A Ópera Mouffe (1958) é um filme inaugural na obra da cineasta Agnès Varda. Um \"documentário-ficcional\" que utiliza diferentes modos expressivos, construído a partir de imagens em fluxo constituídas de forma ficional, a partir de elementos simbólicos, ou registradas em situações observacionais na rua Mouffetard, em Paris. De natureza subjetiva, o filme exibe, ainda, o primeiro registro do corpo de Varda em sua obra, na ocasião grávida de sua primeira filha, Rosalie. Foi a gestação que a mobilizou para a feitura do filme e a maternidade é o foco da narrativa. Varda faz desse pequeno curta uma espécie de manifesto feminista sensorial, ao apresentar, de forma poética, os conflitos reveladores das angústias das mulheres no interior da sociedade patriarcal, através da expressão em consonância dos arquétipos de Vênus e Deméter, respectivamente a Amante e a Mãe, conjugados na personagem central. Em vários de seus filmes posteriores, Varda irá expandir a configuração e combinação destes mitos, através de personagens que apresentam conflitos em relacionamentos, comportamentos, ou traços de personalidades que ecoam esses arquétipos. Essa característica possibilitou a Varda apresentar narrativas que permitem analisar criticamente o papel reservado às mulheres em nossa sociedade. / The Mouffetard Opera (1958) is an inaugural film in the work of French filmmaker Agnès Varda. A \"fictional documentary\" that uses different expressive modes, constructed from a flow of images constituted of fictional form, symbolic elements, and documentary images registered in observational situations at the Mouffetard Street, in Paris. Of subjective nature, the film also shows for the first time Varda\'s body in her work, at the time when she was pregnant of her first daughter, Rosalie. It was the gestation that mobilized her to make the film and motherhood functions as the trigger of the narrative. That short film is as a kind of sensorial feminist manifesto which reveals, in a poetic way, conflicts engendered by the anguish women experience within patriarchal society through the consonant expression of the archetypes of Venus and Demeter, respectively the Lover and the Mother, combined in the central character. In several of her ulterior films, Varda will expand the configuration and combination of those myths through characters that present conflicts in relationships, behaviors, or personality traits that echo those archetypes. Such tools allowed Varda to present narratives that allow a critical perspective over the role offered to women in our society.

[pt] A dissertação pretende demonstrar que a telenovela Roque Santeiro pode ser vista como uma forma eletrônica das antigas festas saturnais romanas e como um desfile de carnaval eletrônico. Roque Santeiro, escrita por Dias Gomes e apresentada pela Rede Globo de Televisão, em 1985, seria uma glorificação da vida e da morte, além de ser uma discussão sobre o mito e sua necessidade na sociedade contemporânea. Pretende ainda demonstrar que Dias Gomes foi, acima de tudo, inclusive de sua alardeada opção política pelos desfavorecidos, um escritor que não fazia concessões no seu texto. O presente trabalho tem como base teórica os conceitos formulados por Bakhtin quanto à carnavalização. / [en] This dissertation intends to demonstrate in what way the Brazilian soap opera ROQUE SANTEIRO can be viewed as an electronic standard of the ancient Roman Saturn Parties. It can be viewed yet as an electronic carnival parade, as well. ROQUE SANTEIRO, written by Dias Gomes, and broadcasted by Rede Globo in 1985, highlights a kind of glorification of life and death. Besides, it analyses the discussion about myths and their role in a modern society. This work deals yet with Dias Gomes itself, and how he was, above all, a writer who had strong political positions, most of them to benefit the poor people. Moreover, he was a writer who didn`t make exceptions in his texts and plays. The study is based on concepts and theories by Bakhtin, related to carnavalização.

