Submitted by Elesbão Santiago Neto (neto10uepb@cche.uepb.edu.br) on 2018-05-14T20:39:50Z No. of bitstreams: 1 PDF - Rochele Karina Costa de Moraes Abumansur.pdf: 32162977 bytes, checksum: 427fdd6f08102d0be3803f15882a5097 (MD5) / Made available in DSpace on 2018-05-14T20:39:50Z (GMT). No. of bitstreams: 1 PDF - Rochele Karina Costa de Moraes Abumansur.pdf: 32162977 bytes, checksum: 427fdd6f08102d0be3803f15882a5097 (MD5) Previous issue date: 2013-06-19 / CAPES / This research has as its central objective comparative analysis of defense and security plans adopted by the Colombian government of Alvaro Uribe and Juan Manuel Santos, as well as its political and security agendas. This study considers the common defense and security as State Policy which is part of the common foreign to consider as the main threat to state security to Colombian guerilla activity, production of drug trafficking and human rights abuses suffered by the population. The time frame relevant to the purposes of the research extends the Alvaro Uribe government (2002 - 2010) to half of the first term of the government of Juan Manuel Santos (2010 - 2012), in as much as in the previous period only serves to support historic for understanding of recent events. The main conclusion of this study focuses on detecting differences and / or similarities between the security plans of both governments to resolve the matter then whether there is progress or setbacks in the solution of the Colombian conflict and the search for peace in that country. / Esta pesquisa tem como objetivo central a análise comparativa dos planos de defesa e segurança da Colômbia adotados pelos governos de Álvaro Uribe e Juan Manuel Santos, assim como suas políticas e agendas de segurança. Este estudo entende a política de defesa e segurança como Política de Estado da qual faz parte a política externa para segurança e considera como principal ameaça à segurança estatal colombiana a ação das guerrilhas, a produção do narcotráfico e o desrespeito aos direitos humanos sofridos pela população. O recorte temporal pertinente aos propósitos da pesquisa estende-se do governo Álvaro Uribe (2002 – 2010) à metade do primeiro mandato do governo de Juan Manuel Santos (2010 – 2012), na medida em que o período anterior apenas nos serve de suporte histórico para entendimento dos acontecimentos recentes. A principal conclusão deste estudo incide em detectar diferenças e/ou semelhanças entre os planos de segurança de ambos os governos para então solucionar a questão de saber se há progressos ou retrocessos na solução do conflito colombiano e na busca pela pacificação daquele país.

Bastante significativa tem sido a atenção que críticos, historiadores ou pesquisadores de literatura colombiana vêm dando a Mito - revista bimestral de cultura (1955-1962) nas últimas décadas. O interesse despertado sobre essa publicação promovida por escritores como Jorge Gaitán Durán, Hernando Valencia Goelkel, Pedro Gómez Valderrama, Eduardo Cote Lamus, Rafael Gutiérrez Girardot e Jorge Eliécer Ruiz, para mencionar aqueles que foram seus principais responsáveis, reside principalmente na eficácia editorial que logrou a realização de 42 números de uma revista de indiscutível qualidade literária, tanto em termos críticos quanto de divulgação estética. A revista contou com inúmeros colaboradores de relevância literária nacional e internacional e por meio de suas páginas os leitores colombianos entraram em contato com correntes de pensamento que ajudaram a modernizar o ambiente intelectual e cultural do país. Como parte de um ambicioso projeto, a revista Mito foi também promotora de uma casa editorial de livros e de um programa radiofônico homônimos que, juntos, atuando simultaneamente nos campos culturais e políticos, contribuíram para marcar a cultura colombiana de tal forma que seus realizadores foram convertidos em obrigatórias referências canônicas na literatura do século XX em Colômbia e América Latina. O presente trabalho de pesquisa procurou identificar a trajetória do discurso político-cultural da revista Mito, assim como de suas ampliações dentro do que aqui denominamos como Projeto Mito, que surgiu diante da violenta crise social do país, foi alimentado pela necessidade de transformações dessa realidade, pela premência de liberdade total do ser humano, e teve como principais suportes argumentativos a tolerância opinativa