Дисертації з теми "Danse populaire"
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Guilcher, Yves. "Culture traditionnelle et danse ancienne en France." Brest, 1994. http://www.theses.fr/1994BRES1004.
Until today, those who undertook to study ancient dances were always either dancers, ill-equipped for historical research, or historians without any dancing experience. Moreover, they all neglected to look into french popular traditions and yet some of these traditions have retained up to the twentieth century some forms of dancing and an experience in singing for dances that still belong to a mediaeval or renaissance logic in dancing and singing. As a dancer and ethnohistorian, Y. Guilcher offers a re-reading of ancient documents in the light of traditional milieux which challenges a number of deceptive certainties. He suggests solutions to many a contradiction so far judged insuperable, notably with regard to the relation between music and movement in fifteenth century "basses-danses" in cantus firmus, to the notion of chorus in the "rondet de carole" and to the apportionment of singing between the lead-singer and the rest of the dancers. Together with his research, Y. Guilcher carries on a methodological reflection including a criticism of his own research methodology
Person, Elise. "Le langage de la salsa : étude culturelle et lexicologique des musiques populaires dans la Caraïbe hispanique." Brest, 2000. http://www.theses.fr/2000BRES1011.
Rohner, Fred. "La Guardia Vieja : el vals criollo y la formación de la ciudadanía en las clases populares : estrategias de representación y de negociación en la consolidación del vals popular limeño (1885-‐1930)." Thesis, Rennes 2, 2016. http://www.theses.fr/2016REN20035/document.
This dissertation examines the practices of self-representation and denial deployed by Lima’s popular classes to challenge, from the musical sphere, their marginal place in late 19th and early 20th-century Peruvian society. It demonstrates how the consolidation of the "vals criollo" allowed this social group to project a new image of the "popularsubject", now integrated into the civilized body of the Nation. For this purpose, I examine the role of the waltz and the generation of musicians known as "la Guarda Vieja" in Lima's cultural universe. To understand the process of inclusion of the waltz in the musical capital of the popular classes in Lima, I study the different musical spaces that allowed the migration of this genre from the elite's salons to the homes of the working class. Finally, the dissertation explores the ways in which these individuals created that new representation of themselves through the adoption and appropriation ofa code, musical objects and images that depicted them as patriots, modern and learned subjects
Esta tesis analiza las formas de autorepresentación y de negociación que pusieron en práctica las clases populares limeñas desde el ámbito musical para remontar el lugar marginal que ocupaban en la sociedad peruana entre fines del siglo XIX y las primeras décadas del siglo XX. A lo largo de este trabajo se demuestra cómo la consolidación del vals criollo limeño entre este sector de la población obedeció a un conjunto de estrategias destinadas a presentar una nueva imagen del sujeto popular que lo mostrara como parte del cuerpo civilizado de la nación. Para ello se examina en primer lugar cuál es el lugar del vals y de aquella generación denominada la Guardia Vieja en el universo cultural limeño. Con la finalidad de comprender el proceso de ingreso del vals como parte del capital sonoro de los limeños de las clases populares se analizan los distintos espacios musicales que permitieron el tránsito de este género musical desde los salones de las élites hasta llegar a las habitaciones del artesano y del obrero. Finalmente se analizan los modos en que estos sujetos crearon esa nueva representación de sí mismos a través de la adopción y de la apropiación de un conjunto de códigos, de objetos musicales y de imágenes sonoras que los mostrasen como patriotas, como modernos y como letrados
Clérivet, Marc. "La danse de tradition populaire dans les milieux ruraux de Haute-Bretagne : 19e-20e siècles." Rennes 2, 2010. http://www.theses.fr/2010REN20042.
Popular arts and traditions are subject to studies in some european regions, especially in Brittany. Moreover has traditional dancing in western Brittanny been the research purpose of Jean-Michel Guilcher. This area is nowadays considered as ethnochoreology’s birth-place, since the publication of his thesis “La Tradition populaire de danse en Basse-Bretagne” in 1963. However, only traditional dancing in the Breton speaking area of Brittany is depicted. Thus was the present work carried out with this state of mind in this part of Brittany. Without the same ambitions regarding to the methodological and conceptual aspects, we tried to understand the nature of the practices, contexts, and social representations in line with the traditional dance in this gallo speaking area, from diachronic and geographic points of view. The nature of the catalogs indeed appear to be very heterogeneous, depending on the areas of this region, on the social structure of the rural environments that have been carrying them for the whole 19th and the beginning of the 20th century
Garcia, Thomas George Caracas. "The Brazilian choro : music, politics and performance /." Ann Arbor (Mich.) : UMI, 2005. http://catalogue.bnf.fr/ark:/12148/cb40034571z.
Guillien, Mathieu. "Du minimalisme dans la musique électronique populaire." Paris 8, 2011. http://www.theses.fr/2011PA084112.
The purpose of this study is to call into question the concept of minimalism in popular electronic music. The first part of the dissertation focuses on the concept of minimalism itself by mentioning the genesis of this aesthetic, which appeared in plastic arts in the 1950 in the United States, then its translation in the music field under the aegis of composers such as La Monte Young, Terry Riley and Steve Reich. To justify the use of the concept of minimalism while referring to different musical genres, a clarification is made in several steps: the relation of the musicians to History, their economic positioning, the technical means at their disposal as well as their reflection on their work, their social context, their relation to interpretation and live performance, and their views on problematics like repetition and dance. The second part focuses on techno itself. After tracing the history of the emergence of this musical genre at the beginning of the 1980’s in Detroit, as well as an outline of the electronic instruments which played a part in this emergence and their structural effects on the music, we can study the emersion of the « minimal » branch of techno. Lastly, studying the music of German composer Robert Henke allows us to broaden our subject by including an example of minimalism in popular electronic non-dance music
Quintas, Alicia. "Tango, Milonga, Vals : danse urbaine dans le Rio de la Plata, 1870-1924." Paris 8, 1995. http://www.theses.fr/1995PA081111.
Around 1870, inhabitants of suburbs of cities surrounding rio de la plata - natural border between argentina and uruguay - create a new way of dancing. They perfectly listen the musicians, so that invent milonga, later called tango, that came into paris en 1911 and spread in the whole world. These new "dancing modes" are made of improvisation, brading clearly with the western tradition where dances are codified. This new suburbian culture contests the official culture. At the beginning of the century, industrial bourgeoisie - just starting to grow at that time - appropiates tango, "purifies" it, codifies it and put it as an institution. The now everywhere celebrated tango is a "canonic" tango, very far of that one formerly a revolutionary dancing creation, even if it still keeps part of its original characteristics
Demeuldre, Michel. "Le changement musical: étude transculturelle de trois siècles de changements dans la musique et la danse en milieu urbain." Doctoral thesis, Universite Libre de Bruxelles, 1991. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/213065.