Submitted by Caroline Xavier (caroline.xavier@pucrs.br) on 2017-06-30T17:20:02Z No. of bitstreams: 1 DIS_THIAGO_MULLER_KURBAN_COMPLETO.pdf: 836404 bytes, checksum: ad618b257be45a043c611a1ad3235c6c (MD5) / Made available in DSpace on 2017-06-30T17:20:02Z (GMT). No. of bitstreams: 1 DIS_THIAGO_MULLER_KURBAN_COMPLETO.pdf: 836404 bytes, checksum: ad618b257be45a043c611a1ad3235c6c (MD5) Previous issue date: 2017-03-31 / The present paper comparatively analyzes the reports prepared by international nongovernmental human rights organizations Amnesty International and HUMAN RIGTHS WATCH on the Israeli Operation Cast Lead. The Operation Cast Lead was a military offensive of great worldwide repercussion due to the significant number of Palestinian civilian deaths, the use of prohibited weapons and the controversy involving the Commission established by the United Nations Human Rights Council. The organizations selected for the work act in a large number of countries, have special consultative status with the UN Economic and Social Council, and have already received the Nobel Peace Prize. HRW's 2006 action in Lebanon allows to raise the hypothesis that such organizations can act influenced by external pressures and change their positions. The comparative analysis proposed here aims to verify the organizations' notes in order to test the hypothesis mentioned. / O presente trabalho analisa comparativamente os relat?rios elaborados pelas organiza??es n?o-governamentais internacionais de Direitos Humanos Amnesty International e Human Rigths Watch sobre a Opera??o Israelense Chumbo Fundido. A Opera??o Chumbo Fundido foi uma ofensiva militar de grande repercuss?o mundial pelo expressivo n?mero de mortes de civis palestinos, pelo uso de armamentos proibidos e pela pol?mica envolvendo a Comiss?o estabelecida pelo Conselho de Direitos Humanos das Na??es Unidas. As organiza??es selecionadas para o trabalho atuam em um grande n?mero de pa?ses, possuem status consultivo especial junto ao Conselho Econ?mico e Social da ONU, al?m de j? terem recebido o pr?mio Nobel da Paz. A atua??o da HRW em 2006 no L?bano permite levantar a hip?tese de que tais organiza??es podem atuar influenciadas por press?es externas e mudar seus posicionamentos.A an?lise comparada aqui proposta visa verificar os apontamentos das organiza??es de modo a testar a hip?tese mencionada.

Submitted by PPG Administra??o e Neg?cios (ppgad@pucrs.br) on 2018-06-08T21:25:32Z No. of bitstreams: 1 FELIPE_LANDO_DIS.pdf: 2838422 bytes, checksum: 15b05b2b42b52156f0bd35a25909076f (MD5) / Approved for entry into archive by Sheila Dias (sheila.dias@pucrs.br) on 2018-06-19T12:44:56Z (GMT) No. of bitstreams: 1 FELIPE_LANDO_DIS.pdf: 2838422 bytes, checksum: 15b05b2b42b52156f0bd35a25909076f (MD5) / Made available in DSpace on 2018-06-19T13:02:28Z (GMT). No. of bitstreams: 1 FELIPE_LANDO_DIS.pdf: 2838422 bytes, checksum: 15b05b2b42b52156f0bd35a25909076f (MD5) Previous issue date: 2018-03-26 / Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior - CAPES / Complex sociotechnical systems are those where humans need to handle with variabilities and adapt their operations to maintain acceptable levels of efficiency and thoroughness. Hospitals of complete care are examples of such systems, due to its necessities of highly specialized work force, the use of intensive wealth and technology. These organizations are characterized by their external and internal variabilities. The external variabilities are, in a hospital, the climate changes, the unknown diseases and the uncertainty in the quantity and necessities of the incoming patients. In the other side, the internal variabilities are related to the resource management, the time and results pressure and the conflicting goals. Due to that, losses are created and reflect on efficiency and thoroughness performances. The literature has driven researches in sociotechnical systems seeking to analyze their activities. The FRAM method is being used as a tool to model and analyze those activities. In this way, the aim of this research is to characterize a complex sociotechnical system in relation to its variabilities, conflicting goals, and wastes in the activities and its relations with the system?s integrated operations. To do that, we took as the analyzed object, the average length of stay of patients in the Brazilian