abstract: The 1920s have played a key role in the formation of the Latin American consciousness of its own cultural identity. In approaching the selected three heterogeneous regions of Latin America, the Southern Cone, the Andean Zone and the Afroantillan Caribbean, this research focuses on Latin American identity issues as a literary avant-garde construct found in the poetics and in the programmatic texts of the leading avant-garde journals of each corresponding region: Martín Fierro (1924-1927) in Argentina; revista de avance (1927-1930) in Cuba, and Amauta (1926-1930) in Perú. To carry out this kind of analysis and to fully understand the historic implications characteristics of each region, one of the initial tasks of the study has been to contextualize the period in each country in which the journals were published. After that, an analysis of each region's avant-garde production has been performed in order to categorize and situate the underlying questions of identity expressed in corresponding journals. Each region has been studied separately, yet all in view of contributing to a comprehensive and comparative study of the regions selected. The final result has been an organization of diverse principal semantic and ideological fields overlapping in and cross-crossing different regions as represented by the selected literary journals. Starting from the very same literature, which was inspired by the spirit of its time, this research has aimed at reconstructing the notions of identity that were common within the intellectual circles of the avant-garde times as expressed in the journals Martín Fierro, revista de avance, and Amauta, and, in the end, played a signal role in the development of national and continental cultural identity consciousness throughout Latin America from the beginning of the 20th century until today. / Dissertation/Thesis / Ph.D. Spanish 2012

Le risque de détention arbitraire est inhérent à toute action répressive et il s'accroît lorsque l'individu est détenu sans avoir été jugé. N'est-il pas présumé innocent, aux termes de l'article 9 de la Déclaration de 1789 ? Pourtant, les nécessités de la recherche judiciaire et la préservation de l'ordre public ont depuis longtemps justifié la détention temporaire. L'incarcération hors jugement est acceptée dans la mesure où elle est encadrée par des procédures précises. Cependant, souvent considérées comme contraires aux principes fondamentaux elles sont fréquemment remises en cause. C'est pourquoi l'objectif premier doit être la recherche de mesures, moins privatives de droit, qui permettent le plus possible, d'éviter que la personne soit privée de liberté. Des propositions en ce sens peuvent être faites, comme par exemple un renforcement de l'accompagnement psychologique, ou une modification du rapport à l'idée de contrainte, mais cela engendrerait une profonde transformation du système français. / The risk of arbitrary detention is inherent to any repressive action and it increases when the individual is detained without having been judged. Is not he presumed innocent, at the end of the article 9 of the Declaration of 1789? Nevertheless, the necessities of the judicial research and the conservation of the law and order justified for a long time the temporary detention. The imprisonment without judgment is accepted as far as it is framed by precise procedures. However, often considered as opposite in the fundamental principles they are frequently questioned. That is why the first objective has to be the research for measures, less privative of rights, which allow as much as possible to avoid that the person is deprived of liberty. Propositions in this way can be made, as for example an intensification of the psychological accompaniment, or a modification of the relation to the idea of constraint, but that would generate a deep transformation of the French system.