O'Bomsawin-Bégin, Maxime. "Confluence d'influences chez Dowland: Musique mesurée, danse, rhétorique et ballade populaire anglaise au sein de ses airs pour luth." Thesis, University of Ottawa (Canada), 2009. http://hdl.handle.net/10393/28392.
Venegas, Ferrin Marianela. "Danse ethno-contemporaine, théâtre de rue et spectacle drag-cholo dans les Andes équatoriennes : étude de trois arts du spectacle vivant à partir de leur origine historique et de leurs dimensions esthétique, populaire et "chola"." Electronic Thesis or Diss., Paris 8, 2020. http://www.theses.fr/2020PA080059.
Ethno-contemporary dance, street theatre and drag-cholo show in the Ecuadorian Andes. Through the study of three methods of theater and dance creation, this dissertation aims to understand the concept of “cholo” (cultural concept that refers to the person who lacks identity: neither indigenous, nor white, nor mestizo) from a historical and aesthetic perspective during the last 20 years in the Andean environment of Quito, Ecuador.On a first assessment of the history of the pre- and post-colonial Andean scene, it was noted that official speeches used external and colonial discursive resources. These types of speeches reveal the re-interpretation of theatrical scenes and they exclude the dialogs and negotiations established in the socio-cultural, popular, and aesthetic of the Andean arts.In addition, three forms of life and popular art that were developed in Quito were analyzed: ethno-contemporary dance, street theater, and the drag-cholo performance. Through these studies, it was learned that “cholojizacion” is a subject of debate where empowerment of the popular Andean scenic arts and their mobility play a role within the hegemonic cultural dimensions of the post-colonial world
Danza etnocontemporánea, teatro de calle y espectáculo drag-cholo en los Andes ecuatorianos. A través del estudio de tres procesos de creación dancística y teatral, esta tesis intenta comprender desde un recorrido histórico y estético el concepto de “cholo” (un concepto cultural que se refiere a la persona que carece de identidad: ni indígena, ni blanca, ni mestiza) en su problemática escénica-andina, dentro de la ciudad de Quito, Ecuador, durante los últimos 20 años. En una primera aproximación por estudiar las historias del espectáculo pre y post colonial andino, observamos como los discursos oficiales utilizan algunos recursos discursivos externos o coloniales que ponen en evidencia una re-interpretación de las teatralidades y deja de lado los diálogos y negociaciones que se establecen en lo socio-cultural popular y estético de las artes andinas. En según lugar, analizamos tres formas de artes vivas y populares que se desarrollan en Quito estos últimos años: la danza etno-contemporánea, el teatro callejero y el espectáculo drag-cholo. A través de estos estudios, entendemos como la “cholojización” es un campo en disputa donde las agencialidades de las artes escénicas populares andinas y su movilidad juegan dentro de las dimensiones culturales hegemónicas del mundo post-colonial
Corbier, Christophe. "Poésie, musique et danse : Maurice Emmanuel (1862-1938) et l'hellénisme." Paris 4, 2008. https://acces.bibliotheque-diderot.fr/login?url=https://doi.org/10.15122/isbn.978-2-8124-4024-3.
Talavera, Maria Eugenia. "La fête des Diables dansants de San Francisco de Yare dans sa dynamique avec la société vénézuélienne : la mémoire collective et une zone de croyance populaire au Vénézuéla." Paris 7, 1991. http://www.theses.fr/1991PA070058.
De, Athayde Joao Augusto. "Bourian ou la danse des maîtres : circulations et enjeux identitaires des Agudàs, les Brésiliens du Bénin." Thesis, Aix-Marseille, 2018. http://www.theses.fr/2018AIXM0389/document.
The Agudas, also known as "the Brazilians of Benin", are the descendants of both slave traders and former slaves who "returned" from Brazil to today's Benin, Togo and Nigeria during the 19th century. To this day, they base their identity on evocations of their Brazilian origins. One of the main identity markers of the Agudas is the festival of the Bourian (a Portuguese word meaning "little she-donkey"), which brings Christians and Muslims together around a codified masquerade, where samba tunes are sung – with no understanding of their lyrics – in Portuguese, a language that is no longer spoken in this region of Africa. The various Bourian groups, often in competition with each other, evoke in a playful way their Brazilian ancestors, in a dynamic context where each local population carries out masquerades related to the vodoun. Focusing on Southern Benin, this thesis aims to understand the meaning of the Bourian, as well as the identity issues and circulations in which the Bourian is involved, while keeping an historical and comparative perspective with Brazil
Jeong, Ae-Ran. "Les enjeux esthétiques et idéologiques de la musique et de la danse chosŏn de Kŭmgangsan Kagŭktan, une compagnie (nord) coréenne du Japon." Thesis, Paris 8, 2016. http://www.theses.fr/2016PA080124/document.
The company Kŭmgangsan Kagŭktan is a Korean professional troupe founded 1955 in Tokyo, Japan. About 50 artists of the company are distributed in three specialized departments: dance, instrumental musical and vocal music. The company especially refers to North Korean aesthetics with which it has developed a close relationship since its birth. The training and the creation process were transmitted by the Pyongyang masters in North Korea and the performances were presented in Japan. To understand the aesthetic and ideological negotiations on chosŏn music and dance of Kŭmgangsan Kagŭktan, the research brought together the individual artistic paths and trainings of the company, in context with the company’s close connections maintained through the relationships with local institutions and their political involvement, the transmission practices of North Korean masters in Pyongyang as well as the company spectators
Ngangué, Eyoum. "La musique dans le débat politique et identitaire en Côte d'Ivoire : le cas du zouglou." Paris, EHESS, 2009. http://www.theses.fr/2009EHES0394.
My work focuses on the conquest of political space by a part of Abidjan's youth through zouglou, music, dance and movement which originated in the stream of consecutive events occuring at the end of the long reign of Félix Houphouët-Boigny, a period characterized by an economic, political and identity crisis. Zouglou may appear as a quest for a refernce and a subversive reaction facing a political power which advocated an extraverted model of culture. The first part of the thesis traces political, economical, social and cultural circumstances that preceded (the creation of) zouglou and explains the reasons for nits occurence. It also contains a genesis of contemporary music of Côte d'Ivoire. The second chapter shows the aestethic, rhetorical, strategic and cultural equation which led zouglou to the status of the model of constitution of social imagery of Cöte d'Ivoire and raised it to paradigmatic interaction in a society in full mutation. The third part consists of the analysis of contents of songs and an interrogation about the future of this mode of communication which has deeply transformed political and social relations in Cöte d'Ivoire
Gauthier, Eglantine. "De cadencer à danser "jupes en l'air" : anthropologie des appropriations mémorielles et spectaculaires du séga mauricien." Electronic Thesis or Diss., Paris, EHESS, 2023. http://www.theses.fr/2023EHES0162.