public health (SUS) hospitalization of a University hospital. The beginning of the analysis is the discharge of a patient in an entry unit to the hospitalization. The end of the analysis is the final discharge of the patient and the preparing of its bed to another patient. The hospitalization system seems to be good to a study that aims to analyze variabilities, because it represents a significant amount of the challenges of a hospital and it is inside the boundaries of a tractable study. The explorative and qualitative inquiry method and the FRAM modeling allowed the identification of a 66-function model that represents the hospitalization system. From this model, we selected three instantiations for the further analysis. These instantiations were selected because represented a significative amount of wastes when analyzed through the lens of Lean Systems. The model and instantiations generated an inventory of wastes, ETTOs and variabilities. The analysis was conducted in a way to identify were decision-makers must choose between production and protection. These decision points are characterized by presenting resonant variabilities in the system, which generates wastes in other functions (e.g. waiting, inappropriate processing, etc.). Therefore, looking for Integrated Operations, we tried to identify points of the system?s structure that could influence those variabilities and wastes. The main theoretical contribution of this research is the proposition of a method to investigate wastes, ETTOs and variabilities associated to functions in a FRAM modeling. We also propose a new approach of analyzing integrated operations in a FRAM modeling. In the same way, pragmatic contributions pointed out to the need of a better resource management in the hospital. This could make the system?s activities more efficient without interfering in its resilience. Future studies could reply this method in other contexts looking for validation. Deeping the data gathering in the researched hospital could result in better understanding of each essential function identified. Furthermore, replying this research in other Hospital could lead to recommendations in the contractual level of the Public Health Services (SUS). / Sistemas sociot?cnicos complexos s?o sistemas onde seres humanos necessitam lidar com variabilidades e adaptar suas opera??es de forma a manter n?veis satisfat?rios de efici?ncia e cuidado. Hospitais de atendimento completo s?o um exemplo de tais sistemas dadas suas necessidades de m?o de obra altamente especializada, utiliza??o de tecnologia e capital intensivo. Tais organiza??es s?o caracterizadas por apresentarem variabilidades externas, como varia??es clim?ticas, patologias pouco conhecidas e imprecis?o da quantidade de pacientes que ir?o necessitar de atendimento hospitalar; e variabilidades internas, relacionadas ? gest?o dos recursos escassos, ? press?o por tempo e produ??o e aos conflitos de metas. Essas variabilidades causam perdas que refletem em sua performance de seguran?a e efici?ncia. A literatura tem apontado caminhos de pesquisa em sistemas sociot?cnicos complexos por meio da an?lise das atividades de tais sistemas. Para isso, a ferramenta FRAM tem sido usada como forma de modelar tais atividades e analis?-las. Dessa forma, o objetivo deste trabalho foi caracterizar um sistema sociot?cnico complexo com rela??o a suas variabilidades, seus conflitos de metas, as perdas ocorridas nas atividades e a rela??o disso com suas opera??es integradas. Para isso, tomou-se como objeto de estudo o tempo de perman?ncia de interna??o de pacientes do SUS em um hospital universit?rio. O sistema de interna??o hospitalar se mostrou adequado para um estudo de an?lise da variabilidade por representar uma amostra significativa dos desafios de um hospital e estar dentro dos limites trat?veis para um estudo dessa natureza. O m?todo qualitativo, explorat?rio e a modelagem FRAM permitiram a identifica??o de 66 fun??es do sistema de interna??o. Do modelo representativo das atividades desse sistema, tr?s instancia??es foram destacadas para as an?lises do trabalho. As instancia??es selecionadas foram as que mais apresentaram desperd?cios, analisados pela ?tica das perdas do Sistema Toyota de Produ??o. As modelagens e as instancia??es geraram invent?rios com as perdas, ETTOs e variabilidades associadas ?s