Du premier cercle romantique allemand, à la fin du XVIIIème siècle, jusqu’à l’Internationale Situationniste, dans les années 1960, en passant notamment par les groupes futuristes, dadaïstes et surréalistes, la poésie s’est identifiée au projet d’une révolution globale et permanente de l’existence quotidienne. Pendant près de deux siècles, tous ces poètes ont tenté de concilier les mots d’ordre marxiste et rimbaldien « transformer le monde » et « changer la vie ». Ce faisant, ils redéfinirent les formes et les pratiques de la poésie de même que les termes et les enjeux du programme socialiste révolutionnaire du XIXème siècle, définissant ainsi ce que nous appelons un « socialisme du XXème siècle ». Au-delà du domaine classique de l’écriture littéraire, la poésie doit désormais se réaliser en états superbes, en gestes et en comportements inédits, transposant dans le réel et dans les actes tout le potentiel de créativité jusque-là contenu dans le domaine des lettres et de la fiction. Ses principales caractéristiques (autonomie, culture des désirs, créativité et capacité à redynamiser et à repassionner le réel en excédant sans cesse les données sensibles et intellectuelles présentes) définissent un nouvel exercice de la vie, à la fois individuel et social, tandis que sa perception de l’univers, en tant que système dynamique, permet d’envisager un nouveau modèle politique fondé sur les mêmes principes d’autonomie, de créativité et de dynamisme social.Ce présent travail tente de cerner et d’analyser les enjeux et les pratiques liés à un tel projet, jusque dans ses prolongements les plus récents. Nous avons exploité l’histoire des idées en vue d’un seul véritable objectif : appréhender au plus près les enjeux de pratiques à la fois diverses et convergentes, mettre en évidence les apports, la pertinence et les éventuelles limites de leur démarche pour les réinscrire dans ce que nous appelons une « théorie des pratiques » et produire ainsi, au-delà de ces réalisations du passé, les fondements d’une nouvelle théorie pratique. / From the first german romantism, at the end of the XVIIIth century, to the International Situationnist, in the 1960’s, through the futurist, the dadaïst and the surrealist avant-gardes, poetry became one with the project of a global and permanent revolution of the everyday life. During almost two centuries, all these poets have tried to reconcile the marxist and the rimbaldian key-words « transform the world » and « change the life ». In doing so, they redetermined the forms and the practices of the poetry, as well as the terms and the stakes of the revolutionnary socialist program, determining what we call a « Twentieth century socialism ». Beyond the classical range of the litterary writing, poetry has now to be realized into new acts and behaviours, transposing all the potential of creativity contained in the letters and the fictions until now. Its main characteristics (autonomy, developement of the desires, creativity and ability to redynamize and to impassion reality) define a new way of life and its perception of the universe as a dynamic system defines a new political model based on the same principles of self-government, creativity and social dynamism.All along this work, we have tried to define and to analyze the stakes and the practices linked to such a project, up to now. We have processed the history of ideas with one purpose : to define the stakes of varied and convergent practices, their contributions and their limitations, in order to incorporate them into what we called a « theory of practices » and to create the basis of a new practical theory for the present times.

Orientador: Maria Eugenia da Gama Alves Boaventura Dias / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-16T07:10:21Z (GMT). No. of bitstreams: 1 Pereira_RodrigoCardoso_M.pdf: 806498 bytes, checksum: 85fd1ddd492a5f0357559ddc3b0cab64 (MD5) Previous issue date: 2010 / Resumo: Este trabalho descreve e analisa a concepção de palavra na poesia práxis, manifestação vanguardista brasileira do final dos anos 50 do último século. Dividida em três capítulos, a dissertação concentra-se na obra do fundador de Práxis, Mário Chamie, especificamente Lavra Lavra (1962) e no manifesto didático que lhe serve de posfácio. No primeiro capítulo, levantam-se as questões concernentes à oposição entre palavra e discurso no debate sobre poesia no Brasil e