The objective of this thesis is to start from the observation of the sega dance to study the stakes of the memory and artistic appropriations of the colonial past in the Mauritian post-slavery society. The entry through dance was then heuristic to apprehend the popular culture of sega as a process. At different times in its history the requalification of the sega allowed to register this object in a culture sometimes considered as black, African, creole, multicultural, to attribute to it roots, and to direct the debates on the circulations and connections that surround this object, or to legitimize certain borrowings while accusing cultural appropriations. Absent from the global music or leisure market, it is in the form of the choreographic show that the sega circulates as a national standard, mainly on the tourist markets. The recent inscription of the traditional sega on the representative list of the ICH at UNESCO is part of these hegemonic forms of spectacularization and commercialization. The innovative nature of this research work was to examine the place of dancers – and especially women – which crystallizes the ambivalent reputation of sega, both denigrated and admired, and to show the challenges of requalification that focus on the spectacularization of this popular culture, revealing different power relations
Sandroni, Carlos. "Transformations de la samba à Rio de Janeiro : 1917-1933." Tours, 1996. http://www.theses.fr/1997TOUR2004.
The aim of this work is to study how the samba developed as a form of popular music in Rio de Janeiro in the first half of this century. Part I puts forward the main notions, concepts and theoretical references used throught the thesis. Part II looks at certain aspects of popular music from the 19th century which is directly connected with the begginings of the samba: lundu and maxixe and their close relatives such as polca-lundu and tango brasileiro. Part III considers the development of the samba from an historical and social viewpoint. We show that this development took place in two phases, the first starting in about 1917 and the second from around the late 1920s - early 1930s. Analysis of the difference between these two phases - as regards both musical form and social connodations - enables us to follow the process of how contemporary samba developed. Part IV is devoted to the musical side of this difference, especially the rhythmic aspect. The relevance of this thesis is above all to add to the body of knowledge on the samba, which may be the most important type of music in brazilian society and which sometimes takes on the role of symbol of national identity. In this way we hope to contribute to knowledge of brazilian soiety itself, in one of its most vital and meaningful forms of expression
Braga, Robson da Silva. "Eu era feio, agora tenho carro : encenações e práticas de consumo em clubes de forró de Fortaleza." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2015. http://hdl.handle.net/10183/109704.
De caráter etnográfico (Guber), a pesquisa analisou de que modo os consumidores de “forró estilizado” ou “forró eletrônico” se apropriam (Canclini) das formas simbólicas (Thompson) que compõem duas casas de show consideradas de "classe média" na capital cearense para produzir encenações de si (Goffman) com base nas categorias nativas de "modernidade" e "sofisticação". A investigação partiu da concepção de que Fortaleza, tida como "a capital do forró" estilizado, vem se inserindo num processo extremamente tardio de modernização, a partir da década de 1990, o que colabora para o espírito emergente que permeia a cultura popular urbana e a indústria cultural local. A pesquisa sistematizada foi dividida em quatro etapas, desenvolvidas de março a outubro de 2014: 1) pesquisa quantitativa (para definir o perfil sociodemográfico dos dois clubes); 2) observação não participante (para identificar formas simbólicas utilizadas nos clubes); 3) observação participante (para perceber de que modo os consumidores usam as formas simbólicas nas interações); 4) e entrevistas etnográficas (para compreender os sentidos sociais que sustentam tais formas simbólicas, as apropriações que são feitas delas e as encenações do “eu” através de processos interacionais). Uma das considerações finais diz respeito ao modo como a "classe média tradicional" e a "classe trabalhadora" (a chamada “nova classe média" brasileira) encenam tais noções de "modernidade" e "sofisticação", ambas as classes apropriando-se de formas simbólicas semelhantes (a exemplo de carros importados, uísques e roupas de marca), porém produzindo usos distintos para tais produtos, considerando-se as diferentes mediações (Martín-Barbero) e os distintos habitus (Bourdieu) que perpassam a história de vida de cada sujeito social.
An ethnographic research (Guber) has analyzed how consumers of “stylized forró” or “electronic forró” employ (canclini) symbolic forms (Thompson) that comprise two “middle class” venues in the capital of Ceará to produce presentations of self (Goffman) based on the local category of “modernity” and “sophistication”. The research started from the idea that Fortaleza, known as "capital of the stylized forró", is going through an extremely late process of modernization, from the 1990s, which contributes to the emerging spirit that pervades the city popular culture and the local cultural industry. The systematic research was divided into four stages, developed from March to October 2014: 1) a quantitative research (to determine the sociodemographic profile of both clubs); 2) a non-participant observation (to identify symbolic forms used in the clubs); 3) a participant observation (to understand how consumers use the symbolic forms in interactions); 4) and ethnographic interviews (to understand the social meanings that sustain such symbolic forms, their employments and the performance of the self through interaction processes). A final consideration concerns the way the "traditional middle class" and the "working class" (so-called "new middle class" of Brazil) act out such notions of "modernity" and "sophistication", both classes employing similar symbolic forms (such as imported cars, whiskey and designer clothes), but using such products differently, considering the different mediations (Martín-Barbero) and the different habitus (Bourdieu) of the life story each social individual.
De carácter etnográfico (Guber), la investigación analizó cómo los consumidores de "forró estilizado" o “forró electrónico” se apropian (Canclini) de las formas simbólicas (Thompson) las cuales componen dos salas de concierto consideradas de “clase media” en la capital de Ceará para producir presentaciones de la persona (Goffman) con base en las categorías nativas de “modernidad” y “sofisticación”. La investigación partió de la concepción de que Fortaleza, considerada “la capital del forró” estilizado, viene ingresando en un proceso extremamente tardío de modernización, a partir de la década de 1990, lo que contribuye al espíritu emergente que permea la cultura popular urbana y la industria cultural local. La investigación sistematizada fue dividida en cuatro etapas, desarrolladas desde marzo a octubre de 2014: 1) investigación cuantitativa (para definir el perfil sociodemográfico de los dos clubes); 2) observación no participante (para identificar formas simbólicas utilizadas en los clubes); 3) observación participante (para percibir cómo los consumidores usan las formas simbólicas en las interacciones); las entrevistas etnográficas (para comprender los sentidos sociales que sustentan tales formas simbólicas, las apropiaciones hechas de ellas e las escenificaciones del “yo” a través de procesos de interacción). Una de las consideraciones finales se refiere al modo como la “clase media tradicional” y la “clase trabajadora” (la denominada “nueva clase media” brasileña) escenifican tales nociones de “modernidad” y “sofisticación”, ambas las clases se apropiando de las formas simbólicas semejantes (por ejemplo coches importados, whiskies y ropas de marca), pero produciendo usos distintos para tales productos, considerando las diferentes mediaciones (Martín-Barbero) y los distintos habitus (Bourdieu) que atraviesan la historia de vida de cada sujeto social.
Corneau, Marianne. "Capoeira Angola : mémoire, réparations et travail identitaire chez les afro-brésiliens de Salvador de Bahia." Thesis, Université Laval, 2008. http://www.theses.ulaval.ca/2008/25579/25579.pdf.
