Ce mémoire traite de la diversité culturelle sous l’optique de la notion d’exception culturelle. Dans la Convention sur la protection et la promotion de la diversité des expressions culturelles, la diversité culturelle acquiert le statut de notion pivot entre les politiques culturelles promulguées à l’échelle nationale, européenne et internationale. L’objectif de ce mémoire a été de déterminer la conception de la diversité culturelle dans l’intention de montrer les tensions qui résultent de la formulation du rôle des États-nations et du pouvoir dévolu à la libre circulation des biens et produits culturels à l’échelle supranationale. D’où l’hypothèse que la notion de diversité culturelle est sujette à des glissements de sens afin de rallier les parties en présence. Selon ces constats et l’hypothèse de Bourdieu selon laquelle on assiste à l’homogénéisation des cultures, nous avons répondu aux questions suivantes : comment la Convention peut-elle concilier l’ouverture des marchés des biens et services culturels et la protection de la diversité culturelle ? Comment la diversité culturelle s’orchestre-t-elle sous l’égide de la Convention de l’UNESCO ? Sous la tutelle de l’État-nation chargé de défendre les couleurs de la culture nationale ? Ou par l’intermédiaire du marché capable de réguler l’offre et la demande en matière de culture ? La Convention a donc fait l’objet d’une analyse de discours dans l’intention d’exhiber les tensions sous-jacentes à la conception de la diversité culturelle. En effet, la diversité culturelle est sujette à des glissements de sens, car elle est orchestrée en partie par le droit souverain des États-nations qui sont en mesure de protéger et promouvoir la diversité des expressions culturelles sur leur territoire, mais aussi, elle est basée sur des principes de libre échange et de libre circulation des produits, activités, biens et services culturels découlant de la coopération régionale, bilatérale et internationale mise de l’avant par la Convention. La Convention permet jusqu’à un certain point une conciliation entre l’ouverture du marché des biens et services culturels et la protection de la diversité culturelle grâce à ces mécanismes et ces organes. / This research treats about cultural diversity under the perspective of the “exception culturelle”. In this Convention on the Protection and Promotion of the Diversity of Cultural Expressions, cultural diversity gains a central position in regard to the cultural policies applied at the national, European and international levels. The objective of this research was to outline the meaning of cultural diversity in order to reveal the different tensions between the role of the nation-state and the power devolved to the open market of goods and cultural products on a supranational level. Thus, we hypothesize that the concept of cultural diversity takes different meanings in order to rally the different parties in the best interest of the Convention. Based on these evidences and Bourdieu’s hypothesis underlining the present homogenization of cultures, we ask ourselves : how can the Convention reconcile the open market of cultural goods and services and the protection of cultural diversity ? Who orchestrates cultural diversity in the Convention ? Is cultural diversity organized by the nation-state in charge of defending its own cultural expressions ? Or is cultural diversity organized by the open market that controls the market of cultural expressions based on the principle of supply and demand ? To answer those questions, we did a discourse analysis of the Convention in order to expose the underlying tensions in the concept of cultural diversity. We noticed that the concept of cultural diversity usually refers to the diversity of cultural expressions. Therefore, the concept of cultural diversity implies different perspectives. Nation-states do have the right to take measures and adopt cultural policies in order to protect their own cultural products and cultural expressions, but at the same time, the Convention promotes regional, bilateral and international cooperation between Parties. Cooperation is based on free trade, free movement and unlimited access of cultural activities, goods and services. Therefore, cultural diversity is directed at the same time by nation-states and relies upon the laws of the open market. The different mechanisms of the Convention try to ensure a certain balance between these dual perspectives of the Convention.

