estudo: buscar recorrências da história na arte contemporânea. A Parte 4, E o arquivo virou obra, é uma análise de um trabalho de Duprat considerado muito caro ao artista, e que eu não sabia como classificar: mobiliário ou imobiliário?, posto que é os dois. Ainda porque para mim o trabalho não era propriamente uma obra de arte, mas alguma outra coisa, que não classificarei, pois a considero importante para a pesquisa pelo pensamento e procedimento de fatura do artista em diálogo com o corpus poético de Duprat. Portanto, era obrigatório este trabalho constar neste estudo, mas ele vem como uma sobremesa, algo que completa o conjunto, mas não pertenceao corpus principal
Rodrigues, Moreira Cruz Camila. "Le métissage dans l'art contemporain brésilien : recherche des origines : du rouge-généalogique au rouge-exilique". Thesis, Paris 1, 2017. http://www.theses.fr/2017PA01H302.
This poietic thesis explores the question of origins and metissage in art using a dual approach - theoretical and practical. It is based on works of contemporary artists as well as persona! production. We forward a hypothesis, according to which, a reflection on the origin and also the metissage in art inscribed on the body, which could highlight the alterity that traverse us even in our innermost interiority. In the first chapter, we analyse the red genealogy transmitted by generations of women within my family. Later, we explore the red wound that irrigates the passage of child's body to that of a woman. And finally, in the last step we approach the exilic-red which directly questions the body of the artist. Our work is related to genealogical and persona! research deals with physical displacement, the disruption experienced when we leave our native land until the awareness about exilic body in the host land. This reflection might never arise without the following question "What is your origin?, which was once posed to me about my works. The question echoed within me until I decided to undertake a journey back to the exhumed souvenirs of a collection of persona! items. We conclude that the artist is always, in any way a migrant and an exile. The artist is the one who, in this stream of life and also in ephemeral state, in mixtures and metissage, seeks continuity and creative transformations. All the reds of my work, genealogical, wounded, exilic, red of life and death, are images of the blood plasma which circulates in us, which makes us live and from which I ex tract the transforming material -mixed and creative of my work. The reds are the creator plasma that circulates in the artist's body and presides over all creation
Neri, O'Neill Raquel. "Désir, sexualité et rapport de domination : la constitution des regard(s) féminin(s) dans le cinéma brésilien contemporain". Thesis, Paris 1, 2018. http://www.theses.fr/2018PA01H319.
The present thesis is a study of contemporary Brazilian cinema focused on the constitution of female gazes. This study is based on film analysis and aims to describe an aesthetic model in opposition to the dominant (male) gaze that structures the majority of film production. It develops a perspective that distinguishes itself from classical feminist theory, by means of a shift in focus from the historically consecrated pair of opposites (masculine versus feminine) to an emphasis on what films offer as indications pointing to new symbolic structures. Its goal is to shed light on the constitution of a cinematic female gaze, and to describe the structural lines that define it
Santos, Amaranta Cesar dos. "La fabulation et la figuration de l'altérité dans le cinéma brésilien contemporain : Cidade de Deus, du livre au film". Paris 3, 2008. http://www.theses.fr/2008PA030125.
Film adaptation of Paulo Lins’ novel, Cidade de Deus, published in Brazil in 1997, implies a process of cultural translation: from Paulo Lins’ novel to Fernando Meirelles and Kátia Lund’s homonym film, released in 2002, (literary) narrative as a foundation of cultural identity becomes (film) narrative as a construction of otherness. This process is only accomplished at the time of film reception, when its construction of the « other » is challenged. The present thesis draws the path of this cultural translation. The first section is dedicated to the analysis of Cidade de Deus, the novel, as a “capture of speech”. The second section intends to demonstrate how the movie constitutes a “recapture of speech” through fabulation and figuration of otherness. The third section is a reflection on film’s critical reception as the space where re-appropriation of speech takes place. This work emphasizes the notion of otherness as an instrument of analysis allowing to think cinema as a space of articulation of cultural differences, while questioning the relation between cinema, identity and nation
Bião, Armindo Jorge. ""Théâtralité" et "spectacularité" : une aventure tribale contemporaine à Bahia". Paris 5, 1990. http://www.theses.fr/1990PA05H063.
The sociological perspective of this work is a comprehensive and relativist one. Its point of departure is the interface theatre anthropology. To define the "repetitive" interactions of "ordinary" days the researcher proposes the utilization of the notion of "theatricality". As theatrical activity, social life is composed not only of these everyday "ordinary" moments of "teatricality" but also of other "extra-ordinary" moments of mise en scene of social relations, which the researcher defines by the notion of "spectacularity". The researcher applies the notions of "theatricality" and "spectacularity" to three secondary research fields : a military school, the club Mediterranean and the interface theatre France brazil ; before applying them to the central research field, the "social space" of the city of Salvador, Bahia, between 1968 and 1978. The focus of the thesis is the "life history" of an "ideal" participant of a group of peers formed by young Bahian intellectuals, very active all along this period
Vieira, Marcela. "A obra de Marquês de Sade no Brasil do século xxi – aspectos culturais e linguísticos da tradução em português de Justine ou os tormentos da virtude". Electronic Thesis or Diss., Paris 8, 2022. http://www.theses.fr/2022PA080090.