Petersen, Diego. "Les textes de tango dans la production littéraire argentine (1960-1980) : retrouver la voix de l'autre." Montpellier 3, 2003. http://www.theses.fr/2003MON30042.
Finding the voice of the others through borrowings, quotations of and references to the tango was what many among Argentine writers wanted to do from 1960 to 1980. Making use of lines and excerpts from the most emblematic songs of Gardel, Discépolo, Manzi. (" Mi Buenos Aires querido ", " Anclao en París ", " Cambalache ", " Volver "), novelists like Julio Cortázar, in " Libro de Manuel ", Manuel Puig in " Boquitas pintadas ", and Daniel Moyano in " Libro de navíos y borrascas " together with poets such as Juan Gerlman for instance, managed through an intertextuality that establishes a lineage revealing like-mindedness with the tango, to achieve a literature which reconciles the erudite with the popular, the local with the universal and makes familiar words that political, economic and social events seemed to have driven apart
Demeure, Marianne. "Les pédagogies émancipatrices dans le cadre des Universités populaires : le cas des Universités populaires de Paris 8 et Quart Monde." Electronic Thesis or Diss., Paris 8, 2019. http://www.theses.fr/2019PA080006.
This research on two singular popular Universities attempts to analyze in depth the effects of the pedagogies used by these two popular Universities. Inspired by three pedagogues, for the popular University of Paris VIII (U2p8): Paulo Freire, Henri Desroche and Célestin Freinet and for the Fourth World People's University: Paulo Freire, Saül Alinsky and Danilo Dolci, the characteristics of these approaches are analyzed and crossed. Paulo Freire represents a common point in the pedagogical approach of the two popular Universities, his life, his works, his ideas are therefore particularly highlighted here. The U2p8 uses life stories, writing workshops with the help of a tutor and postgraduate research methods; the Fourth World People's University uses the experience of participants in extreme poverty to build emancipatory knowledge, which enables society to recognize their identity. The individual and collective dimensions are different in the two popular Universities. By inscribing these two popular Universities in a historical context, we see how these two popular Universities use the experience, although different in certain points, several points bring them together. The feedback from the participants allowed us to see the effects produced by these two popular Universities, particularly on the relationship to knowledge. A multireferential point of view will allow us to analyze the two popular Universities in five perspectives
Lee, Sang-Hoon. "Le populaire et la figure du populaire : essai sur le formisme figuratif et vers la sociologie romanesque." Paris 5, 1993. http://www.theses.fr/1993PA05H048.
The study on the "popular" tradition and on the popular figure consist effectively to establish, if not a new sociological perspective, at least an alternative view more appropriate and more pertinent to understand the reality and the knowledge which has been entrenched in this one. To succeed, it convenes to get an "aesthetic" perspective which will permit to plunge in this reality, so banal and so trite, on a different way of those of "the socialism" use, to approach from the living world. It is on that point, that we wish to reassert the value of the figurative thought into a thinking mode contrary to the abstract thought which is based on the concept, that we can find in the work of art and especially in the novelist literary work in expressing the powerful of the novelist imagination which accentuate the collective aspect of the social life. Therefore, the figurative formisme and the "romanesque" sociology that we will develop through this study, on the "romanesque" aesthetic, means in fact a reconciliation between the sociological perspective and the romanesque literature, after the divorce of those both subject created by an ideological controversy which oppose the cold reason and the feeling culture
Gaston, Vincent Arnaud. "L'initiation et l'au-delà : le conte et la découverte de l'autre monde." Paris 7, 2005. http://www.theses.fr/2005PA070078.
The folktale The bridge to the other world (T. 471) reveals how literature of oral tradition takes up a long heritage and adapts it to its structures. The oral literature retains the beyond's density of meanings and discoveries, and inserts one of its most specific theme : the initiation. The obvious contradictions between initiatory education and life after death, between the child and the deceased the magical links between the fabulous and the beyond turn the T 471 into an atypical and unique travel to the other world whose interest remains essential to understand how mankind, going through Death, thinks his life
Spanu, Michael. "Pratiques et représentations des langues chantées dans les musiques populaires en France : une approche par trois enquêtes autour du français, de l’anglais et de l’occitan." Thesis, Université de Lorraine, 2017. http://www.theses.fr/2017LORR0073/document.
Language practices in popular music are generally understood to be a strategicchoice related to globalizing forces. If musical activities do indeed depend on questions ofrecognition and remuneration, we can therefore propose a more complex approach tomusicians’ and listeners’ attitudes towards language, and to consider how different languagescoexist within the French context of popular music. To do so, we must consider languages asmimetic practices that are constantly relocated, rather than fixed entities. Integrated inmusical works, they follow processes of transnational circulation and appropriation, but alsorelate to original forms of identification, that go beyond the sole linguistic field. As such, thepractice of a language is often linked, in more or less conflicting ways, to broader senses ofbelonging, such as the nation. This is specifically the case in France, where we locate ourinvestigation. We firstly study how, historically, the French State has promoted its nationalidiom within the field of music. We then propose a socio-historical review of the mainmusical trends that have renewed the configuration of languages in France over the past fiftyyears. We finally analyze three case studies that enable us to observe, within popular music,the specific practices and representations of French, English and Occitan
Azevedo, Amandine d'. "Cinéma indien, mythes anciens, mythes modernes : résurgences, motifs esthétiques et mutations des mythes dans le film populaire hindi contemporain." Thesis, Paris 3, 2014. http://www.theses.fr/2014PA030126.
Indian popular cinema is both a place of filmic mythical creation and a universe interacting with previous bodies of work; the classical myths and epics, and especially the Ramayana and the Mahabharata. Although the latter have often been adapted, especially in the early decades of Indian cinema, contemporary cinema builds complex and attitudes towards heroes and their achievements. Traditional myths appear in a shot, in the manner of a moral, narrative and/or formal resurgence. In an opposite movement, this cinema seeks those same myths to strengthen its imagination. Working on the relations between myth and cinema, one has to cross the political and historical field, for Independence movements, Partition and inter-community tensions pervade popular cinema. Myths in movies can become an aesthetic fixation of historical-political traumas. The challenge of some representation of violent acts explain that they sometimes hide themselves in images, irreversibly altering the presence and meaning of mythological references. Therefore, myths don't always tell the same story. Those mythological resurgences, producing mutations and hybrid forms between the political, historical, mythical and film-making fields, also invite a de-compartmentalisation when we analyse the nature of the images and the mediums that welcome them. Our study naturally convenes notes on painting, as well as contemporary art, photography or bazaar popular art. A broad and mixed Indian visual field constantly recombines background and foreground, flatness and depth of field and ornemented and neglected sets. Popular cinema, moved by the memory of myths and forms, becomes the breeding ground of an aesthetic revival
Baron, Martin. "L'éloge de La Grise : le cheval et la culture populaire au Québec (1850-1960)." Sherbrooke : Université de Sherbrooke, 1997.
