[pt] A presente tese aborda os atos que tomaram as ruas do Brasil a partir de junho de 2013, sob perspectiva ao mesmo tempo estética e política. Seguindo a própria estética múltipla dos atos, o texto, escrito na forma de diários, lança mão de um vasto universo de referências culturais. Escrito na primeira pessoa e trazendo as questões para o momento atual, o trabalho evidencia a dimensão da presença na experiência estética (assim como na política pela via da ação direta). Em um processo antropofágico, a escrita transita por postagens no Facebook, fotografias, poesia, performance, teatro, cinema, grafite, desenhos animados, filosofia, história e carnaval. A tese não se propõe a explicar os atos ou fixá-los na História, mas, ao contar histórias, usa os acontecimentos como fonte de inspiração para uma nova criação, com uma escrita reflexiva sobre o mundo, a cultura, a arte, a política, a vida urbana e o próprio momento presente. O foco está em um corpo singular que atravessou as ruas do Rio de Janeiro em certos momentos de intensidade (de 2013 a 2016), deixando também seus rastros na cidade. Ao afirmar que 2013 não acabou, o que a autora pretende não é revelar o que seriam as suas consequências no Brasil de hoje, mas sim chamar a atenção para a sua abertura inexorável, que não permite conclusões fáceis. Por isso, a própria tese permanece inconclusa. É um ensaio poético, que busca captar aquilo que de 2013 a autora considera a sua poesia inesgotável. 2013 era um grande movimento de ocupação das cidades ressignificando espaços e vidas. E como aqueles manifestantes que sempre retornavam após os ataques da polícia cantando Olha eu aqui de novo!, há algo que sempre volta, que não se rende à dispersão imposta e ainda faz questão de tirar sarro dançando. A tese é essa dança. / [en] This thesis approaches the acts that took the streets of Brazil from June 2013, from both na aesthetic and political perspective. Following the very multiple aesthetics of the acts, the text, written in the form of diaries, makes use of a broad universe of cultural references. Written in the first person and bringing the issues to the current moment, the work evidences the dimension of the presence in the aesthetic experience (as well as in politics through direct actions). In an anthropophagic process, the writing transits through Facebook posts, photographs, poetry, performance, theater, cinema, graffiti, cartoons, philosophy, history and carnival. The thesis does not propose to explain the acts or to set them in the History, but in telling stories, uses the events as a source of inspiration for a new creation, with a reflective writing about the world, culture, art, politics, urban life and the very current moment. The focus is on a singular body that has passed through the streets of Rio de Janeiro in certain moments of intensity (from 2013 to 2016), leaving also its traces in the city. In saying that 2013 is not over, what the author intends is not to reveal what would be its consequences in Brazil today, but to draw attention to its inexorable opening, which does not allow easy conclusions. Therefore, the thesis itself remains unfinished. It is a poetic essay, which seeks to capture what of 2013 the author considers its inexhaustible poetry. 2013 was a great movement of occupation of cities, resignifying spaces and lives. And like those demonstrators who always have returned after the police attacks, singing Look at me here again!, there is something that always comes back, that does not surrender to the imposed dispersion and even makes a point of making fun dancing. The thesis is this dance.

L’appel au renforcement de la protection du droit d’auteur dans le but de mieux lutter contre la contrefaçon, surtout avec l’avènement et le développement incessant des nouvelles technologies, est-il justifié ? Le bilan des efforts déployés récemment sur la scène internationale pour réaliser un tel renforcement, ayant débouché sur l’élaboration du très controversé ACTA, démontre que la réponse à cette question ne peut être ni simple ni immédiate. Evaluer l’opportunité et déterminer la nécessité de renforcer cette protection ne peuvent se faire qu’après un examen approfondi des solutions juridiques, existantes déjà dans les dispositifs nationaux des deux Etats qui assurent chacun une protection efficace des droits des auteurs, tout en adoptant des approches diamétralement opposées en la matière à savoir, la France et les Etats-Unis. Une fois ces deux droits comparés, une inégalité dans le niveau de protection ressort, appelant des améliorations qui passent par une intégration d’institutions juridiques « venues d’ailleurs ». Cette intégration qui aura pour résultat d’harmoniser ces deux droits, dans le respect des particularismes nationaux, pourra se réaliser à l’aide du droit comparé. L’harmonisation des droits nationaux dans le respect de leurs différences est aussi l’oeuvre du droit international surtout lorsqu’il s’agit d’une matière qui ne peut être traitée qu’à l’échelle internationale, voire mondiale. Pour pouvoir comprendre les raisons de la persistance des différences entre les deux droits menant à cette inégalité, l’examen des instruments internationaux adoptés en la matière, censés harmoniser la protection du droit d’auteur, est indispensable. Le bilan de cet examen s’avère mitigé dans la mesure où, les spécificités nationales l’emportent, bloquant ainsi le processus d’harmonisation. Or, le droit comparé a comme rôle principal de préparer un terrain favorable à une harmonisation internationale réussie, en dégageant des solutions concrètes, pratiques et surtout adaptées puisque ne heurtant pas les traditions juridiques nationales qu’il aura réussi à identifier. / Is the call to strengthen the protection of copyright in order to better fight copyright infringement, especially with the advent and the constant development of new technologies, justified? The results of the recent efforts on the international stage to achieve such a purpose, which led to the drawing up of the very controversial ACTA, show that the answer to this question cannot be simple nor immediate. Assessing the appropriateness as well as determining the need to strengthen this protection can only be made after a thorough review of legal solutions that already exist in the domestic law of two states, each of which ensures effective protection of copyright while adopting diametrically opposite approaches in this field namely, France and the United States. Once these two domestic laws have been compared, inequality in the level of protection appears, calling for improvements that go through an integration of legal institutions "coming from somewhere else". This integration that will have as a result the harmonization of these two laws while taking into account the national specificities, can be realized using the comparative law. The harmonization of national laws while respecting their differences is the work of international law as well, especially when the subject matter could only be addressed on an international even global scale. To understand the reasons for the persistence of differences between these two laws leading to this inequality, review of international instruments adopted in this field which are supposed to harmonize the protection of copyright, is essential. The results of this review are mixed due to the fact that national differences prevail, thus blocking the harmonization process. However, comparative law's primary role is to prepare the ground for a successful international harmonization, by providing concrete, practical and appropriate solutions given the fact that they do not conflict with national legal traditions that the comparative law has managed to identify.