This doctoral thesis aims to investigate questions present in the translation from French to Brazilian Portuguese of the novel Justine ou les malheurs de la vertu, by the Marquis de Sade. The thesis is organized in three parts: the first, entitled "Contextual Elements for a Libertarian Philosophy", is dedicated to an analysis of literary, philosophical, and social phenomena in 18th century France. The second, "Translation and conflict" seeks to stimulate a reading that addresses the discursive content of Sadean characters and, in parallel, confronts them with linguistic aspects that were prominent during translation. In the third part, "The translator as an actor of his time", the emphasis shifts to cultural aspects in Brazil at the beginning of the 21st century. The thesis attempts to establish an analysis of the contemporary Brazilian context regarding the reception of works of art in the contemporary period. The thesis presents a hybrid theoretical approach, since its analysis draws on semiotic, linguistic, philosophical, social, and comparative literature references. From the internal subdivisions of each part of this research, to the comparative dynamics between the first and the third part, the thesis is motivated by questions related to the reception, via translation, of Sade's work in contemporary Brazil, considering linguistic equivalences and concepts of morality both in the contemporary sense and of the period
Zielinsky, Mônica. "La critique d'art contemporaine au Brésil : parcours, enjeux et perspectives". Paris 1, 1998. http://www.theses.fr/1998PA010672.
This research examines the logic underpinning the attitudes of some art critics in Brazil, as reflected in their writing in the 1980s in the rio de janeiro and sao paulo areas. Based on the observation that culture has tended to become homogenised, and individual identity and freedom blurred, this study looks at the absence of any foundation or justification for the opinions on art given by critics and the failure to question those opinions in the public domain, as well as critics' approach to their subject: the experience of works of art is seen here as the main source of assessing their value. The nature of their comments concerning aspects of communication is one of the central factors in this study. From a methodological viewpoint, some specific cases are examined to illustrate the various ways in which art criticism is expressed and forms part of Brazilian culture. Each occupies a specific place in revealing opinions on art and plays an essential role in establishing a geography of the field of criticism. The examination of these issues also calls for both an examination of the contents of documents collected during extensive research in the field in Brazil, and interviews granted by 15 Brazilian art professionals in 1997. On the basis of the data examined, some of the viewpoints offered to contemporary art criticism are sketched out, using a proposal based on the results of previous research. This paper ends with an evaluation of the possible practical applications of the research
Pinçon, Guillaume. "Anthropophagie du dehors : étude de théâtralités contemporaines au Brésil". Amiens, 2013. http://www.theses.fr/2013AMIE0005.
This study found its origins between 2005 and 2007 with plays created by Brazilian collectives in Rio de Janeiro and São Paulo : BR-3 by Teatro da Vertigem, Café com queijo by the LUME collective, ensaio. Hamlet by Cia dos Atores, Não olhe agora by Coletivo Improviso and the Os Sertões cycle by Teatro Oficina. The way these shows operate as performances problematizes theatricality. All these plays display a strong desire to connect with the world against which theatre usually sets itself. This translates into apparatus that keep working on their own boundaries, into images whose representation allows us to experience historical alterities and immanent outsides, as well into concrete alliances with the adjoining outsides specific to this artform : its technical and material operationality, its audience and the urban territory. They sign that way a world-becoming of the theatre. A second corpus of plays seen in 2010 extends the scope of this study : Arrufos and Hygiene by the XIX collective, Corte seco by Christiane Jatahy, Festa de separaçao by Luiz Fernando Marques, Finnegans Ueinzz by the Ueinzz company, the O Idiota cycle by Mundana Companhia and OTRO by Coletivo Improviso. This relationship with the theatre's exterior resembles anthropophagy in that it blurs the distinction between and inside constituing a self and unlimited outside within which the former closes itself. This dialectics, as can be deduced from Oswald de Andrade's Cannibal Manifesto, also points to the possibility of a Brazilian trademark for all these theatrical singularities
Dantas, Eustógio Wanderley Correia. "Fortaleza et le Ceara : essai de géopolitique d'un espace de colonisation tardive : de la découverte à la mutation touristique contemporaine". Paris 4, 2000. http://www.theses.fr/2000PA040094.
Pires, Alves José Manoel. "L'éducation catholique des élites et la société brésilienne contemporaine : vers la reproduction ou la résistance ?" Paris 8, 2000. http://www.theses.fr/2000PA081770.
Cardoso, Luís Antonio. "Apres-fordisme et participation : restructuration productive contemporaine et nouvelle rationalisation du travail dans l'industrie automobile bresilienne". Evry-Val d'Essonne, 2001. http://www.theses.fr/2001EVRY0001.
Martinière, Guy. "Le Brésil et l'Europe atlantique, (XVIe-XVIIIe siècles) : l'invention contemporaine de la "brasilianité"". Paris 10, 1986. http://www.theses.fr/1986PA100122.
The analysis of the different interpretations of brazil history, at the meeting point of history of ideas and ideologies, of history of cultures and cultural identities of nations, and history of sciences, mostly human and societal sciences, represents a field of thoughts about an area still little explored, that is, the relationship between the international cultural relations and historiography. As India and Japan did, Brazil identified itself with a laboratory where the encounter of cultures and ideas was in the nineteenth and twentieth centuries, the slake of various interpretations reflecting intense national and social rivalries. The book about Brazil, material product of printing and product of the information resulting from discovery of the new world, therefore appears as an element of communication between men, in the world of Portugal and Europe colonial and spiritual conquest. Invented by the Europe of the renaissance and given a national existence by a first wave of decolonization born of the revolution of 1789, "brazilianity" appears like an operating concept of historiography to "think" the independence of Brazil and the original cultural assertion of an emerging nation of today
De, Franco Rispoli Alves Eduardo. "La diplomatie brésilienne des droits de l'homme au sein des Nations Unies". Thesis, Paris 2, 2015. http://www.theses.fr/2015PA020007/document.