apresentam-se as primeiras idéias de Chamie sobre o assunto. A partir da análise de textos poéticos e teóricos do autor, detectamos uma linha que vai de uma concepção segundo a qual a palavra poética configura o mundo a uma visão que subordina a poesia aos dados concretos da realidade. No segundo capítulo, são analisados os princípios apresentados no manifesto didático do poema práxis e alguns textos de Lavra Lavra. Nesta parte, são apresentadas as concepções do autor acerca da palavra como "matéria-prima" e "energia". No terceiro e último capítulo discute-se a noção de engajamento em literatura, ressaltando-se os impasses entre experimentalismo e participação social na poesia brasileira dos anos 60. Também é apresentada a natureza do engajamento social de Práxis / Abstract: This dissertation describes and analyses the conception of word in Praxis Poetry, Brazilian avant-garde manifestation of the late 50's last century. The dissertation, divided into three chapters, focuses on the founder of Praxis, Mário Chamie, specifically Lavra Lavra (1962) and on the didactic manifest that was used as a postscript. In the first chapter, we present Chamie's first ideas raising questions concerned on opposition between word and speech in debate about poetry in Brazil. From the analysis of poetical and theoretical texts of the author, we detected a line of thinking in which the poetical word sets the world to a vision that subordinates poetry to specific evidences of reality. We analysed, in the second chapter, the principles presented on didactic manifest of Praxis, as some Lavra Lavra texts. This part shows the author's conceptions about the word as "raw material" and "energy". In the last chapter we discuss the involving notion at literature, emphasizing the impasses between the experimentalism and social participation in Brazilian poetry in the 60 years. Besides it has been presented the nature of engagement of Praxis / Mestrado / Mestre em Teoria e História Literária

CoordenaÃÃo de AperfeiÃoamento de Pessoal de NÃvel Superior / O Concretismo foi um movimento vanguardista importante para a literatura brasileira. Surgiu nos anos 50 e opÃs-se, principalmente, à poesia tradicionalista da âGeraÃÃo de 45â, rompendo com o uso de formas fixas e com a predominÃncia do verso e passando a valorizar a utilizaÃÃo do espaÃo grÃfico-visual, o carÃter sintÃtico da construÃÃo e outros artifÃcios que possibilitassem a criaÃÃo de uma poesia dotada de objetividade. Nesta pesquisa, analisam-se as manifestaÃÃes da poesia concreta no contexto da literatura cearense. Depois de SÃo Paulo e do Rio de Janeiro, o Cearà foi o estado que mais contribuiu para a atuaÃÃo do Concretismo no paÃs, ressaltando-se que ocorreram duas Mostras de Arte Concreta no estado, a primeira jà em 1957, apenas um ano depois do lanÃamento oficial do movimento em SÃo Paulo e a segunda em 1959. Os poetas AntÃnio GirÃo Barroso, Josà Alcides Pinto, HorÃcio DÃdimo e Pedro Henrique Saraiva LeÃo participaram do movimento no estado e sÃo os poetas que compÃem o corpus desta pesquisa. O CearÃ, assim como SÃo Paulo e Rio de Janeiro, participou dos anseios desenvolvimentistas da dÃcada de 50, o que favoreceu, na esfera cultural, a abertura para uma proposta de renovaÃÃo como a poesia concreta. A partir da anÃlise dos poemas dos concretistas cearenses, tanto nos anos que antecederam o movimento, como durante e depois do Concretismo, traÃou-se um panorama de como se deu a manifestaÃÃo dessa vanguarda no estado, bem como de suas particularidades locais. Destacaram-se as tendÃncias desses poetas de combinar poemas modernistas e poemas concretistas, a inquietaÃÃo com o que se passava na sociedade, sobretudo na dÃcada de 60, e, a partir dos anos 80, a maior heterogeneidade do estilo e dos recursos utilizados pelos mesmos poetas. Para entender o sentido dessa heterogeneidade, foram discutidas as visÃes de âpoesia pÃs-utÃpicaâ, de Haroldo de Campos, e de âretradicionalizaÃÃo frÃvolaâ, de Iumna Simon. Para finalizar, ressalta-se que, apesar das particularidades do movimento concretista cearense em relaÃÃo ao Concretismo ortodoxo de SÃo Paulo, fica notÃrio que os cearenses tenderam a manter liÃÃes formais importantes para esse movimento, como a valorizaÃÃo da sÃntese e da concisÃo vocabular que incorporaram aos poemas. / The Concretism was an important avant-garde movement for the Brazilian literature. Emerged in the 