Angesichts der Gefahr für Kulturgüter, die sich gerade in jüngeren Konflikten wie beispielsweise dem Mali-Konflikt zeigen, untersucht das Paper die Rolle, die der Sicherheitsrat seit 1990 beim Schutz von Kulturgütern in bewaffneten Konflikten einnimmt. Anhand einer Wortlautanalyse der Resolutionen des Sicherheitsrates und einer Analyse der beschlossenen Maßnahmen wird die Entwicklung aufgezeigt, dass der Sicherheitsrat dem Schutz von Kulturgut in bewaffneten Konflikten eine zunehmend hohe Bedeutung beimisst und sich entsprechend auch verstärkt für dessen Schutz einsetzt. Es wird gezeigt, dass der Sicherheitsrat dazu im Rahmen der UN-Charta grundsätzlich auch kompetent ist und sich der verstärkte Einsatz durch das wachsende Bewusstsein der internationalen Gemeinschaft für die Gefahr für Kulturgüter in bewaffneten Konflikten sowie die generelle Ausweitung des Tätigkeitsbereichs des Sicherheitsrates erklären lässt. Die Entwicklung des Schutzes durch den Sicherheitsrat erscheint daher folgerichtig und wünschenswert und gleichzeitig noch nicht abgeschlossen. / In the light of recent conflicts like the conflict in Mali, which show the risks for cultural property during armed conflicts, the present paper evaluates the role of the Security Council in the protection of cultural property during armed conflicts. Based on an analysis of the wording of resolutions and of the measures adopted by the Security Council, a development will be illustrated: the Security Council attaches greater importance to the protection of cultural property in armed conflict and strengthens its effort for the protection. Furthermore it will be argued that the Security Council is competent in this matter according to the Charter of the United Nations and that its increased efforts can be explained by the growing awareness of the international community about the risks for cultural property during armed conflict and the general increase of the Security Council’s activities. The development of the protection of cultural property provided by the Security Council therefore seems reasonable and not yet completed.

No description available.

Made available in DSpace on 2016-06-02T20:25:23Z (GMT). No. of bitstreams: 1 6283.pdf: 5068482 bytes, checksum: ffdc7a9e6012e3f3abe29fdbd1025e79 (MD5) Previous issue date: 2014-08-22 / Universidade Federal de Minas Gerais / Ce travail s inscrit dans le cadre théorique de l Analyse du Discours (AD) française de base énonciative, qui voit la langue comme étant opaque et polysémique et les discours comme des pratiques discursives qui s établissent et se matérialisent dans les dires et les actions, obéissant à des systèmes sémantiques définis historiquement et socialement (cf. MAINGUENEAU, [1984] 2008). Plus spécifiquement, cette recherche a comme base principale la proposition théorico-méthodologique d Alice Krieg-Planque (2003; 2010) sur la notion de formule discursive, qui instrumentalise l analyse de la circulation et de la production de sens de syntagmes qui, linguistiquement figés, se révèlent, dans leurs usages, des lieux de tension, des points de convergence sur diverses questions sociales débattues dans l espace publique. De manière complémentaire, des lectures parallèles dans d autres disciplines contribuèrent à l analyse et à l interprétation des données, parmi lesquelles nous relevons celles liées à la Nouvelle Géographie de Milton Santos (1994; 2000) et ses réflexions sur ce qui est tangent à la période technico-scientifique informationnelle et à l importance des techniques et des pratiques dans notre conception de temps, d espace et, enfin, de société. Nous cherchons à retracer le parcours de ―cultura de paz‖ dans l espace publique brésilien depuis sa genèse institutionnelle jusqu à nos jours, en passant par les conditions de production qui permirent son émergence en 1989, lors du Congrès International sur la Paix dans l Esprit des Hommes, organisé par l UNESCO à Yamoussoukro (Côte d Ivoire), et en vérifiant sa consolidation et son fonctionnement en tant que formule discursive durant la période connue comme étant la Décennie Internationale de la Promotion d'une Culture de la Non-violence et de la Paix au Profit des Enfants du Monde (2001-2010 - ONU). Ainsi, nous souhaitons montrer comment un effet de consensus est produit dans la surface linguistique d un syntagme qui, en circulant, est mobilisé par diverses interprétations qui partent