Zagonel, Bernadete. "La formation musicale des enfants et la musique contemporaine". Paris 4, 1994. http://www.theses.fr/1994PA040089.
The aim of this thesis is to examine ways in which the contemporary music aspect can be incorporated into musical teaching programmes for children. Using both bibliogrpahical and on-site reserach, initially in france and subsequently in brazil, we have found a methodology which uses human gestures as a basis for producing sounds. This system has been adapted to the specific conditions in brazil as it is intended for brazilian schools, and has already been applied with positive results. Thanks to these studies and experiments, we were able to see the value of such a pedagogy and propose its application, not only to introductory musical classes for children, but also to training programmes for all musicians
Barros, Rachel Rocha de Almeida. "Les solitaires au Paradis : enjeux touristiques, culture de l'isolement et ses expressions contemporaines à Maceió, Nordeste du Brésil". Paris, EHESS, 2007. http://www.theses.fr/2007EHES0289.
This study deals with the cultural construction of one idea -isolation- taking as research field the city of Maceió, capital of the state of Alagoas in the northeast of Brazil, in a privileged moment for this task because it corresponds to a phase of increment on public and private policies for tourism that started to be held in the city in the 80's. The research shows that the main difficulty in surpassing the natural argument in the publicizing of Maceó as a tourism destination is due to the presence of the idea of isolation, that makes it difficult to identify other symbols of common belongings. Using the methodology of anthropology along with historical research we show that isolation is a cultural construction that has been built since the formation of our territory and that its current manifestation in many different cultural products demonstrates its representation force, even when we are, maybe, seeing the moment of its overcoming
Barbosa, da Silva Andrade Cibele. "Le Brésil entre le mythe et l´idéal : la réception de l´œuvre de Gilberto Freyre en France dans l´après-guerre". Thesis, Paris 4, 2011. http://www.theses.fr/2011PA040126.
The objective of this thesis was to study the reception of the Brazilian sociologist Gilberto Freyre’s works in France after the Second World War. Going from the starting point of the enthusiasm of Freyre’s reception by experts like Lucien Febvre, Fernand Braudel and Roger Bastide, among others, we sought to attain better comprehension of the reasons that convinced these intellectuals to highlight the importance of the work Maîtres et Esclaves as a function of their own debates. What we advocate as a hypothesis in this thesis is that, contrary to what might be thought about Freyre’s reception in France, it was not primarily related to viewing Brazil as exotic (although the work made a contribution in this respect) or even to Freyre’s historiographic contribution as a supposed precursor of the epistemological innovations made by the historians of Annales. We have instead shown that it is only possible to comprehend Freyre’s acceptance in France by taking into consideration the historical contingencies of the period, full of factors of a political-ideological, epistemological, cultural and scientific nature, and those of institutional and personal nature, such as the study of the sociability network that Freyre constructed with prominent intellectuals within the French scene or his presence in international forums like UNESCO. Based on epistolary, textual and iconographic documentation, we have sought to identify, along general lines, the ways in which Freyre’s ideas fitted in with and interacted with different levels of expectations in France in the 1950s
Vuaillat, Fanny. "Une manière d'habiter les villes contemporaines : les ensembles résidentiels fermés et/ou sécurisés à Nantes et à Recife (Brésil)". Nantes, 2010. http://www.theses.fr/2010NANT3044.
Ferreira, Heris Arnt Telles. "Le néobaroque dans la littérature contemporaine : une étude anthropologique". Paris 5, 1993. http://www.theses.fr/1993PA05H074.
The objective of this thesis is to establish the relationship between the symbolic imaginary in the contemporary and show that literature is a valuable subject of anthropological analysis. We can say that our work has three big lines: literature as a source of knowledge, the nature of that knowledge and the analysis of books that confirm this research. We read sixty Brazilian and French novels to find the most important elements of the contemporary age. From this analysis we see a sensitivity of our world as neobaroque instead of others concepts. Our conclusion is focuses on the use of literature to achieve the symbolic imaginary literary and this makes possible the invisible
Barbosa, da Silva Andrade Cibele. "Le Brésil entre le mythe et l´idéal : la réception de l´œuvre de Gilberto Freyre en France dans l´après-guerre". Electronic Thesis or Diss., Paris 4, 2011. http://www.theses.fr/2011PA040126.
The objective of this thesis was to study the reception of the Brazilian sociologist Gilberto Freyre’s works in France after the Second World War. Going from the starting point of the enthusiasm of Freyre’s reception by experts like Lucien Febvre, Fernand Braudel and Roger Bastide, among others, we sought to attain better comprehension of the reasons that convinced these intellectuals to highlight the importance of the work Maîtres et Esclaves as a function of their own debates. What we advocate as a hypothesis in this thesis is that, contrary to what might be thought about Freyre’s reception in France, it was not primarily related to viewing Brazil as exotic (although the work made a contribution in this respect) or even to Freyre’s historiographic contribution as a supposed precursor of the epistemological innovations made by the historians of Annales. We have instead shown that it is only possible to comprehend Freyre’s acceptance in France by taking into consideration the historical contingencies of the period, full of factors of a political-ideological, epistemological, cultural and scientific nature, and those of institutional and personal nature, such as the study of the sociability network that Freyre constructed with prominent intellectuals within the French scene or his presence in international forums like UNESCO. Based on epistolary, textual and iconographic documentation, we have sought to identify, along general lines, the ways in which Freyre’s ideas fitted in with and interacted with different levels of expectations in France in the 1950s
Manera, Giulia. "Femmes écrivains et représentation du féminin dans le “ Romance de 30 ” au Brésil". Thesis, Paris 10, 2016. http://www.theses.fr/2016PA100132/document.