Baran, Sorin ovidiu. "Motifs préchrétiens dans le conte populaire roumain." Phd thesis, Université de Grenoble, 2011. http://tel.archives-ouvertes.fr/tel-00681994.
Baran, Sorin Ovidiu. "Motifs préchrétiens dans le conte populaire roumain." Thesis, Grenoble, 2011. http://www.theses.fr/2011GRENL009/document.
The present thesis proposes to reconsider the narrative cliche narrative of the folk tales, that of the constant struggle between good and evil, after the analysis of pre-Christian background, hidden behind the superficial structure of the narrative, the real reason for be mythical figures reveals a world that is not the antithesis, but a world of ambivalence. This leads to the inability to determine definitively the nature of symbols and images that grow in fairy tales, but also the ability to create another way of reading fairy tales. The analysis begins by identifying the substrate of the pagan mythical figure of the Romanian folk tales zmeu in a comparative approach, with the help of modern instruments of the imagination. The figure of Zmeu is integrated in a mythical origin where are projected two orders of the sacred: a traditional order that protects the sacred values of the world and an initial order innovation that changes the meaning of the primordial world of the sacred. Between these two orders, the figure of zmeu, as representing the ancient world, conflicts with the figure of the warrior who, representing the new monde.In this conflict, the figure of zmeu is defeated by the mechanisms of history
Parizet, Marie-Josèphe. "Au delà de la société locale : cultures populaires en mutation et mutations dans les rapports interculturels : cultures maghrébines et africaines en France, culture populaire dans le Haut Berry." Paris 5, 1985. http://www.theses.fr/1985PA05H059.
Parizet, Marie Josèphe. "Au delà de la société locale cultures populaires en mutation et mutations dans les rapports interculturels, cultures maghrébines et africaines en France, culture populaire dans le Haut Berry." Lille 3 : ANRT, 1991. http://catalogue.bnf.fr/ark:/12148/cb37595098t.
Proust, Jean-Marc. "Racisme et nationalisme dans le roman populaire francais sous la iiie republique (1870-1940)." Paris 10, 1997. http://www.theses.fr/1997PA100082.
"born" in 1842 with les mysteres de paris, french popular novels experience quickly great success which reaches its very peack point during the third republic. French popular novelists highlight a racist and nationalist ideology. Characters behaviours, such as drinking and eating, or love, family, work, money and religion themes, are revealing to that respect. They always draw opposite features : "good" people (usually they are french) versus "bad" people - most of them are foreigners. The way they stand together highlight discrepancies between two worlds. Obsessed with plot, the novelists prove to belong to a narrow and anxious nationalism. Mourning the lost in 1870 of alsace and lorraine, french popular novels show warlike pulsions which generate a particular novel type, called "roman revanchard" (novels of revenge). The celebration of colonialism has twofold sides, as though it were emphasized to make up for the french inferior colonial stand. Jealousy to england appears quickly even though novelists often depicts typical french republican ideas. A people (one says then: "races") typology soon originates, which is closely tied to the diplomatic period unions. Russians are friends but italians and germans become allies - against french people. Races, exotism or the "savage" character highlight the way french popular novelists took bias in order to use them as the period stereotypes. So that they created a catchy propaganda serving racist and nationalist ideas
Burckel, Vincent. "La classe populaire n’est pas morte. Enquête sur une « famille sociale » en lutte dans une petite ville de l’ancienne Moselle du fer (2008-2018)." Thesis, Université Paris-Saclay (ComUE), 2019. http://www.theses.fr/2019SACLV045.
What can be defined as the « triple life » of the working class, refers to the three forms of the working class’ habitus. The members of the working class do not equally display these forms according to the historical period. If for the “iron” generation sent to the hub or the kitchen since the age of 14 and designed to live a simple rough life in the “small-town”, the “hard model” of the habitus prevails in an evident way; the “crisis generation” that has over a long time been protected by the soft comfort of the family home and a juvenile atmosphere in school, now listens to the propaganda of a world that becomes more “open” and seems to start life in a “gentle slope”. Nevertheless, since 2008 the aggravation of the circumstances of working class’ life for an undetermined period, has led to a hardening of the ensemble in the context of unrestrained capitalism. According to the dominant ideology the working class should have melted into the bourgeoisie ever since the fall of the Berlin wall in the 1990’s. The young generation of the working class finds a new horizon of exploitation and domination. Poverty hits them instead of the “American dream” and a society without classes which they could have imagined while watching TF1. Considering their relationship with politics, it is known that the 1980’s (the Mitterand years) have marked a reflux of “popular communism” and the insubordination of the workers. Although, the years 2000 (the Sarkozy-Hollande-Macron years) come with a little new wind of popular insurrection that grows more and more intense, until it becomes the “yellow tempest” in 2018. Amongst the people of Hagoncourt that have been interviewed, with the exception of the “iron” and “crisis” generations, three forms of habitus can be identified that imply a social existence threatened and weakened by the dominant class: 1) agonistic or warlike morals traditionally considered « masculine », that valorise physical force and brutal manners and language and sometimes tend to a certain nihilism. 2) peaceful morals, traditionally considered “feminine” that give privilege to tender manners, a kind of timidity and sometimes tend to a certain social conformity. 3) political or civic morals with a preference for the general interest and the quest for meaning associated to the valorisation of culture and that can possibly take on a “revolutionary” political disposition
Karagiannis-Moser, Emmanuelle. "Le bestiaire dans la chanson populaire grecque moderne." Paris 4, 1995. http://www.theses.fr/1995PA040133.
"the bestiary in modern greek folk songs" is a study of how animals are featured. From both a quantitative and qualitative point of view, these appearances are particularly important, whilst being very diversified. They have been grouped into a three-part framework. An essentially functional relationship is established with human beings, especially in the case of domestic rural animals, mainly the horse. Birds are equally widely present in this relationship. But they have a particularly symbolic function which is expressed more specifically through certain figures of speech. This function includes, to a lesser extent, certain types of livestock, wild animals and sea creatures. Finally and above all, creeping creatures, to which four fantastic beeings are related, exert a supernatural function, of which however the other animals are not excluded. This study, which excludes certain aspects (spacio-temporal, comparative,etc. ) concentrates on the progression of popular thought patterns. It seeks to elaborate a global synthesis aimed at revealing the internal organisation of the bestiary in the folk poet's imagination whilst bringing to the fore the coherence and nobilty he adopts
Weniger, Bernard. "La médecine populaire dans le plateau central d'Haïti." Metz : Université de Metz, 2009. ftp://ftp.scd.univ-metz.fr/pub/Theses/1985/Weniger.Bernard.SMZ8510.pdf.