majoritairement du sème central ―vivre ensemble‖ (des personnes, des religions, des partenaires sexuels, avec la nature, etc.). Comme point de départ, nous avons fait un recensement de ses occurrences dans les journaux Folha de S.Paulo, O Estado de S. Paulo et Brasil de Fato, diffusés à l échelle nationale, vérifiant ensuite une circulation plus expressive via une vaste recherche réalisée sur des moteurs de recherche, parmi lesquels principalement Google Search décision qui impliqua des considérations d ordre méthodologique qui firent partie de la recherche. Il convient de souligner que nous considérons plus important la diversité de sources plutôt que la quantité et la répétition d occurrences, considérant les cas de plus grande dispersion comme indices importants de la propagation sémantique de ―cultura de paz‖dans l interdiscours et, par conséquent, de sa condition de formule discursive. De cette manière, nous analysons les différentes interprétations qui caractérisent les discours d acteurs sociaux qui mobilisèrent le syntagme, largement utilisé lors de rencontres et dans des documents internationaux et nationaux, englobant diverses questions politiques et sociales, cherchant à vérifier les pratiques qui le figent et qui sont, en même temps, instituées par lui-même, dans un paradoxe constitutif. / Este trabalho se inscreve no quadro teórico da Análise do Discurso (AD) francesa de base enunciativa, que vê a língua como constitutivamente opaca e polissêmica e os discursos como práticas discursivas que se estabelecem e se materializam nos dizeres e nas ações, obedecendo a sistemas semânticos histórica e socialmente definidos (cf. MAINGUENEAU, [1984] 2008). Mais especificamente, tem como base principal a proposta teórico-metodológica de Alice Krieg-Planque (2003; 2010) acerca da noção fórmula discursiva, instrumentalizadora da análise da circulação e da produção de sentidos de sintagmas que, linguisticamente cristalizados, mostram-se, em seus usos, como lugares de tensão, pontos de convergência de questões sociais diversas debatidas no espaço público. De maneira complementar, contribuíram para a análise e a interpretação dos dados leituras paralelas de outras disciplinas, dentre as quais destacamos as referentes à Geografia Nova de Milton Santos (1994; 2000) em suas considerações no que tange ao período técnico-científico informacional e à importância das técnicas e das práticas em nossa concepção de tempo, de espaço e, enfim, de sociedade. Buscamos rastrear o percurso de ―cultura de paz‖ no espaço público brasileiro desde sua gênese institucional, passando pelas condições de produção que permitiram sua emergência em 1989, no Congresso Internacional sobre a Paz na Mente dos Homens, organizado pela UNESCO em Yamoussoukro (Costa do Marfim), e verificando sua consolidação e seu funcionamento como fórmula discursiva durante o período que ficou conhecido como Década Internacional de uma Cultura de Paz e Não Violência para as Crianças do Mundo (2001-2010 - ONU) até o momento atual, a fim de mostrar como é produzido um efeito de consenso na superfície linguística de um sintagma que, ao circular, é convocado por interpretações diversas que partem majoritariamente do sema central "convivência" (entre pessoas, com a natureza, entre as religiões, entre parceiros sexuais etc.). Como ponto de partida, fizemos um levantamento das ocorrências desse termo nos jornais Folha de S.Paulo, O Estado de S. Paulo e Brasil de Fato, de abrangência nacional, verificando posteriormente uma circulação mais expressiva do sintagma com uma vasta pesquisa realizada em buscadores, dentre os quais, destacadamente, o Google Search decisão que implicou considerações de ordem metodológica que fizeram parte da pesquisa. Cabe enfatizar que consideramos mais importante a diversidade de fontes do que a quantidade e a repetição de ocorrências, entendendo os casos de maior dispersão como indícios importantes do espraiamento semântico de ―cultura de paz‖ no interdiscurso e, portanto, de sua condição de fórmula discursiva. Desse modo, analisamos as diferentes interpretações que caracterizam os discursos de atores sociais que mobilizaram o sintagma, amplamente utilizado em encontros e documentos internacionais e nacionais, abrangendo questões políticas e sociais diversas, procurando verificar as práticas que o cristalizam e que são, ao mesmo tempo, por ele instituídas, num paradoxo constitutivo.