The 1930’s represent a fundamental period in the development of Brazil’s culture and identity, as a time during which the social function of literature, specifically the novel, and the role of the author as the “living conscience” of the country are found and problematicized. However, in the majority of stories, anthologies, and literary manuals, not one female author’s name is found among the canonic authors of the period, with the exception of Rachel de Queiroz. The analysis of sources from the era demonstrate that, on the contrary, female authors such as Lúcia Benedetti, Jenny Pimentel de Borba, Làsinha Luís Carlos de Caldas Brito, Maria José Dupré, Ondina Ferreira, Emi Bulhões Carvalho Fonseca, Ignez Mariz, Carolina Nabuco, Lúcia Miguel Pereira, Dinah Silveira de Queiroz, Tetrá de Teffé and many others were published, read, and appreciated by the critic and the public. Following the examination of the historical and literary context of these writings, as well as their reception and editorial aspects, the mechanisms which allowed for their deletion from memory are dismantled, explaining the lack of integration of these writings in the Brazilian literary tradition. Reading and analyzing the representations of these female authors’ novels allows for the expansion of the discourse on the participation of women in the literary and social era of the 1930’s and 1940’s. The characters, notably the female ones, which populate these works are an ideal subject for the analysis of phenomena of identity which characterize this historical time period, along with their contradictions
Os anos 30 representam um momento fundamental no processo cultural e identitário do Brasil, onde a função social da literatura, especialmente do romance, e o papel do escritor como « consciência viva » do país são reconhecidos e problematizados. Contudo, na maioria das histórias, antologias e manuais literários, nenhum nome feminino figura entre os autores canônicos do período, com a exceção de Rachel de Queiroz. A análise das fontes da época mostra que, pelo contrário, autoras como Lúcia Benedetti, Jenny Pimentel de Borba, Làsinha Luís Carlos de Caldas Brito, Maria José Dupré, Ondina Ferreira, Emi Bulhões Carvalho da Fonseca, Ignez Mariz, Carolina Nabuco, Lucia Miguel Pereira, Dinah Silveira de Queiroz, Tetrá de Teffé e tantas outras foram publicadas, lidas e apreciadas pela crítica e pelo público. A partir de um estudo do contexto histórico e literário, bem como da recepção e dos aspectos editoriais, os mecanismos que permitiram o desaparecimento de tais autoras da memória são desmontados, explicando sua falta de integração à tradição literária brasileira. A leitura dos romances destas autoras permite o aprofundamento do discurso sobre a participação das mulheres no contexto literário e social dos anos 30 e 40 através de uma análise das representações. As personagens que povoam estas obras, especialmente as personagens femininas, são um objeto ideal para analisar os fenômenos identitários que caracterizam este momento histórico e suas contradições
Lopes, Ferreira Thiago. "Architectures vernaculaires et processus de production contemporains : formation, expérimentation et construction dans une communauté rurale au Brésil". Thesis, Grenoble, 2014. http://www.theses.fr/2014GRENH037/document.
This thesis takes as its analytical perspective the contemporary manifestations of vernacular architecture production and building cultures within the complex correlation of forces and interests that shape and determine the phenomena of capitalist production of popular housing.The analytic framework is delineated from a series of reflections of theoretical and conceptual order, in relation to the analysis of a popular housing building site within an agrarian reform rural settlement in Brazil. This assumes the form of a field school in loco on the building site and is projected as a stage for experiments and experiences, where the proposal is to combine pedagogy and production in the same space. The processes of knowledge formation and construction occur simultaneously and complementarily to practical achievements and development of technologies.This building site is thus transformed into a tool for the constitution of a dialectical space of social work, where the orientation of its productive experimenting is focused on the challenge of designing a house from the local generation of social technologies, through the use of natural materials and reuse of discarded resources. A theoretical work, presented in the initial of the thesis, provides the framework for this fieldwork, which feeds back our reflection on processes of production and development of new vernacular architectures, integrated into their territories
Esta tese possui como perspectiva de análise as manifestações contemporâneas de produção das arquiteturas vernáculas e culturas construtivas, dentro da complexa correlação de forças e interesses que formatam e determinam os fenômenos de produção capitalista das habitações populares. Seu contorno analítico está delineado a partir de uma série de reflexões de ordem teórico-conceituais relacionadas com as análises de um canteiro habitacional dentro de um assentamento rural de reforma agrária. Este, assume a forma de um canteiro-escola e se projeta como palco de experimentações e vivências, onde se propõe como prática o exercício de conjugar pedagogia e produção no mesmo espaço. Os processos de formação e construção dos conhecimentos ocorrem de maneira complementar e simultânea às realizações práticas e ao desenvolvimento das tecnologias. Tal canteiro se transforma, assim, em ferramenta para constituição de um espaço dialético de trabalho social, onde o experimentar produtivo está focado no desafio de conceber uma habitação a partir da geração local de tecnologias sociais, por meio do uso de materiais naturais e da reutilização de recursos descartados. O trabalho teórico, apresentado nas primeiras partes da tese, define o quadro de sua práxis, que por sua vez, realimenta a reflexão sobre os processos de produção e desenvolvimento de novas formas de arquiteturas vernáculas, integradas aos seus territórios
Novaes, Raimundo Clara Roberta. "L'expérience urbaine de l'ayahuasca : paysages des subjectivités contemporaines : Approche ethnopsychanalytique". Paris 5, 2011. http://www.theses.fr/2011PA05H126.