fun??es. As an?lises foram conduzidas de forma a identificar pontos onde a estrutura do sistema faz com que os gestores tomem decis?es conflitantes (entre produ??o e prote??o). Esses pontos de decis?o se caracterizam por apresentar variabilidades ressonantes no sistema que, por sua vez, geram desperd?cios em outras fun??es (e.g. espera, processamento inapropriado, entre outros). Posteriormente, sob uma ?tica de Opera??es Integradas, buscou-se identificar como a estrutura operacional do sistema poderia estar influenciando essas variabilidades, desperd?cios e conflitos de metas. A principal contribui??o te?rica deste trabalho ? a proposi??o de um m?todo para inventariar perdas, conflitos de metas e variabilidades associadas a fun??es de uma modelagem FRAM. Tamb?m, contribuiu-se com uma nova aproxima??o ? modelagem FRAM como uma ferramenta para a an?lise de opera??es integradas. Da mesma forma, contribui??es pr?ticas apontam para a necessidade de melhor gest?o dos recursos do hospital, de forma a tornar as atividades mais eficientes, por?m sem interferir nos pontos de resili?ncia do sistema. Ficam como sugest?es de futuros estudos a replica??o do m?todo em outros contextos como forma de valida??o; o aprofundamento das coletas de dados no hospital pesquisado; e a replica??o em outros hospitais para gerar recomenda??es a n?vel de gest?o e contratualiza??o do SUS.

Made available in DSpace on 2016-10-13T14:10:23Z (GMT). No. of bitstreams: 1 Marcela Bezelga Francfort Ankerkrone.pdf: 1809207 bytes, checksum: 467e1c79752d9ddad75882956ad3dfd2 (MD5) Previous issue date: 2015-03-26 / This research aims to investigate the representation of the plus size women in fashion and Brazilian soap opera, as well as its reinterpretation in building the women s identity and consumer habits. The proposed research problem argues over the relationship of the plus size women with fashion and its perception of female representation in the Brazilian soap opera, exploring the understanding of the interviewees with regard to the construction of their own identities. We determined as the primary research focus the analysis of the of plus size women with the beauty standards established culturally and socially. In order to solve the research problem, we used theoretical bibliography review from authors that discuss about corporeality, such as Nízia Villaça, Tania Hoff, Erving Goffman, Mary Del Priore, among others; for communication and soap opera, we review authors like Maria Aparecida Baccega, Maria Immacolata Vassalo de Lopes, Marcia Tondato, etc; for fashion Carol Garcia, Diana Crane and Gilles Lipovetsky; for consumption Don Slater, Mary Douglas and Baron Isherwood; and with regards to identity authors like Tomaz Tadeu da Silva and Stuar Hall. The methodological approach made was the use of qualitative in-depth interviews. The survey universe consisted by women between 20 and 45 years old, residents of the city of Sao Paulo, which were engaged in remunerated activity and watch soap operas. / Esta pesquisa tem como tema as representações da mulher plus size na moda e na telenovela brasileira e suas ressignificações na construção da identidade dessa mulher e nos seus hábitos de consumo de moda. O problema de pesquisa proposto questiona a relação da mulher plus size com a moda e sua percepção das representações femininas nas telenovelas brasileiras e qual a leitura que as entrevistadas fazem disso para a construção de suas identidades. Determinamos como objetivo de pesquisa principal a análise da relação das mulheres plus size com os padrões de beleza estabelecidos cultural e socialmente. Para responder ao problema de pesquisa utilizamos como aporte teórico autores que discorrem sobre corporeidade como Nízia Villaça, Tania Hoff, Erving Goffman, Mary Del Priore, entre outros; sobre comunicação e telenovela como Maria Aparecida Baccega, Maria Immacolata Vassalo de Lopes, Marcia Tondato, etc; sobre moda como Carol Garcia, Diana Crane e Gilles Lipovetsky; sobre consumo como Don Slater, Mary Douglas e Baron Isherwood; e sobre identidade como Tomaz Tadeu da Silva e Stuar Hall. A abordagem metodológica que faremos será a das entrevistas qualitativas em profundidade. O universo pesquisado será formado por mulheres entre 20 e 45 anos, moradoras da cidade de São Paulo, que exerçam atividade remunerada e assistam a telenovelas.