La préoccupation initiale de cette recherche était d’évaluer le rôle que pouvaient jouer les OIG dans la bonne gouvernance mondiale. Il s’agissait donc de savoir si les OIG étaient capables de penser globalement ou si elles demeuraient liées par les politiques des grands Etats. L’enjeu principal est ainsi devenu la mesure de leur degré d’autonomisation face aux intérêts des grandes puissances. Dans ce but, nous nous sommes penchés sur leur élargissement vers de nouveaux domaines d’action, pas nécessairement inscrits dans leur mandat initial et qui peuvent même changer la nature de l’Organisation. Cet élargissement dicté par l’environnement des OIG, engendre chevauchement et recoupement, et impose l’analyse de la coopération éventuelle entre elles. Nous avons donc étudié le rapport entre l’autonomisation des OIG, leur élargissement et leur coopération, en supposant qu’une plus grande autonomisation permettrait un plus grand élargissement et exigerait, en principe, une plus grande coopération. A cet effet, trois Organisations ont fait l’objet de notre étude de cas. Il s’agit de l’UNESCO, l’OMC et l’OMPI. Certes, les trois Organisations ont des origines différentes mais elles se croisent après un élargissement ou un développement de leurs activités autour d’un lieu commun : la culture. Un sujet apparemment « soft » mais qui camoufle des enjeux économiques assez importants. Il divise la communauté internationale et crée des tensions sérieuses au sein des forums internationaux. La domination culturelle remet en question la diversité culturelle. Les PED sont de plus en plus en difficulté pour sauvegarder leur culture face à l’ouverture des marchés et au développement de la technologie dictés par la globalisation. L’inquiétude face à la domination culturelle est également celle de quelques pays développés comme le Canada, la France, qui voient leurs territoires dévastés par la culture américaine surtout au niveau de la production cinématographique. Nous avons pu dégager à travers notre recherche que le rapport entre les OIG à travers la production des différentes normes dans le domaine culturel apparait plutôt conflictuel que coopératif, même si paradoxalement ce sont les mêmes Etats qui adoptent les différentes normes ici et là. Il semble que le jeu de pouvoir dans les différentes Organisations n’est pas le même, les acteurs ne sont pas les mêmes, les enjeux ne sont pas les mêmes et les valeurs ne sont pas les mêmes. Ceci dit, l’autonomie ou l’autonomisation recherchée par les OIG les pousse dans une direction qui n’est pas tout le temps favorable à la coopération interétatique. Il en découle la multiplicité des normes d’une part et leur incompatibilité d’autre part. Dans certains cas, elles sont même contradictoires. De même, la hiérarchie entre les OIG n’est pas fixée d’une façon permanente. Elle est plutôt changeable et réversible. Tout dépend de la façon dont l’Organisation poursuit ses objectifs, et comment elle interagit avec son milieu. Les Organisations « faibles » ou « idéologiques » ont leur fonction dans l’architecture mondiale. Elles se placent entre les pays riches et les pays pauvres et tentent d’établir un certain équilibre, rompu par les forces économiques. Ces Organisations peuvent minimiser ou bloquer ou retarder l’application des normes. Nous concluons avec l’idée que le conflit ou la compétition entre les différents acteurs de la scène internationale y compris les OIG rend la gouvernance mondiale acceptable mais que la bonne gouvernance mondiale reste une utopie. / The first concern of this research at its inception was to assess the role of Intergovernmental Organizations in global Governance. Are IGOs able to think globally or are they so tied to the most powerful states that they lack autonomy? The next step was to measure the degree of autonomy of these IGOs and their capacity to go beyond the most powerful states interests. We also aim as studying the process of their extension to new fields that are not necessarily mentioned in their initial mandate and that could even change the nature of the Organization. This extension dictated by their environment generates overlapping actions and cross-cheking procedures, which make the study of an eventual cooperation between them necessary. Our objective is therefore to study the relationship between IGO's autonomy (i.e., the process of their autonomisation), their extension and their cooperation. The greater is the autonomy of an IGO, the greater is its extension, and supposedly greater is its cooperation. For that purpose, our case study focuses on three Organizations that have the subject of culture in common: UNESCO, WTO and WIPO. Indeed, these three Organizations have different origins but are dealing with culture, since they extended their initial scope of interest. UNESCO dealt first with the physical heritage and then with the intangible heritage and eventually addressed the diversity of cultural expressions