associada ao antidogmatismo ideológico. Como consequência após o fim da publicação, o imaginário criado por esse eficaz e influente discurso acabou por proporcionar o acesso de seus intelectuais aos campos de poder, fato que não apenas permitiu o estabelecimento consagrador de suas realizações literárias como o de sua manutenção canônica ao longo dos anos, numa espécie de conservação discursiva perene em que residem complexos problemas de ordem historiográfica como os de tradição/ruptura ou de sincronia/diacronia. Para isso, a pesquisa inicialmente contou com estudos relacionando Mito com revistas e publicações periódicas nacionais antecessoras (Los Nuevos, Lecturas Dominicales de El Tiempo, Revista de las Indias e Crítica) e internacionais (Les Temps Modernes, Sur, Revista Mexicana de Literatura) em busca de influências ou uma comprovação de certa continuidade discursiva que pudesse conotar alguma tradição editorial; depois passou à devida leitura dos principais aspectos culturais publicados nas páginas da revista ou apreendidos do projeto como um todo, assim como à leitura que permitiu a identificação de sua representação política tomando alguns casos polêmicos para análise; para finalmente se dedicar à compreensão dos alcances do discurso político-cultural de Mito entre os campos do poder e da literatura em termos de política cultural e de historiografia. / In the last decades, it has been very significant the attention given by critics, historians or Colombian literature researchers to Mito bimonthly magazine of culture (1955-1962). The interest generated about this publication promoted by Jorge Gaitán Durán, Hernando Valencia Goelkel, Pedro Gómez Valderrama, Eduardo Cote Lamus, Rafael Gutiérrez Girardot and Jorge Eliécer Ruiz, mentioning those who were mainly responsible for this, was especially due to the editorial efficacy that enjoyed the achievement of 42 numbers of an unquestionable literary quality, in critical terms and esthetic propagation. The magazine had many collaborators with national and international relevance and through its pages the Colombian readers could be in touch with lines of thoughts that were helpful to became more modern the intellectual and cultural environment of the country. Mito magazine also promoted an editorial house of books and a radio program, both homonyms, as part of an ambitious project that together acted simultaneously in politics and cultural fields and contributed so expressively to mark Colombian culture that their directors were converted to canonic mandatory references for literature of XX century in Colombia and Latin America. The present research aimed to identify the journey of political-cultural speech from Mito magazine, and its extensions inside of what we considered here as Mito Project, that emerged due to the violent social crisis of the country and was supplied by the necessity of changing this reality, by the urgency of total liberty from human being and that has as main argumentative support the opinionated tolerance associated to ideological anti-dogmatism. As a consequence by the end of this publication, the imaginary created by this effective and influent speech promoted to its intellectuals the access to powerful fields, fact that not only permitted them the strong establishment of their literary performances as the canonic maintaining position along the years, as kind of perennial discursive conservation where lives complexes issues related to historiographical as traditional/rupture or synchrony/diachrony. For that, the research initially used as reference studies that made a relationship between Mito and previous national and international periodic magazines and publications (Los Nuevos, Lecturas Dominicales de El Tiempo, Revista de las Indias and Crítica / Les Temps Modernes, Sur, Revista Mexicana de Literatura) in order to look for influences or kind of discursive evidence that could cogitate any editorial tradition; after that it crossed over to the proper reading of main cultural aspects published in magazines pages or got form the project at all including the reading that allowed the identification of its politic representation, taking some polemic cases for the analysis; for finally dedication to the comprehension of political-cultural speech reach from Mito between power and literature fields in terms of cultural politic and historiography.