Sabuni, Kitutu Léon. "La notion de religion populaire appliquée au catholicisme en Afrique : regard sur les conditions et les enjeux actuels de la piété populaire dans le champ religieux du continent africain." Strasbourg, 2011. https://publication-theses.unistra.fr/public/theses_doctorat/2011/SABUNI_KITUTU_Leon_2011.pdf.
The remarkable growth in the contemporary religious field all sorts of forms of "popular religiosity" within or outside established religious institutions may seem a paradox in this third millennium. Thus, in the case of Christianity, it is established that throughout its history the question of religious beliefs and practices popular saying has often been perceived as the domain of the survivals of paganism that the institution had to fight. Field of Catholicism in Africa, the question of "popular religiosity" is also an issue and this, in the context of a widespread religious ferment, while feeding on the resources offered by the Christian tradition also draws the pool of religion and traditional culture. This phenomenon presents itself as a new way to worship and live the Christian faith that challenges the theological and pastoral responsibility of the Church. By its exponential character and his strong theological and anthropological dimension, the problem of "popular religiosity" became a religious and social condition which must not remain indifferent to anyone interested in the present and the future of the young and dynamic African Christianity
Gilles, Guillaume. "Les représentations de la sauvagerie dans le rock'n'roll américain des années 1950, entre mythes et réalités." Thesis, Paris Est, 2012. http://www.theses.fr/2012PEST0011.
This dissertation analizes the myth of the wild side such as it has been represented in theAmerican fifties through rock ’n’ roll. Teen rebellion is seen as a social fact which stirred up anew representation of the modern wild side, through ideals confronted to the adult world andits own ideals. Then we try to find the reasons why rock ’n’ roll, and more specifically ElvisPresley’s music, appeared as a musical genre which embodied and purveyed that wild side.Analysing two different versions of Hound Dog – the typically African American version of« Big Mama » Thornton and Elvis Presley’s rock ’n’ roll creation – allows us to underline theinnovations brought by rock ’n’ roll and the representations of wilderness : the birth of ElvisPresley’s style, which we can reason through the idea of cross-pollination, then thecrystallisation of a typically wild style that reveals various innovations through thecondensation of various musical elements coming from the most rejected musics in the UnitedStates. Then we explain through music itself how the wild side became a tangible reality inrock ’n’ roll, a creative dynamic and the expression of a « moderate excess ». Finally, weconfront those representations of the wild thing to the music played by Jerry Lee Lewis, LittleRichard and Link Wray. Musicology sheds light on the innovations contained in their ownpersonal styles and the reality of their musical particularities thus allowing us to show thewild side as a crucial thing in the creation of rock ’n’ roll
Blaïech-Ajroud, Khadija. "Le populaire dans la nouvelle française du XVIe siècle." Clermont-Ferrand 2, 1996. http://www.theses.fr/1996CLF20091.
This study poses the problem of the place of the popular element in minor renaissance narratives. To avoid any theoretical presuppositions, the popular element is forst considered in its immediate manifestations in the nouvelles, mainly through its connectedness with material reality. As noted by m. Bakhtin, the popular element could be defined by an attachment to the culture of the public square : folklore, carnivals, liberation of language, the material and corporeal underside. However, these forms of popular culture may stem from old pagan rites or fall within the province of entertainment for the literati. The nouvelles offer a more wide-ranging representation of the popular element. Very often in these the common people are confronted with the representatives of power and knowledge, and defend an ideal of peace, moderation, constructiveness, harmony with tradition and communication, thus echoing the ideas of humanism and reform. The popular element thus covers a dynamic notion, often expressive of the writers' point of view, and proves to be a category questioning traditional boundaries between men, classes and cultures
Camus, Cyril. "Mythe et fabulation dans la fiction populaire de Neil Gaiman." Thesis, Toulouse 2, 2012. http://www.theses.fr/2012TOU20030.
Neil Gaiman’s fantasy works are often deemed postmodernist since they experiment with self-reflexivity and mix it with a supposedly antagonistic impulse towards popular fiction. Typical postmodernist works mostly emphasize their attacks against the fictional illusions of referentiality, character or plot. On the contrary, Gaiman’s works unapologetically remain within the bounds of fantasy, a genre in which imagination and storytelling are paramount–along with their related issues: characterization, plot, emotion and suspense. Thus, Gaiman’s fiction is not experimental fiction enhanced with elements of popular fiction, but actual popular fiction made self-reflexive. Thanks to that peculiar mood, studying Gaiman’s work is a very fruitful means of investigating the distinctive features of popular fiction, and its inherent emphasis on storytelling–or, as Henri Bergson called it, “fabulation.” Both Bergson and Frank McConnell focused on this notion which they saw as the essential link between ancient mythmaking and today’s fiction writing. Gaiman’s fiction mostly relies on such a dialectics between myth, popular fiction and storytelling or fabulation. His fantasy stories constantly rewrite ancient, religious myths, modern myths or the “myths” of popular fiction, and feature many fictional and historical writers, traditional storytellers, or Gaiman’s own personae, so that in paratext as well as in the heart of a narrative, in the quiet and supposedly reliable words of an introduction as surely as on the most striking comics panels, fiction is portrayed as myth, writers as mythical avatars of some archetypal storyteller, and storytelling as the one, quintessential human act
Violle, Nicolas. "L'image de l'Italie et des Italiens dans la presse populaire parisienne : 1926-1939." Paris 3, 1997. http://www.theses.fr/1997PA030133.
To analyse this image we need to look at the various themes which feature in the news media. Our analysis is based on the three main types of press report: major events, everyday events and intermediate category of repetitive events linked to major events. 1. Major events: the protest movement provoked by the sacco and vanzetti affair (1926-1927), the lateran treaty (1929), the franco-italian entente and the italian art exhibition (1935), the rosselli and other political affairs (1924-1938). These events serve as markers and lay down the framework in which the image develops. 2. Everyday perceptions. There are two mains themes here: interest in italy and the italians from a french perspective, and the perceptions created by descriptions of italian fascism. Firstly, everyday events, whether planned, or spontaneous or accidental), sport (boxing, motor racing, cycling, football), advertising (drinks, cars tourism in italy), culture (variety theatre, opera, dance, theatre and cinema). Secondly, the foreign policy of the fascist regime and the internal structure of italian society. Observation of a gradual change in french public opinion; highlighting the various facets of fascist italy (energy, dynamism) which reflect the image promoted by the regime, but which contrast with the image of the italian presence in france. 3. An intermediate category of reports, derived both from everyday life and historical events, with elements of the imaginary. Two themes: an tendency towards mystification and a return to reality: far from reality, the emergence of a "new italy" through the commemoration, the manipulation of history to promote fascism, the first great aeroplane flights and the image of "new italy" itself; also through various cultural themes and personalities (d'annunzio, marinetti and pirandello) which are used to support fascist ideas; press investigations in italy. Secondly, reports on the italians living in france, the ethiopian campaign and the spanish civil war signal a return to reality. This category depicts the italians between the real and the imaginary. This analysis reveals various dominant themes which shom a gradual shift from stereotyped perceptions to a more diverse image
Ghezali, Habib. "Culture et tradition dans le théâtre populaire en Algérie." Toulouse 2, 2003. http://www.theses.fr/2003TOU20080.