Noting the vertiginous expansion of the ritual use of ayahuasca (a powerful psychoactive beverage from the Amazon which brings about altered states of consciousness) by populations other than indigenous, this research produces a cartography of these experiences within urban-ritual agencements in contemporary Brazil and dialogues with the experiences taking place in Paris and in the Netherlands. It has a phenomenological research method. This study’s tool case contains the concepts of ethno-psychoanalysis, psychoanalysis and philosophy. It is based on the material resulting from seventeen semi-structured interviews with people making urban-ritual use of ayahuasca. The detailed ethnography of the group Comuníndios (in Brazil and in the Netherlands) illustrates perfectly the landscape in motion of ayahuasqueiros agencements. The results show that the ayahuasca experience extends the ritual set and is incorporated in everyday life through an ensemble of teachings. The connection in between the ayahuasca use and daily life revealed important data: the narratives make it clear that these subjects don’t show neither a substance dependant way of being nor a sectarian way of life. Whereas drug addicts aim to forget “the self” and the “lived time”, the ayahuasqueiros on the other hand try to “remember”, to find and to develop themselves, to recall. The dimension of “self-remembering” (platonic reminiscence) in the dialectic memory-forgetting-remembering is very important in their approach. The nature of the contemporaneous desire of self-knowledge is discussed through the concepts of the unconscious and the “care of the self” (Foucault). The analysis of the processes of subjectification reveals that the ayahuasqueiros as well as their groups re-actualize an “anthropophagical” (Brazilian modernism) relation to the other, trying to introject from the other that which can be affirmative for themselves. These experiences are characteristic of present times since they are at the heart of the entwinement of the actual and the archaic
Pereira, Marcio Rodrigues. "La politique culturelle française du Brésil de 1945 à 1970 : institutions, acteurs, moyens et enjeux". Thesis, Strasbourg, 2014. http://www.theses.fr/2014STRAG001/document.
In the context of heightened disputes among European empires, France launches its international cultural policy during the last quarter of the 19th century to preserve its empire and increase its political and economic power in the world. However, it is from the last year of World War II that the French Ministry of Foreign Affairs uses a more pragmatic policy for international cultural affairs, which includes an increasing budget, to influence French culture in the world. At the Quai d’Orsay, and in Brazil, the French diplomatic effort between 1945 and the 1970s results in established strategies to extend the French cultural presence throughout the national territory and all social groups of Brazil. Before the war, French cultural elements are disproportionately concentrated in the axis Rio de Janeiro–São Paulo; before 1945, French culture influences mostly the Brazilian elite
Rodrigues, pereira Marcio. "La politique culturelle française du Brésil de 1945 à 1970 : institutions, acteurs, moyens et enjeux". Phd thesis, Université de Strasbourg, 2014. http://tel.archives-ouvertes.fr/tel-01068703.
Silva, Gisélia Castro. "Culture populaire et communication contemporaine au Brésil : la télévision et le téléjournalisme à bahia et Maranhao-années : années 2001/2012". Thesis, Paris 10, 2015. http://www.theses.fr/2015PA100093.
This thesis investigates audiovisual narratives on African-Brazilian religions, namely Candomblé and Tambor de Mina in the Brazilian northeastern states of Bahia and Maranhão, which were aired on TV news of Rede Globo de Televisão’s affiliated stations, as part of the local programming of the largest private media conglomerate of contemporary Brazil. Based on a study sample of eleven (11) news, including one special coverage, it was noticed that such narratives, stories broadcast between 2011 and 2012, reinforce the festive perception and the mixed nature of cultural-religious syncretism, foundation of the dominant ideology shaped in social classes and ethnic relations that conceives culture as intercrossing as well as conflict-free. This is a conservative view emerging in the production of a type of TV journalism that remains as part of the present social order, while promising to provide a public and cultural service. The relationship between TV journalism and Candomblé / Tambor de Mina temples, be it mediated by the State, intellectuals or social, economic and cultural interests, are also survival and poetic renewal strategies for groups pertaining to the African-Brazilian popular culture. Therefore, this study attempts to understand and place the insertion strategies of Candomblé and Tambor de Mina in TV journalism, and the meanings of popular culture brought out through voices, images and sounds of audiovisual narratives of festivals, events and characters related to the African-Brazilian religions
Esta tese analisa narrativas audiovisuais sobre cultos afro-brasileiros, especialmente, candomblé e tambor de mina, nos estados Bahia e Maranhão, da região nordeste do Brasil, que foram veiculadas em jornais televisivos de emissoras afiliadas da Rede Globo de Televisão, como parte da grade de programação local do maior conglomerado midiático do segmento privado de comunicação do Brasil contemporâneo. Observou-se, na mostra de onze (11) reportagens, incluindo uma edição de telejornal com cobertura especial, que tais narrativas, difundidas em diferentes datas entre os anos 2002 e 2013, reforçam a visão festiva e o caráter de mistura e de sincretismo cultural-religioso, base do pensamento dominante forjado em relações de classes sociais e raciais que concebe cultura como entrecruzamento e esvaziada de conflitos. Visão conservadora que emerge na produção de um jornalismo televisivo que se mantém como parte da ordem social vigente, enquanto promessa de prestação de serviço público-cultural. A relação entre jornalismo televisivo e terreiros de candomblé e de tambor de mina, mediada pelo estado, por intelectuais ou por interesses sócio-econômico-culturais, constitui-se também como estratégias de sobrevivência e de renovação poética para grupos participantes da cultura popular afro-brasileira. Buscou-se, nesse sentido, compreender e situar as estratégias de inserção do candomblé e do tambor de mina no telejornalismo e os sentidos difundidos de cultura popular por intermédio de vozes, de imagens e de sonoridades de narrativas audiovisuais sobre festas, eventos e personagens alusivos aos cultos afro-brasileiros
De, Jesus Samuel. "Non-lieux. Hors-temps. Pour une iconographie contemporaine et photographique de la saudade". Thesis, Paris 3, 2010. http://www.theses.fr/2010PA030077.