La recherche se propose d'étudier des représentations cinématographiques de l'Indien et du monde indien en Colombie, depuis les origines en 1929-1930 et jusqu'à l'époque contemporaine. Elle identifie, répertorie, décrit et analyse une série d'éléments constitutifs des rapports que cette production cinématographique entretient avec les réalités sociales, culturelles ou ethnoculturelles de l'histoire colombienne, et, en particulier, avec le phénomène d'invisibilisation de l'Indien. Elle établit une périodisation en trois temps de l'histoire de cette production cinématographique en Colombie : 1] Période initiale ou de « découverte » de l'Indien et du monde indien par le cinéma colombien [1929-1964] ; 2] Période de redécouverte cinématographique de l'Indien [1968- 1980] ; 3] Période d'appropriation du cinéma et de l'audiovisuel par les cultures indiennes [1980-aujourd'hui]. La première est définie pour l'essentiel par les films d'évangélisation et de « civilisation », qui participent à la reproduction d'un imaginaire national excluant toute référence positive aux cultures indiennes ; la deuxième est caractérisée par la diversification des regards sur le monde indien, et, notamment, par l'utilisation du cinéma comme langage critique des formes de domination politique, économique, sociale et culturelle sur le monde indien ; la troisième est marquée par l'arrivée d'un nouveau support technique [la vidéo], l'auto-appropriation de son image par l'Indien et l'apparition de nouvelles pratiques cinématographiques en lien avec l'appropriation du cinéma et de la vidéo par les cultures indiennes. / This dissertation proposes to study cinematographic representations of the Indian and the Indian world in Colombia since the origins in 1929-1930 until the contemporary era. It identifies, classifies, describes and analyses a series of constituent elements of the relations that cinematographic production holds with social, cultural or ethno-cultural realities of the Colombian history and, in particular, with the phenomenon of the invisibilization of the Indian. It establishes three stages of the history of that cinematographic production in Colombia: 1] Initial period or “discovery” period of the Indian and the Indian world by the Colombian cinema [1929-1964] 2] Period of cinematographic rediscovery of the Indian [1968-1980] 3] Appropriation period of the cinema and the audiovisual by Indian cultures [1980-today]. The first period is defined essentially by films of evangelization and that of the “civilization”, which participates in the reproduction of a national imagery while excluding all positive reference to Indian cultures; the second is characterized by the diversification of the perspectives on the Indian world and notably, by the utilization of cinema as a critical language of political, economical, social and cultural forms of domination on the Indian world; the third is marked by the coming of a new technical support [the video], the auto-appropriation of their image by Indians and the apparition of new cinematographic practices in relation with the appropriation of cinema and video by the Indian cultures.

L’étude de l’histoire constitutionnelle comparée montre l’essor de la protection du fond et la forme de la Constitution politique. Pour ce faire, le développent des conditions de la création l’implémentation progressive du contrôle a posteriori entre le XVIIIème et XXème, a permis la création d’une actio popularis. Le droit constitutionnel français que le droit constitutionnel colombien possèdent de mécanismes processuels dont les composants favorisent et relient la citoyenneté aux processus qui étaient auparavant à l’usage exclusif de ses représentants. Le but de cette étude est donc de réfléchir sur l’origine des fondements de l’incidence du droit du contentieux constitutionnel dans la préservation de la Constitution comme base de l’État. / If we analyze a posteriori constitutional review of legislation in Comparative law, it will show that State preservation can be made from the individual point of view by an action popularis. Therefore, both the French and the Colombian constitutional law whose components have procedural mechanisms foster a new citizenship in processes that were previously in the hands of their representatives. This essay aims to consider the influences of Procedural Constitutional Law in the preservation of the Constitution as the State’s cornerstone.

Dans ma thèse “León de Greiff y la tradición literaria” je fais une étude du concept de « Tradition » dans l’œuvre poétique de l’un des plus importants écrivains colombiens du XXème siècle. Je propose que l’appropriation greiffienne de différents éléments provenant de diverses sources littéraires – comprenant la littérature orientale, la poésie médiévale européenne, la poésie française symboliste –, défie la notion classique du concept de «tradition». Pour De Greiff, celle-ci constitue un espace individuel d’autocréation construit à partir d’affinités esthétiques et philosophiques, et non sur la base d’une continuité chronologique ou une appartenance géographique. L’approche théorique de notre étude se concentre sur les idées de Harold Bloom, T.S. Eliot et Octavio Paz. Sur la base de leurs théories j’ai essayé d’élaborer une définition alternative du concept de la Tradition. -- “León de Greiff y la tradición literaria” examines the particular concept of “tradition” underlying the work of this major XXth century Colombian poet. I contend that the appropriation of several literary and historical sources – ranging from medieval European literature, oriental sources, to the most symbolists French poets – undertaken by De Greiff challenges the classical notion of this idea. I have proposed a reading of this author’s poetry as an attempt to observe tradition as an unrestricted space of individual creation operating through aesthetic and philosophical affinities rather than strict chronological continuity. The theorical approach of my dissertation focuses on the works of Harold Bloom, T.S. Eliot and Octavio Paz. Based on their ideas I have tried to elaborate an alternative definition of the concept of Tradition.