Popular culture is an inexhaustible source of inspiration for artistic productions in Algeria. Poets, painters, novelists and playwrights draw their raw material from this treasure with a concern for updating the traditional modes of communication which, day after day, are threatened of extinction through the modernisation of society. Kaki, as well as Kateb, illustrates the utilisation of the mythical springboard to unearth a new world. The coming up to the ancients' world is an investigation to discover a new speech. It is precisely a reflection on the history of this speech and on its various forms of voicing. The theatre becomes an open window to the fabulous universe of this popular imaginary which fully integrates the oral tradition with its various forms of production. Alloula, Benissa, Fellag and so many other playwrights, avid for taking in hands the culture of their country, unveil the concern for giving a new breath to this popular art. So they attempt to master the reality, to appeal to men, to transform the world by showing proof of solidarity and clear-mindedness. A theatre showing Man through facts for which and in which he lives
Jozani, Niloufar. "Les affections cutanées dans la médecine populaire en Iran." Paris 10, 1991. http://www.theses.fr/1991PA100040.
In this work the skin is regarded as the human body's envelope. The skin diseases enter within a whole range of concepts pertaining to the diseases in general. Notions such as "clean" and "dirty", "beautiful" and "ugly", "normal" and "abnormal" have also been dealt with. The nature of diseases acknowledged by the interviewees (contacted in 1983 and 1986 in Tehran) to be skin diseases and which go far beyond those indexed by the bio-medicine, has made it imperative to give a definition of the skin diseases in the Iranian popular medicine. This definition is based on the importance of one's "appearance". Throughout this research, much emphasis has been given to the efforts made to protect the "appearance", to improve one's image and to attain some kind of "normality". The diseases are, therefore introduced in several categories. Each consists of diseases with a number of characteristics which lead to the diseases being perceived in a different way than those contained in other categories. Each disease has been studied from both nosological and etiological viewpoints. The various treatments of symbolic or empirical nature as well as the popular beliefs concerning each have also been described. Another part has been devoted to the "anatomy" with a rapid sketch of the body as ideally desired or the "normal" condition to be attained. It seeks to explain and clarify why certain treatment or adjustment of bodily features have been necessary
Arbey, Dominique. "Francis Poulenc et la musique populaire." Thesis, Paris 4, 2011. http://www.theses.fr/2011PA040066.
The composer Francis Poulenc (1899-1963) was particularly influenced by the popular music of his time. In order to study this very specific aspect of his works, our research will take into account the musical production of the composer, his personal testimonies (such as correspondence, radio programs and various pieces of writing) and all documents related to the creation and reception of his works.When composing Bal Masqué (The Masked Ball) the composer’s aim was not to copy popular music but just to make use of some of its characteristics. Just like a painter he created what he would call ‘portraits de music-hall’ (‘Music-hall portraits’). For this impregnation to be fully appreciated, our analyses will tackle different musical parameters such as melody, rhythm, harmony, structures, orchestration and vocal effects. The purpose of our research involving socio-cultural perspectives, the analysis of those technical aspects cannot be dissociated from the historical context relative to the composer and, to a wider extent, to the ‘Groupe des Six’
Séguin, Laurent Barbier Frédéric. "Les collections de romans populaires et leur conservation dans les fonds patrimoniaux de la Bibliothèque nationale de France l'exemple du "Livre populaire" de la Librairie Arthème Fayard /." [S.l.] : [s.n.], 2005. http://www.enssib.fr/bibliotheque/documents/dcb/seguin-vol1.pdf.
Rouayrenc, Catherine. "Recherches sur le langage populaire et argotique dans le roman francais de 1914 a 1939." Paris 3, 1988. http://www.theses.fr/1988PA030024.
In the first part we have analysed the difference between slang and popular language, the latter including "register" events revealing communication situations and used by any speaker, and "level" events excluded from the language of an educated speaker. Popular language, which defines itself in the novel by reference to litterary language of which it is only a variant refused by norm, constitutes a code which is described in the second part. Language is made popular thanks to some devices of a morphosyntaxic and phonetic nature which denote not only "level" but also "register" and which constitute a system in which each "denoter" draws its value from its "representativity" and "significativity". These are generally to be found in dialogues in some contexts fashioned by habit. In the third part we have shown how writing characteristics, style, may come not only from how the writer uses the code or how he expands it but also from the lexicon that escapes all codification, which we have proved in three comparative word studies of several writers. The fourth part is devoted to celine whose originality comes not so much from the popular code as from a search for "orality" based on syntax and mainly a permanent search for ambiguity in all fields: lexical, syntaxic, narrative and enunciative. At last, we have studied the pragmatic value of this popular language
Lemaitre, Régine. "Fernando Fernán-Gómez : écrivain populaire." Rennes 2, 2000. http://www.theses.fr/2000REN20009.
@Fernando Fern'an-G'omez is one of the most important figure of Spanish cinema, so that it has somewhat overshadowed the writer's facet. Therefore, this thesis takes into account one part of his written works, that is to say six novels and four plays. The aim of this work is to examine their relationships with the marginal literature and with the French popular novel in particular. Indeed, the author always evokes his taste for this genre and the role it has played in his education. From then on, to find its traces and borrowings in his work was a compulsory step. In order to know on which level this influence was the most likely,it was necessary to establish the popular feature of the considered work and likely, it was necessary to establish the populare feature of the considered work and this through three criteria : its origin, its form and its contents. Are Fernando Fern'an-G'omez's writings popular because the writer himself comes from the ordinary people ? Are they so because of their realism and readability ? Or finally are they so because the author mainly evokes -by using certain tricks of the popular novel- the Spanish people, these vanquished people who have suffered from harshness of the civil war and from the francoism which are two recurrent historical aspects of his written works. It is on this last level that the popular feature of the works appears the most clearly, the author having himself declared that his worries for the humble people came from his reading when he was a child of the book " Les Misérables " by V. Hugo. Strongly considered as the writer of the ordinary people ; Fernando Fern'an-G'omez deserved to be qualified as a popular writer as Eugene Sue was in his time
Taube, Rhonda Beth. "Dancing in the Altiplano K'iche' Maya culture in motion in contemporary highland Guatemala /." Diss., [La Jolla] : University of California, San Diego, 2009. http://wwwlib.umi.com/cr/ucsd/fullcit?p3378902.
Title from first page of PDF file (viewed November 17, 2009). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references (p. 238-253).
Duc, Thierry. "Le roman populaire français à sujet médiéval de 1830 à 1850." Paris 4, 1995. http://www.theses.fr/1995PA040089.