Which relations can the saudade, major expression of the Portuguese literature of the XVIth century, maintain a priori with contemporary photography? If saudade, phenomenon described by the poet Almeida Garett as a « delicious pain of the heart », born of the puncture of « a cruel spine », wakes up the remembrance related to a beloved being or place – whose absence, lack or loss cause us as much sadness as joy –, remains not easily translatable, and often continues to be comparable with the melancholy. However saudade also appears as a singular thought operating a temporal and spatial synthesis coming from man’s experience of the world, a « virtual » collage governed like a true layout of images. How can this feeling consequently find in photography a place of representation? Which symptoms, which “marks” thus come to reveal us its possible forms of application? Which paradoxes can also emerge, as soon as we try to withdraw them since their dormancy, or to reveal présent by their own absence, all that was, one day, but which is not anymore, or perhaps, the peculiar hope of what has not occurred yet? It is with these main questions that this thesis will try to answer, by exploring a corpus made up mainly among a choice of French and Brazilian contemporary photographs, but does not omit nevertheless other visual sources, such as paintings, engravings, films, performances, or often ephemeral installations. It is also trying to understand how this concept finally comes to compose a photographic iconography of an image-saudade which reveals itself as rich as complex and paradoxal
Paula, Luciana Araujo de. "La « zone grise » de la sécurité ? Approche comparée du processus "mafieux" de la police à Buenos Aires et à Rio de Janeiro". Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCA149/document.
This study aims to answer how the democratization of security institutions in Argentina and Brazil was closely followed by a process of "mafiosisation" of their policies, based on the case of the provincial police of Buenos Aires and Rio de Janeiro. We chose to work from these two police forces since they are historically known for their corruption cases and their arbitrary practices vis-à-vis the inhabitants of disadvantaged neighborhoods. The post-dictatorship context in these two countries has led to reconfigurations in the "modus operandi" of police forces and new "mafia" dynamics have been reinforced in conjunction with the reinforcement of a security paradigm that is emerging in the very heart of these young democracies. Buenos Aires and Rio de Janeiro, each representing a "micro-universe" of their respective national frameworks, therefore offer innumerable examples to question our object of study. The first part will analyze the authoritarian legacies of the past concerning the modus operandi of the two fonts. The second part will seek to understand the reworking of this modus operandi from new forms of authoritarianism emerging in young democracies. Finally, the third part, will confront the two previous points to demonstrate to what extent their juxtaposition can create the bases of a common « mafia terroir »
Cordeiro, Volmir. "Où le marginal danse : retours sur six pièces chorégraphiques". Electronic Thesis or Diss., Paris 8, 2018. http://www.theses.fr/2018PA080102.
This dissertation proceeds from a reflexive work in constant connection with a choreographic creation. It’s the speech of an artist-researcher who does not think without his own work or without the works of other artists. All of them explore the theme of marginal figures in the choreographic field, and allow to build a singular poetic based on the aesthetics sketched by some of the works of Brazilian choreographers Luiz de Abreu, Marcelo Evelin, Dirceu Nucleo and Micheline Torres. Starting from Ciel, the first solo choreographed under my signature in 2012, and moving towards a poetic network of pieces with which I feel there is a certain thematic proximity, I investigate what constitutes the sensation of recognizing a marginal who dances. The stories I create are based on my own experiences as a spectator and are consolidated by my career as a choreographic artist. The critical, analytical and fictional crossover of the works constitutes sensitive trajectories that help to comprehend the choreographic modes of being of the marginal figures. The works in question here draw innovative policies in the landscapes of the visible. This study analyzes how, within each work, the gazes and narratives are constructed, contributing to the emergence of precarious affections set in motion by choreographic remarks. These remarks are examined from reports imagined with otherness, and conveyed by artistic elements such as the face, the addressing, the place given to the spectator, the construction of the gaze and its modes of sharing. Where the marginal dances is a reflection that considers the fact that dancing the marginal implies in dancing the invisibility of a power and the strength of a change
Souza, Diego Beja Inglez de. "Tumulte dans l'ensemble : logement, utopie et urbanisation dans les limites de deux métropoles contemporaines". Thesis, Paris 1, 2014. http://www.theses.fr/2014PA010628/document.
In this thesis, we propose a simultaneous understanding of the history of two emblematic territories in the outskirts of São Paulo and Paris as a strategy to comprehend the last fifty years of the social housing history in both countries, through the analysis of the transformations of a typical grand ensemble build in the 1960 that has been recently through a deep renewal process, the Cité Balzac, confronted with the particular case of one fragment of the biggest housing projects complex in Latin America, the Cidade Tiradentes. Recent projects of urban renewal, new collective housing constructions and some special public equipments in both territories reinforce the exceptionality of the chosen cases, starting point for parallels, contrasts, common questions and crossed sights
A partir de duas monografias paralelas que analisam territórios emblemáticos de habitação social na periferia de São Paulo e Paris, propomos nesta tese um entendimento simultâneo da situação da Cité Balzac, um grand ensemble característico dos anos 1960 que atravessou recentemente um profundo processo de ‘renovação urbana’, confrontada com a história de um fragmento do maior complexo de conjuntos habitacionais da América Latina, a Cidade Tiradentes, como estratégia para compreender os últimos cinquenta anos da história da habitação social em ambos os países. Projetos recentes de renovação urbana, de novos conjuntos habitacionais e equipamentos públicos de excelência em ambos os territórios confirmam a excepcionalidade dos casos estudados, a partir dos quais buscamos estabelecer similitudes, contrastes, questões comuns e ‘olhares cruzados’
Bel, Agathe. "La poétique de la truculence dans les théâtres contemporains des diasporas afro-descendantes en France, au Brésil et aux Etats-Unis : Koffi Kwahulé, Marcio Meirelles, Suzan-Lori Parks". Thesis, Paris 3, 2014. http://www.theses.fr/2014PA030135.