Ce mémoire porte sur des aspects reliés à la migration et la représentation, notamment à la façon dont l’émigration a été racontée dans la littérature colombienne et la manière dont les émigrants ont été représentés dans les romans Lucas Guevara (1914), de Alirio Díaz Guerra, et Paraíso travel (2002), de Jorge Franco, tous deux écrivains colombiens. Nous développerons à cette fin notre analyse à partir des trois concepts: identité, altérité et espaces physiques, qui sont au cœur de ce genre de récits. Ainsi, nous abordons ces notions séparément, et en même temps, nous identifions les relations existantes entre chacune d’elles. En fait, l’un des résultats de cette étude porte sur la façon dont ces romans sur l’émigration traitent le problème de l’identité en relation avec les représentations de l’altérité et des espaces physiques. Des aspects tels que la séparation de deux traditions culturels différentes (l’hispanique versus l’anglo), la confrontation des personnages provenant d’un contexte religieux et conservateur avec l’ambiance libérale et sécularisante de New York, les conséquences du contact des émigrants avec la société étrangère et leur transformation ultérieure, la marginalité des émigrants colombiens aux États-Unis, leur manque de communication, les représentations des hommes, femmes, immigrants et natifs, ainsi que la façon dont les romans glissent quelques indices sur la condition de l’individu moderne et postmoderne, font partie des sujets analysés dans notre étude. / This study addresses issues related to migration and representation, in particular it considers how emigration has been recounted in Colombian literature and how emigrants have been represented in Alirio Díaz Guerra’s Lucas Guevara (1914) and Jorge Franco’s Paraíso travel (2002). Our analysis of the novels is based in three main concepts: identity, alterity and physical spaces, which are instrumental in the articulation in the novels plot and characters. For the purposes of this study, we treat these three concepts separately while still considering the existing connections between them. Some of the findings of this work are related to how these novels about emigrants raise the problem of identity and how identity is tightly connected to alterity, as well as to individual othering and the representation of physical spaces. Some of the topics this study considers are the following: the standoff of two different cultural traditions (Hispanic versus Anglo), the confrontation of traditionally educated Latin American individuals with a liberal and secularizing environment as that of New York City, the consequence of migration and the ulterior transformation of the characters, the marginality of Colombian emigrants in the United States of America, the problem of communication, the representation of men, women, immigrants and natives, as well as the way both novels slip some clues about the condition of the modern and postmodern individuals. / Este trabajo trata sobre aspectos relacionados con la migración y la representación, particularmente sobre la forma en que la emigración ha sido narrada en la literatura colombiana y la manera en que los emigrantes son representados en dos novelas de escritores colombianos: Lucas Guevara (1914), de Alirio Díaz Guerra, y Paraíso travel (2002), de Jorge Franco. Para ello hacemos uso de tres conceptos que son la base de nuestro estudio: identidad, alteridad y espacios físicos. La elección de estas nociones como ejes de análisis se basa en que, efectivamente, se trata de tres problemáticas que están en el centro de las narraciones. Por tal motivo, tratamos los tres conceptos por separado, sin olvidar las conexiones que existen entre ellos. Algunos de los hallazgos de nuestro análisis se relacionan con la forma en que estas novelas plantean el problema de la identidad de los emigrantes, cómo la identidad se relaciona con la alteridad y cómo ambas cosas se articulan a su vez con las descripciones y representaciones de los espacios físicos. El enfrentamiento entre tradiciones culturales diferentes (lo hispano versus lo anglo), la confrontación de dos personajes venidos de un contexto religioso y conservador con un contexto liberal y secularizante como el de Nueva York, las consecuencias de ese encuentro y la posterior transformación de los protagonistas, la marginalidad de los emigrantes colombianos en los Estados Unidos, su incomunicación, las representaciones de hombres, mujeres, inmigrantes y nativos y, en fin, la manera en que ambas novelas arrojan pistas sobre la condición de los individuos moderno y posmoderno, forman parte de los tópicos analizados en nuestro estudio.

Colombian composer Jaime León (1921-2015) is known for his art songs. Most of the current scholarly literature about León defines him as a nationalist composer even though a majority of his songs do not appear to have nationalist traits. This document examines a representative selection of León's songs divided into three categories: songs influenced by the bambuco (the Colombian genre most present in his songs); songs whose text refers to Colombian culture; and songs without Colombian elements present in their text or music. After examination of these songs, my conclusion is that León, rather than being nationalist, was a cosmopolitan composer who used national elements as rhetorical tools in an isolated and experimental way.