Made available in DSpace on 2016-10-13T14:10:45Z (GMT). No. of bitstreams: 1 comuinicacao_repecao_e_consumo_suas_inter-relacoes_em_rebelde-rbd.pdf: 2291247 bytes, checksum: 6ef1536978975ad14defe45746b6e33e (MD5) Previous issue date: 200-05-14 / The study object of this dissertation are the intersections reception/consumption in the Rebelde soap opera and RBD teenage band, searching the influence of that product of media culture (Rebelde-RBD) in the formation process of teenagers identities. The emphasis is in the questions related to the production of meanings, appropriations and reappropriations, and also the construction of social representations that happen in the reception process and interfere on the constitution of these teenagers as individuals. We approach the consumption practices that involve the interaction between the material and symbolical spheres, emphasizing the singularities that Rebelde-RBD promotes in these practices: we notice an extension, a kind of privilege of the symbolical pole related to the material one. The research sought to identify which values the young public imputes to the material consumption linked to the symbolical consumption and, mainly, what are the points that the teenagers emphasize as the motivations to the imperative that, in the specific case of this media product, we notice to exist in what concerns to the acquisition of the objects relative to the soap opera and the band and what is the concrete result of this reception/consumption movement in the formation of individual identities / O objeto de estudo desta dissertação são as inter-relações recepção/consumo na telenovela Rebelde e banda RBD, investigando a influência deste produto da cultura da mídia (Rebelde-RBD) no processo de formação das identidades dos jovens. Destacam-se as questões relacionadas à produção de sentidos, apropriações e reapropriações, construção de representações sociais, as quais ocorrem no processo de recepção e interferem na constituição desses jovens enquanto sujeitos. Abordam-se as práticas de consumo que envolvem a interação entre as esferas materiais e simbólicas, destacando as singularidades que Rebelde-RBD promove nessas práticas: percebe-se uma extensão, um certo privilegiamento do pólo do simbólico relacionado ao material. A pesquisa buscou identificar quais as valorações que o público infanto-juvenil atribui ao consumo material atrelado ao simbólico e, sobretudo, quais os pontos que os jovens destacam como motivadores do imperativo que se percebe, no caso específico desse produto de mídia, existir com relação à aquisição dos objetos referentes à telenovela e à banda e qual o resultado concreto desse movimento de recepção/consumo na formação das identidades dos sujeitos.

Mulheres Apaixonadas: a imagem da mulher contemporânea na telenovela analisa o primeiro capítulo da novela Mulheres Apaixonadas, escrito por Manuel Carlos e exibido pela Rede Globo de televisão no dia dezessete de fevereiro de 2003. A linha teórica que baliza a pesquisa é a teoria semiótica de linha francesa, desenvolvida por A. J. Greimas e seus discípulos. A dissertação se divide em duas partes. A primeira parte é composta por sete capítulos resultantes das análises dos principais núcleos temáticofigurativos do texto. Nela se observa como as histórias das personagens se articulam e produzem certos efeitos de sentido que as posicionam como existentes em um mundo parecido com a realidade de quem assiste. As escolhas narrativas e discursivas mostram-se como delimitadoras dos papéis que cada mulher dessa trama assume, desencadeando, portanto, o fio condutor dos seus percursos. A segunda parte do trabalho é dedicada ao sincretismo de linguagens, já que esta é a base de um texto televisivo. Trataremos dos efeitos de sentido criados pelas imagens e também das relações semi-simbólicas estabelecidas entre os elementos do plano da expressão e do plano de conteúdo. No conjunto, a dissertação mostra como a telenovela representa as mulheres no início do século XXI e quais mecanismos discursivos manipulam o telespectador a querer acompanhar a novela. / Women in love: the contemporary woman image in the soap opera comes to analyse the first chapter of Women in love (Mulheres Apaixonadas) written by Manuel Carlos and Tv-broadcasted by Rede Globo, on February seventeenth of 2003. The theoretical line that edges the research is the semiotic French line theory developed by A. J. Greimas and his disciples. The dissertation is divided in two parts. The first one is compounded by seven chapters resulted of analysises from the main figurative thematic nucleus of the text. You can observe in it how the stories of the characters are articulated and produce certain effects of sense that are arranged in a world like the viewers own reality. The chosen narratives and discursive talks reveal in what way they delimit the roles that each woman is assuming in the plot, threading their way through their journeys. The second part of this work is dedicated to the syncretism of languages since it is the basis of a broadcasting tv-text. We will work on the effects of sense produced by images and also from semi-symbolic relations established among the elements of the expression plan and the contents plan. In all, the dissertation shows in what manner the tvsoap opera represents women in the beginning of XXI century and which discursive mechanisms manipulate the desire of the viewer to watch the show.