50s and opposed mainly traditionalist poetry of "GeraÃÃo de 45", breaking with the use of fixed forms and with the predominance of the verse and valuing the use of graphic visual space, the synthetic character of construction and other devices that enable the creation of a poetry endowed with objectivity. In this study, we analyze the manifestations of concrete poetry in the context of literature of CearÃ. After Sao Paulo and Rio de Janeiro, Cearà was the state that contributed most to the performance of the Concrete movement in the country, emphasizing that there were two Exhibition of Concrete Art in the state, the first in 1957, just one year after official launch of the movement in SÃo Paulo and the second in 1959. The poets AntÃnio GirÃo Barroso, Josà Alcides Pinto, HorÃcio Didimo and Pedro Henrique Saraiva LeÃo participated in the movement in the state and they are the poets who make up the corpus of this research. CearÃ, as well as Sao Paulo and Rio de Janeiro, participated in the developmental aspirations of the 50s, which favored, in the cultural sphere, the opening to a proposal for renewal as concrete poetry. From the analysis of the poems of the concrete poets of CearÃ, both in the years before the movement, during and after the Concretism, we drew up an overview of how was the manifestation of that avant-garde in the state, as well as their local. The highlights were the trends of these poets to combine modernist poems and Concrete poems, the concern about what was happening in society, especially in the 60s, and, from the 80s, the greater heterogeneity of the style and of the resources used by them. To understand the meaning of this heterogeneity, were discussed the views of "post-utopian poetry," of Haroldo de Campos, and "re-traditionalisation frivolous" by Iumna Simon. Finally, it is noteworthy that, despite the particularities of the concrete movement of Cearà in relation to Orthodox Concretism of SÃo Paulo, is known that the poets of Cearà tended to keep important formal lessons to this movement, as the appreciation of the synthesis and concise vocabulary that incorporated to the poems.

Esse trabalho visa estudar as relações entre o teatro tusso de vanguarda e as artes circenses. Para tanto, foram enfatizadas as encenações de Vsévolod Meyerhold, principalmente na montagem do texto A Barraquinha de Feira, de Aleksandr Blok, e nas montagens das peças escritas por Vladímir Maiakóvski: Mistério Bufo, O Percevejo e Os Banhos. Nesses trabalhos, Meyerhold incorporou técnicas dos palhaços circenses na construção de máscaras sociais, resgatando elementos da Commedia dellArte e do teatro de feira, por meio dos quais trabalhou a estética do grotesco. O contato com o teatro de vanguarda, junto aos acontecimentos provocados pela Revolução de Outubro, causou mudanças significativas no circo. Nascem daí os clowns-tribunos, que abandonam as maquiagens e figurinos extravagantes dos clowns do ocidente, mudando também a sua maneira de atuar no picadeiro. Assim, podiam se aproximar mais da realidade do homem soviético. Nasce, então, uma nova escola clownesca na URSS, sob um viés político e existencial profundo, que se perpetuará nas décadas posteriores, com figuras como Karandach e Iúri Nikúlin, entre outros. / This work aims to study the relationship between the Russian avant-garde theater and circus arts. In order to reach its main goal, the scenarios created by Vsevolod Meyerhold are emphasized, mainly the ones for the play Balaganchik, by Aleksandr Blok, and Mystery-Bouffe, The Bedbug and The Bathhouse, written by Vladimir Mayakovsky. In these works, Meyerhold incorporated techniques used by circus clowns to build up social masks, rescuing elements of Commedia dell \'Arte and Théâtre de la foire. Through these influences, he could work upon the aesthetic of the grotesque. The contact with the avant-garde theater, as well as the events caused by the October Revolution, caused significant changes in the circus world. From this period came the tribune-clowns, who left behind the makeup and extravagant costumes of Western clowns and also changed the way of acting in the circus ring. Thus they got closer to the reality of the Soviet man. It had been born then a new clowning school in the USSR, under a deep political and existential bias, which will be perpetuated in the later decades by figures like Karandach, Yuri Nikulin and others.