[pt] A proteção do membro do Poder Legislativo no tocante às suas opiniões, palavras e votos, por meio da inviolabilidade parlamentar, apresenta relevantes raízes históricas, presença em inúmeros ordenamentos jurídicos e finalidades essenciais para o Estado Democrático de Direito, sobretudo, com atenção ao postulado da separação de poderes e à teoria da representação popular. Essa essencialidade ao sistema jurídico suscita debates a respeito dos seus contornos, sejam aqueles tracejados pelas normas constitucionais, sejam aqueles delineados pelas Cortes. Diante disso, pretende-se analisar como a jurisprudência de dois importantes tribunais, com competências em matéria constitucional, vêm se posicionando e definindo ou não parâmetros e limites à inviolabilidade parlamentar. São eles: o Supremo Tribunal Federal e a Corte Constitucional Colombiana. De ambas as Cortes, parte-se de um exame desde a promulgação da Constituição brasileira de 1988 e da Constituição colombiana de 1991 até os últimos julgamentos realizados em 2022. / [en] The protection of members of the Legislative Power to their opinions, words and votes, through parliamentary inviolability, has relevant historical roots, presence in numerous legal systems and essential purposes for the Democratic State of Law, above all, with attention to the postulate of the separation of powers and the theory of popular representation. This essentiality to the legal system raises debates about its contours, whether those traced by constitutional norms, or those outlined by the Courts. Therefore, it is intended to analyze how the jurisprudence of two important courts, with competences in constitutional matters, have been positioning themselves and defining or not parameters and limits to parliamentary inviolability. They are: the Brazilian Supreme Court and the Colombian Constitutional Court. From both Courts, it starts from an examination since the promulgation of the Brazilian Constitution of 1988 and the Colombian Constitution of 1991 until the last judgments carried out in 2022.

Mémoire en recherche d'ethnomusicologie / L’emblématique ville de San Basilio de Palenque est connue comme le premier village afro-colombien libre du continent américain. Depuis sa création, les habitants de Palenque ont transmis de générations en générations leurs nombreuses pratiques culturelles, sociales, religieuses et économiques. En 2005, Palenque a été proclamé Chef-d'œuvre du Patrimoine Oral et Immatériel de l'Humanité par l'UNESCO. La langue, les recettes culinaires, les coiffures, la danse, la religion et surtout la musique ont conservé beaucoup d’éléments spécifiques à leur histoire africaine et à celle relative à l’esclavage vécu par les fondateurs de Palenque. La musique tient une place particulièrement importante dans la vie des habitant.es de Palenque. Elle comporte des éléments liés à cet héritage africain que l’on retrouve dans d’autres musiques des Caraïbes et d’Afrique sub-saharienne, ainsi que des éléments empruntés aux communautés autochtones du nord de la Colombie. Néanmoins, par manque de fonds financiers et d’intérêt au niveau national, les recherches anthropologiques à Palenque n’ont commencé qu’à partir de la deuxième moitié du XXème siècle. Très peu d’entre elles sont consacrées à la musique de Palenque. De ce constat est né la motivation de cette recherche, laquelle explore la musique sous divers aspects. Nous avons mené une étude organologique des instruments qui existent physiquement au moment de ma recherche sur le terrain, mais aussi des instruments dont les musiciens et musiciennes de Palenque se souviennent à l’heure d’aujourd’hui. Les origines de chaque instrument, les techniques et styles de fabrication et de jeu seront décrits en détail dans ce mémoire. Une étude des répertoires traditionnels et modernes sera également présentée. Pour chaque répertoire, il sera fait mention de leurs danses respectives, des bases rythmiques principales afin de situer ces pratiques parfois métissées entre tradition et modernité. Nous finirons cet état des lieux par une description de la scène musicale locale de Palenque et des acteurs et actrices culturels que l’on y rencontre, lesquels ont un rôle actif dans la transmission et la transformation des traditions. / The emblematic city of San Basilio de Palenque is known as the first free Afro-Colombian village in the American continent. The preservation of several cultural, social, religious and economic traits since its creation, made this town a Masterpiece of the Oral and Intangible Heritage of Humanity in 2005 by UNESCO. The language, food, hairstyles, dance, religion and especially the music have preserved many elements of the African history and slavery lived by the founders of Palenque and transmitted transgenerational way. Music, being a particularly important