that can includes tradable goods and services. WTO, which was originally conceived as a Forum of negotiation for free trade, is now involved in Intellectual property of cultural goods through the TRIPS. WIPO, the technical Organization for Intellectual property now harbors a debate on Traditional knowledge, Genetic resources and Folklore. These subjects are obviously related to UNESCO's intangible heritage and cultural expressions, and to the concerns of the WTO since the products of Traditional knowledge and genetic resources are tradable goods. Thus, the intersection point between these three Organizations is culture. A subject that is apparently soft is actually hiding important economic issues. In particular, it divides the international community and is the source of serious tension in international fora. Cultural domination is threatening cultural diversity. The developing countries are becoming more and more unable to preserve their culture when confronted to open markets and to the technology development enhanced by globalization. Some developed countries such as Canada and France are also worried about the threatening of their culture by an American invasion of their territories through cinema and television productions. We conclude that the relationship between different IGOs in the field of cultural norms production looks more conflictual than cooperative even if, paradoxically, the same states are adopting the norms in most fora. Since the power game was different in each Organization, actors and values are different as well. Consequently, the autonomy targeted by IGOs is not always translated into a better inter states cooperation. It generates a multiplicity of norms. In some cases, they are even contradictory. Likewise, the hierarchy of IGOs is not permanent, but changing and reversible. The rank of an IGO depends on how it is pursuing its objectives and how it is reacting with its environment. The weakest or the most ideological Organizations have a function in the international architecture. They are positioning themselves between rich and poor countries, and try to establish some balance, not to be overwhelmed by big economic players. These Organizations can minimize, block or delay norms' implementation. Thus, it is the competition between the different actors that makes global governance acceptable. Therefore, good global governance remains an utopia.

Made available in DSpace on 2015-10-19T11:50:20Z (GMT). No. of bitstreams: 1 anarosa2011.pdf: 1001047 bytes, checksum: 6e18431e349195d38172a0cc8897a5d2 (MD5) Previous issue date: 2011-03-31 / The present study lies in the field in the field of official for culture. It considers the statistical information as a social phenomenon, representing a construction of reality agreed that ideally follows the scientific concepts and definitions, legal or national and international consensus / O presente estudo situa-se no campo das informações estatísticas oficiais para a cultura. Considera a informação estatística como um fenômeno social, representando uma construção, convencionada da realidade, que decorre idealmente de conceitos e definições científicas, de ordenamentos jurídicos ou de consensos nacionais e internacionais

Submitted by Franciele Moreira (francielemoreyra@gmail.com) on 2017-09-22T16:19:33Z No. of bitstreams: 2 Dissertação - Victor Moura Soares Ferreira - 2017.pdf: 4865441 bytes, checksum: 25a6db8cb0770b113997860f4f96cae6 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2017-09-25T11:41:29Z (GMT) No. of bitstreams: 2 Dissertação - Victor Moura Soares Ferreira - 2017.pdf: 4865441 bytes, checksum: 25a6db8cb0770b113997860f4f96cae6 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2017-09-25T11:41:29Z (GMT). No. of bitstreams: 2 Dissertação - Victor Moura Soares Ferreira - 2017.pdf: 4865441 bytes, checksum: 25a6db8cb0770b113997860f4f96cae6 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2017-08-22 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / The idea of the creative city emerges as the fruit of the post-industrial era, when cities needed to reinvent themselves from a strategic relationship with creativity, specifically with the creative industry and the creative economy. The formulation of those expressions, first raised by the australian government and later by the british, discussed the value of art and culture through those which were possible the creation of jobs and wealth production. The United Nations, through UNCTAD and Unesco, incorporated in their discourses and policies the importance of the development of the urban environment ordered by creativity. Its intention was embodied after the launch of the Unesco Network of Creative Cities in 2004, platform that established a commitment to invest in creativity and culture as a strategic factor for "sustainable" urban development. In order to understand this dynamic that uses culture as an urban management strategy, the Network's