Cette monographie sur l’œuvre théâtrale de Charles Ludlam (1943-1987), dramaturge, comédien, metteur en scène et directeur de la Ridicoulous Theatrical Company (1967-1987) à new york, s’attache à mettre en valeur le fonctionnement poétique des pièces. A partir de l’étude de la réception, des archives et des commentaires de Ludlam, et surtout, des pièces elles-mêmes, il s’agit de réexaminer la validité des jugements critiques portés sur l’œuvre, qui n’a pas fait l’objet de réévaluation sérieuse depuis le contexte immédiat de la création des pièces. Prenant nos distances avec les classifications habituelles du dramaturge (théâtre gay, théâtre de divertissement, théâtre parodique), nous montrons que la compréhension de l’œuvre de Ludlam ne peut avoir lieu sans une confrontation à la tradition de la pensée du théâtre occidental. Ludlam entretient ainsi un rapport ambigu et ambivalent au milieu de l’avant-garde dans lequel il s’inscrit, qui explique en partie les contresens dont il a été victime. / This monograph on the theatrical works of Charles Ludlam (1943-1987), playwright, actor, director and founder of the Ridiculous Theatrical Company (1967-1987) in New York City, aimes at exploring the poetic underpinnings of the plays. Based on the study of the works’ reception, of Ludlam’s archive an down commentaries, and above all, of the plays per se, our purpose was ton reexamine the validity of the critical judgements on works which have note been seriously reconsidered since their original opening. Distancing ourselves from the usual labels attached to the playwright (gay theatre, entertainment, parody) we show that any real understanding of Ludlam ought to rely on an confrontation with the tradition of and reflection on western theatre practices. Ludlam thus enjoyed an ambiguous and ambibalent relationship with the avant-garde milieu of which he was part, which accounts in part for the misundersandings to which his work has fallen prey.

Agustín Espinosa (1897-1939) fut un auteur célèbre à son époque puis oublié sous le franquisme. Son oeuvre s’adapte à tous les courants culturels de son temps : du modernisme de ses poèmes de jeunesse, aux avant-gardes espagnoles –inspirées par La déshumanisation de l’art d’Ortega y Gasset-, en passant par le surréalisme français et, enfin, par le style d’inspiration fasciste –durant la guerre civile-. Cette Thèse a récupéré toutes les collaborations d’Espinosa aux journaux phalangistes, qui n’avaient jamais été rééditées après sa mort, afin de les analyser au même titre que l’ensemble de ses articles d’avant-guerre, dans le but de démontrer que l’écriture d’Espinosa garde une véritable unicité. Certes, malgré un parcours éclectique, Espinosa fait preuve dans tous ces textes d’une grande inventivité stylistique et d’une érudition sans bornes. L’homogénéité de sa prose découle aussi des mythes qui inspirent Espinosa et des métamorphoses qu’il leur impose, créant ainsi un système littéraire qui véhicule sa vision du monde. L’on a donc étudié les mythes d’Espinosa et leurs métamorphoses par rapport à l’espace –contextes littéraire et géographique-, aux idéologies –« casticisme » et extrémismes politiques- et à la représentation des mythes littéraires –des animaux, des hommes et des femmes-. Ce schéma d’analyse se veut le plus exhaustif possible, tenant compte de la complexité d’Espinosa, un auteur radical et obscur, même si l’on a bien conscience de ne pas avoir pu résoudre toutes les énigmes que son oeuvre continue de poser. / Agustin Espinosa (1897-1939) was a famous author in his lifetime but forgotten under Franco. His work adapts all the main cultural movements of the era: he passes from the modernism of his youthful poems, to Spanish avant-garde movements (inspired by Ortega y Gasset’s Dehumanisation of art), to French surrealism, and, finally, to a style inspired by the Fascism of the Spanish Civil War. This Thesis has brought together all Espinosa’s collaborations with Fascist journals, which were never reedited after his death, and analyses them within the same framework as articles written before the war. The objective is to show how Espinosa’s writing is marked by a real consistency and continuity throughout his career. In spite of what is, to be sure, an eclectic development as a writer, Espinosa reveals a great inventiveness of style and a seemingly limitless erudition in all his texts. The homogeneity of his prose also originates from the myths that inspire him, and the way he transforms them, thus creating a literary system that drives his vision of the world. Espinosa’s myths and their metamorphoses have thus been studied in relation to space (geographical and literary contexts); ideologies (‘caste-systems’ and political extremisms); and the representation of literary myths (animals, men and women). Thus structured, this analysis aims to be the most exhaustive possible; it accounts for Espinosa’s complexity as a radical and obscure author, while recognising fully that not all the enigmas in his work have yet been fully resolved.