Contemporary afro-descendant theater plays in France, Brazil and in the US all share the same aesthetic stakes which are part of a common poetics: the truculence. The plays by Koffi Kwahulé, Suzan-Lori Parks and Marcio Meirelles (Bando de Teatro Olodum) make it possible to set the aesthetic and philosophical milestones of this poetics of the contemporary bodies. The crossing, the excess (aesthetic of subversion: grotesque, carnival), the salvation (philosophy of the marronnage) and the boilover (with the jazz-vibration which derives thereof), these four semes which define the truculence, give its shape to this poetics. So as to give way to human relationships and domination mechanisms while deeply questioning the violence associated with the contemporary and diasporic body. The poetics of truculence stands as a new aesthetic category of otherness, set as an anthropological operator of the diasporic consciousness at work
Os teatros afro-descendentes contemporâneos da França, do Brasil e dos Estados Unidos possuem implicações estéticas que participam de uma poética comum : a truculência. As dramaturgias de Koffi Kwahulé, de Suzan-Lori Parks et de Marcio Meirelles (Bando de Teatro Olodum) permitem, em particular, ancorar as bases estéticas e filosóficas desta poética contemporânea do corpo. A travessia, o excesso (estética da subversão : grotesco, carnavalesco), a salavação (filosofia do marronnage) e a efervescência (a vibração-jazz resultante), os quatro semas que definem a truculência, estruturam esta poética que põe em xeque as relações humanas e os mecanismos de dominação, interrogando profundamente as violências associadas ao corpo diaspórico e contemporâneo. A poética da truculência representa uma nova categoria de alteridade, ao se constituir enquanto operador antropológico da consciência diaspórica em obra
Alves, Amorim Marina. "Para além de partidas e de chegadas : migração e imaginário entre o Brasil e a França, na contemporaneidade = Au delà des allers - retours : migration et imaginaire entre le Brésil et la France dans la contemporanéité". Phd thesis, Université Rennes 2, 2010. http://tel.archives-ouvertes.fr/tel-00585237.
Medina, Jean-Emmanuel. "Le Portugal et le monde lusophone : formation et dislocation du IIIe empire colonial dans les relations internationales contemporaines". Lyon 3, 2010. https://scd-resnum.univ-lyon3.fr/in/theses/2010_in_medina_je.pdf.
The lusophone world as known today, results from a long process which took a determinant turn in 1822 with the independence of Brazil. This event has a catalytic effect on Portugal which, lessened and almost dying, will seek in Africa the territories needed to build its third and final empire whose boundaries will be fixed only after the Berlin Conference of 1884-1885. Coveted by other colonial powers, Portuguese empire owes its continuity thanks to its participation in the First World War alongside the victorious nations. With the Second World War and the subsequent upheavals, the colonial empire becomes permanently obsolete. Portugal's willingness to maintain its colonial relationship, which presented as fraternal, cannot counter the political and juridical movement of decolonization that grows vigorously in the United Nations. However, the Portuguese colonial empire, like all other empires created on the same foundations, has disappeared in 1975, after the downfall of the Estado-Novo weakened and politically divided due to the colonial war since 1961 against the African liberation movements. The independence of former colonies opens the way for a new definition of luso-tropicals relations indeed
Cohen, Corentin. "Politiques des images dans les conflits armés contemporains : cas de l’insurrection de Boko Haram et de la violence urbaine liée au Primeiro Comando da Capital à Sao Paulo". Thesis, Paris, Institut d'études politiques, 2017. http://www.theses.fr/2017IEPP0043.
This thesis aims at understanding the visual dimension of contemporary armed conflicts. To do so it presents empirical datas on the pictures, their production, circulation and reception during two armed conflicts. The first case is the urban conflict around drug trafficking and the Primeiro Comando da Capital in Sao Paulo. The second one is the Boko Haram insurgency in Nigeria, Chad and Cameroon. This approach shows that contemporary conflicts are entangled in controversies about their meaning and definition. The actors of theses conflicts try to impose their own framing and their interpretation of the conflict using pictures. When the actors do not produce images, they are forced to advance some interpretations of the pictures. To identify the role of images in controversies relating to armed conflicts the thesis develops two concepts. The first one is the « regime d’images ». It underlines the modes of functionment of these images and makes it possible to explain their power over the controversies. This concept is used to show the different dynamics in the two cases. Regarding the Boko Haram insurgency, one of the « regime d’image » contributed to the internationalization of the conflict. In Sao Paulo the regimes of images reinforce the different positions of the actors in the controversy. The thesis also develops the idea of aesthetic capital of armed groups. This aesthetic capital can be transformed into military capital. We validate this hypothesis showing how this capital worked for the PCC and Boko Haram. The two groups are forced to adopt the visual codes and the aesthetic of the Islamic State to manifest their political antagonism
Fressinel-Mesquita, Elodie. "Un moment et un temps dans la réalité sociale et éducative contemporaine brésilienne : des relations raciales et sociales traversées par une institutionnalisation ambiguë du principe de colonialité". Thesis, Limoges, 2019. http://www.theses.fr/2019LIMO0007/document.