research from the perspective of the five Brazilian cities - Florianópolis and Curitiba, with the insertion in 2014, and the cities of Belém, Santos and Salvador, in 2015 - allowed to identify the strategies that configure this program and, also, the nuances of each one. The idea was based on the investigation of application forms, information in electronic media and digital files. The research rethinks that the discourse of the creative city is closer to the image bias, economic and political than the ideal model of a post-industrial city, as some theorists claim. Possibly, the creative city is only a reflection of an image that began in the economy and was diluted in the discourse of managers, possessing the Nation-State as controlling agent. / ideia da cidade criativa surge como fruto da era pós-industrial, época em que as cidades precisavam se reinventar a partir de uma relação estratégica com a criatividade, especificamente com a indústria criativa e a economia criativa. A formulação de tais expressões, colocadas em questão, primeiramente pelo governo australiano e depois pelo britânico, discutiu acerca da valorização da arte e da cultura, por meio das quais eram possíveis a criação de empregos e a geração de riqueza. As Nações Unidas, por meio da UNCTAD e da Unesco, incorporaram, em seus discursos e políticas, a importância do desenvolvimento do meio urbano ordenado pela criatividade. Sua intenção se corporificou após o lançamento da Rede de Cidades Criativas da Unesco, em 2004, plataforma que firmou o compromisso em investir na criatividade e na cultura como fator estratégico para o desenvolvimento urbano “sustentável”. Com o objetivo de compreender essa dinâmica que utiliza a cultura como estratégia de gestão urbana, a investigação da Rede pela perspectiva das cinco cidades brasileiras – Florianópolis e Curitiba, com a inserção em 2014, e as cidades de Belém, Santos e Salvador, em 2015 – permitiu identificar as estratégias que configuram esse programa e, também, as nuances de cada uma. A ideia partiu da averiguação de formulários de candidatura, de informações em meios eletrônicos e arquivos digitais. A investigação faz repensar que o discurso da cidade criativa está mais próximo do viés imagético, econômico e político, do que de um modelo ideal de cidade pós-industrial, como alguns teóricos afirmam. Possivelmente, a cidade criativa seja apenas reflexo de uma imagem, que se iniciou na economia e diluiu-se no discurso de gestores, possuindo o Estado-Nação como agente controlador.

Este trabalho procura olhar para algumas práticas de preservação na cidade de Goiás (GO), incluindo seu reconhecimento como patrimônio histórico e artístico nacional, pelo IPHAN, e como patrimônio mundial, pela UNESCO. Debate, principalmente, a autenticidade, por ser um valor e critério fundamental, adotado pela UNESCO, para que um bem possa ser declarado patrimônio cultural mundial. No decorrer do percurso investigativo, vai se evidenciando que a narrativa adotada para justificar o título de Patrimônio Cultural Mundial de Goiás, responde também ao processo de valorização dessa cidade como patrimônio nacional e vem sendo reiterada em ações recentes de preservação na cidade, enrijecendo a forma de intervir nos monumentos históricos. Partindo da hipótese de que as intervenções recentes nos bens patrimoniais no centro histórico de Goiás precisam responder a uma noção de autenticidade que foi cuidadosamente construída no Dossiê de Proposição desta cidade ao título de Patrimônio Mundial, sendo também fruto das narrativas e das práticas perpetradas pelo IPHAN ao longo de algumas décadas, a presente pesquisa procura analisar três importantes momentos da construção dessa cidade como patrimônio cultural. Primeiro, avalia os tombamentos iniciais na cidade e os valores que estavam sendo atribuídos a ela, depois trata da ampliação do tombamento, quando há o reconhecimento da centro histórico como patrimônio cultural e o terceiro momento é a investigação da construção da cidade como patrimônio mundial, afirmando as narrativas construídas a partir de uma memória colonial para a cidade. Por fim, esta pesquisa volta-­-se às propostas de intervenção na cidade, a fim de compreender como alguns valores são considerados nessas ações, principalmente após o reconhecimento da UNESCO, que se efetiva em 2001. Para as referidas análises, perscrutou-­-se pesquisas bibliográfica e documental e diversos registros e análises in loco foram organizados. Ao avaliarmos esse longo percurso, buscamos refletir como os valores, atribuídos ou reconhecidos nos bens culturais, principalmente a autenticidade, perpassam a construção dos discursos e como esses mesmos valores são enfrentados nas práticas de preservação. / This one job demand look for some Practices Of preservation at City Of Goiás (GO), including your recognition as patrimony historic And artistic national, fur IPHAN, And as patrimony World, By UNESCO. Debate, mainly, To