Pour un artiste, prendre la voie de ce qu’on nomme communément « représentation », de la figuration et de la narration, conduit finalement à méconnaître et même manquer l’enjeu véritable de la démarche à laquelle il aspire. C’est choisir la reproduction du monde au détriment de l’invention. L’œuvre esthétique ne précède pas sa concrétisation : son sens tend vers l’indétermination par absence d’une signification prévisible qui est comme retardée, déjouée par l’opacité formelle de l’œuvre.Cet engagement s’exprime de multiples façons dans le projet d’avant-garde. C’est pourquoi le parti pris esthétique et le désir d’avant-garde doivent être clairement définis. S’ils se traduisent par une suspension du contenu (sémantique, idéologique, critique), c’est qu’ils proposent, par le détour de la forme, d’interroger les principes mêmes qui organisent les modes de représentation du monde. L’œuvre d’art devient la scène d’un dispositif à la fois sémantique, biographique et socio-fonctionnel. Ce dispositif est qualifié d’esthétique, plutôt que seulement artistique, parce que ses ramifications et ses enjeux s’étendent bien au delà de ce qu’on appelle « art », jusque dans ce qu’on appelle « philosophie ». Cette étude se situe dans les dispositifs paradigmatiques post-XIXe siècle. Elle prend la forme d’une anthologie sélective de dispositifs esthétiques. Elle en expose les problématiques principales. Comment appréhender une œuvre dont le sens se soustrait activement aux systèmes sémantiques établis ? Pourquoi et par quels procédés la composante formelle peut-elle endosser la légitimité d’une création pertinente ? De quoi ces nouvelles pratiques sont-elles les symptômes du point de vue de notre conception actuelle du monde ? Autrement dit, quelle est la fonction de l’art aujourd’hui ? / As an artist, to choose what is commonly called “representation”, figuration and narration eventually leads to a misconception of the real stake to which he aspires. This means choosing to reproduce rather than creating. The aesthetic work of art does not precede its construction because its meaning tends toward indetermination caused by the lack of a predictable signification which is suspended, obstructed by the formal characteristic of the work of art. This posture is visible in the avant-garde project. It also explains why the aesthetic committed position and the avant-garde desire must be clearly defined. If they don’t suspend the content it is linked to the fact that they suggest the formal characteristics of the work of art, to question the principles which organize our representations. Hence, the work of art becomes at the same time a semantic, biographical and socio-fonctionnal device. It is qualified as aesthetic rather than just artistic because its ramifications and its stake go way beyond what we usually call “art” and reaches what we call “philosophy”. This survey stands in the context of the post-19th century paradigms. It intends to be a selective anthology of aesthetic devices. It exposes their main problematic : how to apprehend a piece of art which meaning escapes an established semantic system? Why and by which processes, the formal characteristics of a work of art can be endowed with the legitimacy of a relevant creation? What can these new practices teach us about our current conceptions of the world? In other words, what function does art serve today?