In this doctoral work, I reflect on contemporary Brazilian society and how its history has been marked by Portuguese colonization and slavery, which gained considerable ground under the transatlantic treaty. By viewing interbreeding as the guarantor of social unity, thereby keeping alive the myth of a racial democracy, contemporary society politically and institutionally recognizes that populations differ on social and racial grounds. As a result, a latent but very real racism exists, as well as multiple, increasingly apparent inequalities, of which Brazilian classrooms are a reflection. Under the ethnicization of Brazilian public policy and the introduction of affirmative action, which is a tool for a politics of positive discrimination, institutional means were put in place at the turn of the 21st century to reduce inequalities and other consequences of racism, such as a system of racial quotas and the introduction of mandatory African and Afro-Brazilian cultural-historical studies; and all this in an effort to better integrate the black and mixed Brazilian population. This work uses decolonial thinking to prove that, deep down in the Brazilian social-historical imagination, the coloniality of power, knowledge, and being, racialized social relations not only exists, but is also being perpetuated under the guise of a Eurocentric and Occidentalist vision, as well as a norm implicitly rooted in the ideology of “whitewashing”.The work is based on a multi-referential approach, which blends together a socio-historical approach, the clinical process and the theoretical framework of Institutional Analysis. It also puts forward, through field research in Ribeirao Preto, a town in the state of Sao Polo, ethnographical observations and comprehensive interviews, all of which will allow me to present a dual analysis of my field research.Analyzing words, speeches, behaviors, and lived experiences is crucial to understanding that these different forms of coloniality manifest themselves in the daily lives of people. It also proves that there is a tension between institutional aims and the putting in place, in real life, of a politics that calls itself into question and favors what I call an “integrating-exclusive” paradigm. This paradigm is illustrated by the necessity of auto-identifying and categorising a part of the Brazilian population, in an attempt to benefit from the production of inclusive measures perceived and experienced as excluding and unjust.Finally, this work is an attempt at once to conceptualize the notion of bio-power, and to reflect on the educational stakes rooted in attempts to direct us towards a decoloniality process, by way of a critical perspective capable of calling out and pointing fingers at the destruction of social imaginaries. In doing so, we hope to transform the institutionalization of this implicit, yet very real, paradigm
Eu queria, nesse trabalho de doutorado, refletir sobre a atual sociedade brasileira, uma sociedade que se origina numa história marcada pela colonização e escravidão portuguesa que, sob o comércio transatlântico, tem crescido consideravelmente. A era contemporânea, depois de ter mantido o mito da democracia racial colocando a mestiçagem como garantia da unidade social do país, reconheceu políticamente e institucionalmente uma diferenciação racial e social da população, a existência de um racismo latente mas real e várias desigualdades que se cristalizam e são também ilustradas dentro da escola brasileira. No contexto de uma etnicização das políticas públicas brasileiras e da introdução, a partir dos anos 2000, das ações afirmativas, ferramentas de uma política de discriminação positiva, dispositivos institucionais vão ser aplicados, como um sistema de cotas raciais, a introdução, no currículo escolar, da obrigação de ensinar a história e a cultura africana e afro-brasileira, com o objetivo de reduzir essas desigualdades e as conseqüências do racismo para uma integração melhor da população brasileira negra e mestiça. À luz do pensamento descolonial latino-americano, o desafio deste trabalho foi destacar a existência e a perpetuação, no imaginário sócio-histórico brasileiro, de uma colonialidade do poder, do conhecimento e do ser perpetuam relações sociais racistas e racializadassustendadas por uma visão eurocêntrica e ocidental e uma norma implícita de ideologia do branqueamento. Com o apoio de uma abordagem teórico e metodológico multireferencial que combina a abordagem sócio-histórica, a abordagem clínica e o referencial teórico da Análise Institucional, e o estabelecimento, no território do estudo, Ribeirão Preto, cidade do Estado de São Paulo, de observações de tipo etnográficas e de entrevistas comprehensivas, apresentei uma análisedupla dos meus dados de campo. A análise das falas, dos discursos, dos comportamentos, das situações vivenciadas oucontadas possibilitaram apontar como essas diferentes formas de colonialidade se manifestaram no e por os percursos de vida e no cotidiano das pessoas encontradas. Destacou-se também uma tensão entre o objetivo institucional declarado e a implementação de uma política questionada no terreno que poderia fomentar um paradigma que denominei de integrando-excluindo, exemplificado pela necessidade de auto-identificação e de categorização de uma parte da população brasileira, para poder beneficiar da obtenção de medidas integradoras que possam ser percebidas e vivenciadas como excludentes e injustas. Por fim, proponho um trabalho de conceptualização em torno da noção de biopoder e umareflexão em torno de desafios educativos visando avançar para um processo de descolonialidade por uma perspectiva crítica questionando a desconstrução das significações imaginárias sociais numa perspectiva de transformação da institucionalização deste paradigma implícito mas muito presente
Melim, Schwartz Gabriel José. "L’influence des éléments de la musique populaire brésilienne dans mon esthétique musicale". Thesis, 2020. http://hdl.handle.net/1866/25208.
This dissertation will discuss the importance as well as problematize the insertion of elements from Brazilian popular music in the context of contemporary concert music composition. As the history of music can confirm by its great icons, the identification of a nation with its own culture though musical form is very important, especially in the field of composition. This research thus seeks to find elements that represent the essence of the Brazilian music language in its different styles and to determine how to apply them in a new aesthetic context – namely, contemporary composition – without losing their connection to tradition and while remaining recognizable to the listener.