A presente dissertação propõe uma abordagem da televisão brasileira através de um diálogo com os estudos do som, tendo como objeto a dimensão sonora das telenovelas. O estudo procura mapear as principais transformações ocorridas no aparato técnico sonoro televisivo, bem como a evolução dos processos da produção do som no período de 1950 até o início do século XXI. Posteriormente, visando investigar as funções desempenhadas pelos elementos sonoros - vozes, ruídos e músicas - na construção da narrativa das telenovelas, este trabalho apresenta uma análise da trilha sonora de cinco telenovelas da TV Globo: Pecado Capital (1975), Roque Santeiro (1985), Renascer (1993), Senhora do Destino (2004) e Avenida Brasil (2012). / This essay proposes an approach on Brazilian television through a dialogue with sound studies, having as object the soap operas\' sound aspects. It intends to map the main changes that occurred on television\'s audio technical apparatus, as well as the evolution on the sound production processes from 1950 until the beginning of the twenty first century. Subsequently, this work aims to investigate the functions performed by the sound elements - dialogues, sound effects, music - on the development of soap opera narratives and presents an analysis of the soundtracks of five soap operas produced by TV Globo: Pecado Capital (1975), Roque Santeiro (1985), Renascer (1993), Senhora do Destino (2004) and Avenida Brasil (2012).

Au cœur de l’élan moderniste qui anime le XXe siècle, l’expression « théâtre musical » devient l’étendard d’une recherche esthétique de nouvelles formes de rencontre scénique entre le théâtre et la musique. Que l’objectif soit de moderniser l’opéra, de le remplacer, de réformer le théâtre ou de créer un nouveau genre à mi-chemin entre les deux arts, les collaborations rassemblant compositeurs et hommes de théâtre entendent présenter des œuvres actuelles, qui balaient les modèles esthétiques jusqu’alors dominants. Si l’approche du théâtre musical est complexe tant il s’avère polymorphe, le contexte social et la proximité des artistes avec le milieu activiste nous invitent à considérer également les œuvres selon leurs qualités militantes et/ou politiques. À l’heure où les sociétés européennes sont ébranlées des guerres mondiales et des modèles totalitaires qui donnent lieu à une instabilité sociale importante, l’espace esthétique pluridisciplinaire du théâtre musical se révèle propice à la réflexion philosophique et à l’expérimentation des modalités de protection et d’émancipation du politique. L’utopie artistique, qui incite à repenser les cadres formels du théâtre musical, dans lequel les disciplines sont travaillées selon un système de relation égalitaire et d’autonomie des voix, cultive aussi des modèles d’utopie politique. Ainsi, après avoir exploré les ambitions esthétiques du théâtre musical et leur traduction dans les œuvres, nous ne manquons pas d’étudier sa relation dialogique avec la pensée politique qui lui est contemporaine. C’est en effet parce que son espace artistique (processus et productions) convoque l’utopie politique pour relever les défis esthétiques de la pluridisciplinarité, que le théâtre musical devient le lieu privilégié d’une réflexion philosophique sur la pratique militante et sur les moyens de l’exercice politique, ainsi que sur l’idéal démocratique dont nous sommes aujourd’hui les héritiers. / At the core of the modernist impetus that animates the 20th century, the phrase “musical theatre” becomes the emblem of the aesthetic search of new ways of mixing theatre and music on the stage. Whether the aim is to modernize the opera, reform the dramatic art, or create a new genre halfway between both arts, composers, dramatists and producers collaborate to produce modern works and dispense with the old prevailing aesthetic model. Approaching musical theatre is quite a challenge, as it is so polymorphic; and the social context and the artists’ closeness to the activists’ world invite us, when examining their works, to consider their militant and political standpoints. At a