element in the life of the inhabitants of Palenque, includes elements linked to the African heritage that can also be recognized in other Caribbean and sub-Saharan African music, as well as elements from the indigenous communities of northern Colombia. However, due to lack of funds and national interest, anthropological research in Palenque only began in the second half of the twentieth century. There are even less studies focused on the music of Palenque. This observation is what motivated our research, which studies many aspects of Palenque’s music. We have carried out an organological work of the instruments that physically exist during my field research and those that Palenque’s musicians still remember. The origins of each instrument, the way they are made and played are described in detail in this thesis. A study of traditional and modern repertoires is also presented. For each repertoire, we will mention their respective dances and the main rhythmic bases to situate these practices, sometimes mixed between tradition and modernity. We will finish this overview with a description of the local musical scene of Palenque and the cultural actors that we met there, who have an active role in the transmission and transformation of traditions. / El emblemático pueblo de San Basilio de Palenque es conocido como el primer pueblo afrocolombiano libre del continente americano. La conservación de varios rasgos culturales, sociales, religiosos y económicos desde su creación ha hecho que este pueblo sea proclamado Obra Maestra del Patrimonio Oral e Inmaterial de la Humanidad en 2005 por la UNESCO. La lengua, la comida, los peinados, la danza, la religión y, sobre todo, la música ha conservado muchos elementos de la historia africana y de la esclavitud que vivieron los fundadores y fundadoras de Palenque, y que se han transmitido de forma transgeneracional. La música, al ser un elemento es especialmente importante en la vida de los habitantes de Palenque, incluye elementos de la herencia africana, que también pueden reconocerse en otras músicas caribeñas y subsaharianas, así como elementos de las comunidades indígenas del norte de Colombia. Sin embargo, debido a la falta de fondos y al interés nacional, la investigación antropológica en Palenque no comenzó hasta la segunda mitad del siglo XX. Los estudios centrados en la música de Palenque son incluso mucho menos. De esta observación surge la motivación de nuestra investigación, que estudia varios de sus aspectos. Hemos conllevado un estudio de organología de los instrumentos que existen físicamente durante mi trabajo de campo, y también de aquellos instrumentos de los cuales ya no se encuentran en Palenque, pero que los músicos y músicas todavía los recuerdan. Los orígenes de cada instrumento, las técnicas y estilos de fabricación y de interpretación se describen en detalle en esta tesis. También presentamos un estudio de repertorios tradicionales y modernos. Por cada repertorio describimos sus bailes respectivos y las principales bases rítmicas con el fin de situar estas prácticas, que a veces se mezclan entre la tradición y la modernidad. Finalizamos esta panorámica con una descripción de la escena musical local de Palenque y de los actores y actrices culturales, que desempeñan un papel activo en la transmisión y transformación de las tradiciones.

“Seres abandonados al sol” explora Los habitados, libro poético publicado por Piedad Bonnett en 2017. El objetivo principal de este texto es la de buscar en dicho poemario representaciones sobre la aflicción causadas o relacionadas con el conflicto colombiano. Dicha búsqueda navegará el libro utilizando el método hermenéutico para encontrar así expresiones de aflicción relacionadas con el conflicto colombiano. Este texto nos muestra la aflicción como resultado del conflicto colombiano expresado en tres categorías principales: el espacio, los sujetos y los objetos. Estos tres elementos muestran no sólo la aflicción sino también configuraciones e interacciones específicas que demuestra la existencia de unas estructuras sociales dentro del conflicto colombiano. / “Beings abandoned in the sun” explore Los habitados, the poetry book published by Piedad Bonnett in 2017. The main purpose of the text is to explore Los habitados and collect representations of the affliction caused and related with the Colombian conflict. Such exploration will navigate the book by using the hermeneutic method, to find expressions of affliction related to the Colombian conflict. The text highlights affliction in Bonnett's (2017) poetics as an empathy expressed in relation to three elements: subjects, spaces, and objects. Such elements described the Colombian conflict in different configurations and relations allowing the reader of Los habitados to understand the affliction in different forms.