After having been vilified from the renaissance up until the eighteenth century, the middle ages became a choice topic for the romantics. Popular literature took over medieval subjects and, influenced by Walter Scott, by the gothic novel or by texts taken from the "bibliothèque bleue de Troyes" (pedlary literature), offered to its readers a picture of the middle ages quite different from the affected one proposed by the "genre troubadour". Giving form to this rediscovered national past is rendered by redundant form sense elements, true icons that are clues to a codified spatiality and temporaneousness. A reflection on history or a political discourse can occur. Moreover, the craving of the popular novel for manichaeism and hyperbole promotes the creation of a true myth, which responds to a social desire of reappropriation of the origins : the later denunciation of the stereotypes will not affect this myth which still today sends us back to some of our frustrations in a society where the "acceleration of history" makes us suffer a feeling of loss and induces within us the nostalgia of a coherent and stable civilization, ritualized and reassuring
Halpern, Jean-Claude. "Représentations populaires des peuples exotiques en France, à la fin du XVIIIème siècle." Paris 1, 1992. http://www.theses.fr/1992PA010651.
It is interesting to study how ordinary people pictured exotic native peoples with all the attributes of imaginary exoticism trough the "bibliotheque bleue" stories, inspired by the verse chronicle of charlemagne. Among the almanachs though, the veritable messager boiteux helped them to step into genuine historic authenticity. During the french revolution, the people that had risen in the name of freedom could not but sympathize with the uprising of the slaves in the colonies and approve of their liberation on pluviôse 16th, year II. But the ebbing of the people's political commitment and the final years of the revolution witnessed the return of the old stereotypes, more particularly on the stage. The five accounts by soldiers of the egypt expeditionary force we have studied symbolize, through contact with the realities of the orient, the limitations and the retreat of republican universalism
Escalona, Saúl. "Négritude et chanson dans les Carai͏̈bes : contribution à l'étude de la salsa comme phénomène socioculturel dans le Vénézuela contemporain." Paris 3, 1997. http://www.theses.fr/1997PA030061.
This thesis tries to explore the development of salsa music and the socio-cultural phenomenon it represents in venezuelan society today. Starting with an historical analysis, the position of the evolution of afro-cuban music is defined as is its expansion into the hispanic caribean until the transformation of the afro-caribean music and more recently, the acquisition of the name "salsa". By using the technique of content analysis concerning two hundred typical songs from this type of music, a topology of salsa songs has been grouped into five categories : descriptive songs, romantic songs, political songs, erotic songs and songs which blend all groups. In a general way, the results show that the song contents are in an ideological perspective, that salsa music is a characteristic of the regional culture of the hispanic caribean and that by telling stories of everyday life this music places the accent over the complex workings of the hispanic caribean society. In conclusion, it's shown that salsa music uses a language that can be called the "language of salsa", in which we find words, phrases and expressions which, projected by the songs, show a certain way of speaking and behaving and that these become a unifyting factor in the way in which salsa listeners communicate
Barbosa, Rosane de Assis. "Mem?ria de um lugar: dan?as e festejos na produ??o do patrim?nio em Mussuca e Laranjeiras/SE." Universidade Federal Rural do Rio de Janeiro, 2014. https://tede.ufrrj.br/jspui/handle/jspui/1493.
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Le but de cette ?tude est de penser aux strat?gies de production et de reproduction du patrimoine culturel ? Laranjeiras, dans l? ?tat de Sergipe, ?videntes dans les traditions vivantes presentes dans le quotidien local, en particulier, celles originaires du village de Mussuca, comme la Danse de S?o Gon?alo d'Amarante, la Samba de Coco et la Samba de Pareia. Ces danses servent d'?chantillon des vari?t?s des manifestations de la ville de Laranjeiras qui continuent vivantes en cet endroit. Nous avons l'intention d'?tudier la relation entre ces danses et les f?tes de la ville et leurs significations dans le contexte de la production du patrimoine et de la m?moire locale. La construction du processus politique de la danse comme le patrimoine et la m?moire collective participe ? la cr?ation des biens culturels sp?cifiques de cette ville et ils sont en constant dialogue avec ce qu'on appelle "biens patrimoniaux" d?j? institu?s par l'?tat de Sergipe et l?IPHAN. La Rencontre Culturelle, qui a lieu depuis ? trente-neuf ans durant la premi?re quinzaine de janvier, est un espace ? partir duquel les dirigeants du village de Mussuca, avec la pr?sentation des groupes de danse de S?o Gon?alo et de la Samba de Coco et la Samba de Pareia, sont entr?s en contact avec les pouvoirs publics de Sergipe, des chercheurs d'autres ?tats et d'autres groupes de culture populaire de Sergipe et d?autres parties du pays. Nous avons l'intention, ? partir de l'ethnographie de la Rencontre Culturelle de Laranjeiras et d'autres situations dans lesquelles ces manifestations des traditions vivantes ont lieu, de penser ? la forme ces danses de Laranjeiras / Mussuca sont utilis?es par les directeurs culturels du municipe. Comment les participants de ces manifestations vivent ces relations ? Et de quelle forme les traditions vivantes et la m?moire de participants peuvent venir ? contribuer pour ce processus ?
O prop?sito deste estudo ? pensar sobre as estrat?gias de produ??o e reprodu??o do patrim?nio cultural em Laranjeiras, no Estado de Sergipe, manifestas nas tradi??es vivas presentes no cotidiano local, em particular, as oriundas do povoado da Mussuca, como a Dan?a de S?o Gon?alo do Amarante, o Samba de Coco e o Samba de Pareia. Estas dan?as servem como uma amostra das variedades de manifesta??es da cidade de Laranjeiras que continuam vivas neste lugar. Pretendemos estudar a rela??o entre estas dan?as e os festejos da cidade e as suas significa??es no contexto da produ??o do patrim?nio e da mem?ria local. A constru??o do processo pol?tico da dan?a como patrim?nio e mem?ria coletiva participa da cria??o dos bens culturais espec?ficos desta cidade e est?o em constante dialogo com os chamados ?bens patrimoniais? j? institu?dos pelo estado de Sergipe e IPHAN. O Encontro Cultural, que ocorre h? trinta e nove anos na primeira quinzena de janeiro, tem sido um espa?o a partir do qual lideran?as do povoado de Mussuca, em apresenta??o dos grupos de dan?a de S?o Gon?alo e do Samba de Coco e Samba de Pareia, t?m entrado em contato com os poderes p?blicos de Sergipe, pesquisadores de outros estados e outros grupos de cultura popular de Sergipe e do restante do pa?s. Pretendemos, a partir da etnografia sobre o Encontro Cultural de Laranjeiras e outras situa??es nas quais estas manifesta??es das tradi??es vivas acontecem; pensar de que forma estas dan?as de Laranjeiras/ Mussuca s?o utilizadas pelos gestores culturais do munic?pio. Como os brincantes destas manifesta??es vivenciam estas rela??es? E de que forma as tradi??es vivas e a mem?ria dos brincantes podem vir a contribuir para este processo?