time when European societies are weakened by World Wars and totalitarian regimes that give rise to an important social instability, the multidisciplinary aesthetic space of the musical theatre turns out to favour philosophical thought and the experimentation of methods for the protection and the emancipation of politics. The artistic utopia, which encourages us to reconsider the formal pattern of musical theatre where the arts are used on equal terms and the voices are independent, also promotes a political utopia. Then, after exploring the aesthetic ambitions of musical theatre and how they are technically expressed in the works, we are sure to study their intricate two-way relationship with contemporary political thought. Because its artistic space (process and productions) uses political utopia to take up the aesthetic challenge of multidisciplinarity, musical theatre turns out to be the ideal place for a philosophical appraisal of the militant practice, of the degree of political exercise as well as of the democratic ideal it has passed on to us.

Le directeur musical trouve son origine dans plusieurs mutations musicales survenues entre le XVIIe et le XVIIIe siècles et qui se cristallisent dans un individu, Lully. Celui-ci représente un premier modèle à la fois compositeur, directeur, interprète, entrepreneur, dont les éléments constitutifs structurent la notion de directeur musical depuis cette époque. L’éclatement des fonctions dont il fait ensuite l’objet produit avec Habeneck un nouveau modèle, chef d’orchestre fondateur et entraîneur d’orchestres. Plusieurs nouveaux modèles naissent à partir de la fin du XIXe siècle. Ils illustrent des profils inventeurs, entrepreneurs et citoyens. Parallèlement, deux situations atypiques apparaissent, les festivals sans orchestre permanent et les orchestres refusant la présence d’un chef d’orchestre.Le modèle en vigueur aujourd’hui en France emprunte à ces différents modèles. Le directeur musical exerce plusieurs missions répondant aux attentes multiples de son environnement, mais il souffre d’une absence de reconnaissance institutionnelle véritable. La question se pose même parfois : est-il nécessaire ? Par ailleurs, les règles habituellement applicables aux artistes s’appliquent difficilement au directeur musical.Enfin, des pouvoirs concurrents réduisent son champ de compétence et celui de la programmation lui échappe. Il en porte une part de responsabilité car ses ambitions de carrière en tant que chef d’orchestre l’ont rendu au fil du temps de moins en moins présent. Derrière ce modèle original de directeur musical en France, c’est peut-être une conception des institutions propre à notre pays qui est révélée. / The music director has his own origin in important musical transformations which arose between the 17th and the 18th centuries. These mutations with Lully gave birth to a prototype who is at the same time composer, musician, performer, businessman, and who has been moulding the figure of the music director from this period onwards. Then, when these various duties split, a new profile of music director emerged, as an orchestra-founder and -trainer, embodied by Habeneck.From the end of 19th century, new models were implemented, such as inventors, entrepreneurs and citizens thoroughly committed to their community. Beside, some festivals have their own orchestra, but no permanent conductor. Some other orchestras simply refuse to be lead by a stable or non-stable conductor.The music director of our century in France is the heir of these various models. He has numerous duties and needs to demonstrate evidence of great skills, since he has to come up to the expectations of a wide and versatile environment. But, at the same time, his uniqueness and value are not really appreciated and the wolrdwide competition between conductors led him to be less present and therefore to give up a substantial part of his powers, related to programming and artistic direction. To some extent, the situation of the music director in France is reflecting the institutional system of this country.