[pt] Esta dissertação visa compreender o fenômeno denominado pela mídia como geração canguru, através da relação entre as esferas da família e do contexto social contemporâneo, entendendo que é nesta interação que ele é construído. Esse fenômeno refere-se a uma convivência familiar prolongada na qual os filhos, jovens adultos, apesar de aptos para uma vida independente fora dos limites da casa dos pais, optam pela permanência. O adiamento da separação da família é um reflexo da conjugação de fatores intrafamiliares - ambivalência de sentimentos em relação a partida e a perda dos papéis conquistados - com extrafamiliares, fruto de um contexto social fortemente marcado por instabilidade e incerteza. Foi realizada uma pesquisa de campo com 7 famílias de classe média do Rio de Janeiro: 7 casais parentais e 8 filhos com idade a partir de 26 anos. O objetivo da pesquisa foi analisar o sentido que essas famílias imprimem a esta convivência bem como evidenciar os acordos perpetrados por seus membros em prol de prolongar o exercício de seus papéis. / [en] This thesis is an attempt to account for the phenomenon referred to by the media as the kangaroo generation in terms of the interrelations between the family sphere and the contemporary social context, on the basis of the belief that it is in this interaction that it is configured. The phenomenon in question is the fact that many young adults choose to continue living with their parents even though they already lead independent lives outside the home. The delaying of the departure from the family reflects a constellation of intrafamilial factors - ambivalence towards departure and the loss of achieved roles - and extrafamilial ones, arising from a social context sharply marked by instability and uncertainty. The field study involved seven middle-class families in Rio de Janeiro, seven parental couples and eight children aged 26 or older. The object of the research was to analyze the ways how families see this pattern of coexistence, as well as to bring out the agreements settled on by family members in order to extend in time their assigned roles.

Nous définissons l’instant plasticien en céramique comme l’unité temporelle d’un processus formel – à la main - d’une pièce d’argile qui subira une cuisson. Maillon syntaxique du présent plasticien, il est geste cogito-sculpteur qui recouvre différentes modalités. Habité de multiples composantes, nous analyserons son contenu en exposant d'abord ses contraintes techniques. Nous prendrons appui sur un exemple personnel pour expliquer sa composante lest cognitif – les connaissances techniques, artistiques, scientifiques et historiques -, nous analyserons également les constituants de la culture gestuelle. Ces deux composantes distinctes modèlent plus ou moins sciemment cet instant spécifique comme l’esthétique des formes qu’il promeut. Nous préciserons la spécificité de celui personnel en puisant dans l’Histoire de l’Art céramique ; nous aborderons la culture raku du Japon médiéval d’où provient le mode de cuisson employé pour les œuvres personnelles en référence. Si depuis le début de l’Art céramique, chacun des domaines qui constituent le contexte sociétal a autant modelé ses arguments poïétiques que l’esthétique qu'il promeut, celui personnel puise ses arguments créatifs et sa posture d’apologie des beautés de la planète, d’un questionnement sur l’origine des désordres et déséquilibres environnementaux qui forment le fond de notre contemporanéité. Motivé d'une intention réceptionnelle – autre composante -, celui personnel espère susciter chez le regardeur une réflexion sur les causes probables de la dégradation des biotopes existants comme sur la gestion actuelle d’une entité qui est au fondement du faire technique céramique, à savoir le respect du temps de la nature. / We define the plastician instant in ceramic work as temporal unit of a formal process - by hand – of a work in clay, which will necessarily be subjected to firing. Syntactic link of the plastician present, it is a cogito-sculptor's gesture which covers different modalities. Filled with multiple components, we’ll analyze its content by first exposing its technical constraints. We'll refer to a personal example to explain its lest cognitive component – the technical, artistic, historical and scientific knowledges -, and we'll analyze the constituents of the gestural culture. These two distinct components model more or less knowingly this specific instant, as well as the resulting aesthetic shapes. We will identify the specificity of the personal one by exploring the History of ceramic Art ; we will address the raku culture's past, born in medieval Japan where the firing technique used for personal art works in refer comes from. If, since the beginning of Ceramic Art, each of the domains that constitute the societal context modeled its poïetic arguments as well as the aesthetic this special instant constitutes, this particular one on which we’ll base our analysis draws its creative arguments and its planet beauty's vindication posture from a questioning about the origin of disturbances and environmental imbalances which are the essence of our contemporary world. Filled with a receptional intention – another component –, this personal one intents rouse the viewer to reflect on the probable causes of the existing biotopes' degradation, as well as on the current management of an entity which is fundamental in the ceramic technical work, namely the respect of nature's time.