Résumé : Problématique : Puisque les enfants de moins de cinq ans passent environ 29 heures par semaine dans les milieux de garde et qu’ils apprennent en observant et en imitant les autres, les éducateurs et les pairs peuvent être des modèles importants dans l’apprentissage de saines habitudes de vie. Les objectifs étaient d’analyser les associations entre 1) les pratiques des éducateurs et l’apport alimentaire, 2) l’activité physique (AP) des enfants de trois à cinq ans dans les milieux de garde, 3) le degré d’influence des pairs sur l’apport alimentaire, et 4) l’AP des enfants de trois à cinq ans. Méthodes : Les associations entre les pratiques des éducateurs et les comportements liés à l’apport alimentaire et l’AP des enfants ont été étudiées à l’aide d’une étude transversale, menée auprès de 723 enfants de trois à cinq ans de 51 milieux de garde en Saskatchewan et au Nouveau-Brunswick à l’automne 2013 et 2014. Le degré d’influence des pairs sur l’apport alimentaire et l’AP des enfants a été étudié à l’aide d’une étude longitudinale, menée auprès de 238 enfants de trois à cinq ans au début et à la fin des années scolaires 2013-2014 et 2014-2015. L’AP des enfants a été mesurée à l’aide d’accéléromètres, et l’apport alimentaire a été mesuré à l’aide d’une analyse de consommation par pesée et photographiée. Une grille d’observation de l’environnement a permis de mesurer les pratiques des éducateurs en milieu de garde. Des régressions linéaires multiniveaux ont répondu aux quatre objectifs de l’étude. Résultats : Le modelage est positivement associé à l’apport en sucre (p=0,026) et l’éducation alimentaire est négativement associée à l’apport en calories (p=0,026) et en fibres (p=0,044). Ne pas utiliser de récompenses alimentaires est négativement associée à l’apport en gras (p=0,049). Aucune pratique n’est associée à l’AP des enfants. Plus l’écart entre l’apport alimentaire et l’AP des enfants et ceux de leurs pairs est grand au début de l’année, plus les enfants voient leur apport alimentaire et leur AP changer, se rapprochant de la moyenne de leurs pairs neuf mois plus tard (p<0,05). Conclusion : Les éducateurs et les pairs jouent un rôle important dans l’adoption d’habitudes alimentaires saines et d’AP chez les enfants de trois à cinq ans dans les milieux de garde. L’environnement social est donc important à considérer dans les interventions de promotion d’habitudes de vie saine dans les milieux de garde. / Abstract : Background: Since children under the age of 5 spend approximately 29 hours per week in childcare centres and that they learn by observing and imitating others, childcare educators and peers can be important role models in promoting a healthy lifestyle. The objectives were to analyse the associations between 1) educators’ practices and the dietary intake, 2) physical activity (PA) of 3 to 5 year-old children in childcare centres, 3) peers’ behaviours, and children’s dietary intake, and 4) PA of three- to five-year-old children. Methods: Associations between childcare educator practices, and children’s dietary intake and PA were analysed by a cross-sectional study conducted among 723 three- to five-yearold children from 51 childcare centres in Saskatchewan and New Brunswick in the fall of 2013 and 2014. The associations between peers’ behaviours, and children’s dietary intake and PA were studied using a longitudinal design, conducted among 238 three- to five-yearold children at the beginning and at the end of the 2013-2014 and 2014-2015 school years. Children’s PA was assessed using accelerometers, and dietary intake was measured using weighed plate waste method and digital photography. An environmental observation checklist was used to measure educators’ practices within the childcare centre. Multilevel linear regressions were used to answer all four of the study’s objectives. Results: Modeling is positively associated with children’s intake in sugar (p=0.026) and nutrition education is negatively associated with children’s intake in calories (p=0.026) and in fibre (p=0.044). Not using food rewards is negatively associated with children’s intake in fat (p=0.049). None of the practices are associated with children’s PA. The greater the difference between children’s intake or PA and those of their peers at the beginning of the year, the more likely they are to change their intakes and PA to become more similar to their peers 10 months later (p<0.05). Conclusions: Educators and peers can play an important role in the adoption of healthy eating behaviours and PA of three- to five-year-old children in childcare centres. The social environment is therefore important to consider in interventions which aim to promote healthy lifestyles in childcare centres.