Die Debatte um die Verschwundenen des Spanischen Bürgerkriegs ist lange nicht beendet. Auch nach der Transition des Landes bleiben etliche Fragen offen und der Staat trägt wenig zu ihrer Aufklärung bei. Die Autorin befasst sich intensiv mit der lokalen Erinnerungskultur Spaniens. Sie analysiert dabei deren Bezug auf internationale Normen und Aufarbeitungserfahrungen in Lateinamerika.

Cette thèse étudie les talk-shows, ces émissions sociopolitiques « dialogiques » qui ont marqué la scène médiatique et politique durant les dernières années du règne de Moubarak, jusqu’à la nouvelle donne politique post-juillet 2013. La question principale qui a guidé cette recherche était : dans quelle mesure les talk-shows ont-ils constitué une arène de parole dissidente ? La thèse démontre, à travers l’étude du processus qui a permis l’émergence de ces émissions, de leurs acteurs et de leurs modalités de fonctionnement, que ce dispositif s’est inscrit dans un espace public dessiné par des dynamiques particulières et caractérisé par un autoritarisme adaptif et libéralisé. Ce dispositif a également permis la manifestation de processus sociaux, notamment des mouvements d’opposition, en leur permettant de s’exprimer et de gagner en visibilité. Les talk-shows ont fait partie de différentes dynamiques politiques et les ont alimentées, défiant ainsi le pouvoir politique. Ils ont gagné des rôles et un espace de parole que le pays n’avait pas connu depuis 1952, dépassant leur fonction première qui était conçue par le pouvoir. Ce processus a pu avoir lieu malgré les outils de contrôle que le pouvoir a conservés pour garantir un minimum de mainmise sur les médias, élargissant ainsi les domaines de luttes et les espaces de contentieux. La thèse observe ensuite les dynamiques des révoltes de janvier 2011. Partant d’une approche interactionniste, d’un travail issu d’une enquête de terrain de plusieurs années, menée aussi bien auprès de professionnels de la télévision que d’invités de ces émissions et d’une analyse d’un corpus d’émissions, nous démontrons que le rôle des talk-shows fut incontournable dans le conflit médiatique doublant celui sur le terrain. / The subject of this thesis is the talk-shows, those socio-political tv shows that marked the media and political scene during the last years of Mubarak’s regime till the new political era post-July 2013. The main question that guided this research was: to what extent have the talk shows been an arena of dissident speech? The thesis demonstrates that this mechanism was a part of a public space designed by specific dynamics and branded by a liberalized and adaptive authoritarianism. It allowed the manifestation of social practices including counter movements endorsing them to express themselves and to gain visibility.Thus, through the study of the process that allowed the appearance of such shows, its actors and its operating methods, we observe how these broadcasts were a part of different political dynamics and served challenging the political power. They acquired roles and a freedom of expression that the country hadn’t experienced since 1952, exceeding their initial function as designed by the regime despite the means of control that the latter kept in order to maintain a minimum control on media and hence widening the fields of struggles and spaces of contentious. Then, the thesis studies the dynamics of January 2011 uprisings. Based on an interactionist approach and a work of several years field study of both television professionals and guests of these shows and an analysis of a record of broadcasts. We demonstrate that the talk-shows role was fundamental in the media conflict which doubled the conflict in the field.

Há muitos textos sobre a atuação da música, via canção de protesto, frente às ditaduras militares na década de 70 no Brasil e na América Latina, mas é esquecido que a música erudita também enfrentou problemas sérios e apresentou um tipo de resistência ao establishment. Houve um significativo relacionamento e trânsito de músicos eruditos, irmanados numa mesma luta, estética e política. Esse trabalho relata a identidade desses propósitos, tendo como objetos de estudo o Festival Música Nova e o Curso Latinoamericano de Música Contemporânea / There are many texts about music action, it means canção de protesto, facing military dictatorships on the 1970s from Brazil and Latin America. However, it has been forgotten that classical music also has confronted serious problems and has made a kind of resistance against establishment. In fact, there were a meaningful relationship and a movement of the classical musicians, which have been congregated in the same struggle, aesthetic and political. This work reports the identity of these purposes, making Festival Música Nova and Curso Latinoamericano de Música Contemporânea its analysed objects

Há muitos textos sobre a atuação da música, via canção de protesto, frente às ditaduras militares na década de 70 no Brasil e na América Latina, mas é esquecido que a música erudita também enfrentou problemas sérios e apresentou um tipo de resistência ao establishment. Houve um significativo relacionamento e trânsito de músicos eruditos, irmanados numa mesma luta, estética e política. Esse trabalho relata a identidade desses propósitos, tendo como objetos de estudo o Festival Música Nova e o Curso Latinoamericano de Música Contemporânea / There are many texts about music action, it means canção de protesto, facing military dictatorships on the 1970s from Brazil and Latin America. However, it has been forgotten that classical music also has confronted serious problems and has made a kind of resistance against establishment. In fact, there were a meaningful relationship and a movement of the classical musicians, which have been congregated in the same struggle, aesthetic and political. This work reports the identity of these purposes, making Festival Música Nova and Curso Latinoamericano de Música Contemporânea its analysed objects