authenticity, per to be A value And criterion Fundamental, adopted By UNESCO, for What A good be likely to to be declared patrimony cultural World. At the To run Hilarious route investigative, Go If Evidencing What To narrative Adopted for justify O title Of Patrimony Cultural World Of Goiás, responds also to process Of Appreciation of that City as patrimony national And comes Being Reiterated in Actions Recent Of preservation at City, Stiffening To form Of to intervene we Monuments Historic buildings. Leaving gives hypothesis Of What at Interventions Recent we assets Patrimonial at the center historic Of Goiás Need answer To One notion Of authenticity What was carefully Built at the Dossier Of Proposition Of this City to title Of Patrimony World, Being also fruit Of Narratives And Of Practices Perpetrated fur IPHAN to long Of some Decades, To gift search demand analyze three Important Moments gives construction of that City as patrimony cultural. First, Evaluate the Tipping Initials at City And the Values What They were Being Assigned To she, then Treats gives enlargement Hilarious Tipping, When There are O recognition gives center historic as patrimony cultural And O third time It is To investigation gives construction gives City as patrimony World, Affirming at Narratives Built To leave Of One memory colonial for To City. Per end, this search Come back at Proposals Of intervention at City, To end Of understand as some Values are Considered These Actions, mainly after O recognition gives UNESCO, What If Effective in 2001. For at Referred to Analysis, Peered researches Bibliographic And documentary And Various Records And Reviews In Crazy were Organized. To To evaluate that long route, We look for reflect as the Values, Assigned Or Recognized we assets Cultural, mainly To authenticity, Pass through To construction Two Speeches And as Those Same Values are Faced In the Practices Of preservation.

Este trabalho promoveu um mapeamento do universo documental das Literacias de Mídia e Informação (MIL) no âmbito das Declarações Oficiais da UNESCO entre os anos de 1982 e 2014. Considerado um novo conceito, as MIL contemplam o desenvolvimento de capacidades e habilidades de cidadãos com a mídia e a informação no ambiente do Século XXI, para que sejam protagonistas de suas próprias histórias e se empoderem ao longo desse processo. Para estudo desse campo se recorreu à Teoria do Ator-Rede como aporte teórico e outros conceitos concernentes como as literacias da informação, digitais e de mídia. Da perspectiva metodológica, a pesquisa tem cunho qualitativo e transdisciplinar e contribui para a compreensão das novas morfologias epistêmicas da sociedade do conhecimento. Como resultados, foram elaborados quadros sínteses e linhas do tempo para a apreensão visual da progressão do conceito de MIL, face à sua sedimentação terminológica e temática. Ainda, se torna possível entender os vários vieses abrangidos ao longo dessa jornada, tendência que a UNESCO tem chamado de \"transliteracy\". / This work promoted a documental cartography over the Media and Information Literacies (MIL) concept under UNESCO\'s documents, between the 1982 and 2014. Considered a new concept, the MIL regards the capacity and skills development within the media and the information environment in the 21st Century, so the individuals can be protagonists of their own histories and for them to empower themselves in the process. This study refers to the Actor-Network Theory (ANT) as a theoretical basis, as well to the digital, media and information literacies concepts. Under a methodological overview, this is a qualitative and transdisciplinary research and contributes to understanding the new epistemological morphologies of the knowledge societies. As results, were elaborates synthetic boards and time lines for the visual apprehension over the MIL concept, facing its etymologic and thematic construction. Still, it is possible to comprehend the biases in this journey, a tendency that UNESCO has recently called \"transliteracy\".

This paper explores the goals and functions of the public libraries in Sweden. This is regarding their materials, what groups they are focusing on and what their purpose is in the society. The paper focus on the four interviews that I have conducted which also are what this study is based upon. I have used the model of Andersson & Skot Hansen (1994) to analyze the material and the results that I have found. This in order to determine what functions the public library has that I have chosen as an example for this study. It displays what functions the chosen library has in its community and the goals of the public libraries. The result shows that the libraries strive to spread culture, literature and information to all groups in the society and to support all forms of education. The paper also reveals that the library that I have chosen has many functions in its community as public libraries often has.