Ce travail est consacré à l’étude du personnage allégorique de la Folie sur la scène de l’Académie Royale de Musique entre 1697 et 1718. Qu’il soit suggéré ou personnifié, ce caractère féminin est abondamment présent dans les spectacles de cette période. A la fin du règne de Louis XIV, la Folie fait peu à peu son entrée à l’Opéra. Entourée de Momus, du Carnaval, de Bacchus, de l’Amour et des personnages de la commedia dell’arte, la Folie « ramène les tendres Jeux », « chasse la Raison cruelle » et invite sans cesse à « goûter les charmes de la vie ». En accédant à l’Opéra, cette figure extravagante et enjouée signale une évolution de ton qui préfigure le changement de mœurs associé à la Régence. Mais au-delà de la philosophie hédoniste qu’elle dispense, quel est le sens caché des paroles de la Folie ? Faut-il voir dans la présence de ce personnage une remise en cause de l’ordre établi, de la politique sociale et de l’austérité marquant la fin du règne ? Son utilisation permet-elle, sous la couverture d’une « maladie de l’âme », de critiquer la politique et les mœurs de Louis XIV ? Qui se cachent derrière le discours subversif de la Folie ? Quel est le rôle de cette figure dans les débats esthétiques de l’époque ? Cette recherche explore le rôle, ainsi que le traitement musical, dramatique et scénique d’une telle figure à travers l’étude d’ouvrages créés à l’Opéra. Nous proposons ici un portrait physique, moral et social de la Folie, à la lumière de multiples documents musicaux, textuels et iconographiques de l’époque, et présentons différents traits de caractère du personnage et plusieurs thèmes qui lui sont liés afin de comprendre les raisons de sa présence à cette époque. / This work is devoted to the study of the allegorical figure of Folly on the stage of the Académie Royale de Musique between 1697 and 1718. Suggested or personified, this female character is abundantly present in the spectacles of this period. At the end of the reign of Louis XIV, Folly appears little by little at the Opera. Surrounded by Momus, Carnival, Bacchus, the god of love and the characters of the commedia dell'arte, Folly "brings back the soft Games", "banishes the cruel Reason" and continually invites to "taste the charms of life”. By accessing the Opera, this extravagant and playful figure indicates a change of tone that foreshadows the changing attitudes of the Regency. But beyond the hedonistic philosophy that she provides, what is the hidden meaning of Folly’s words? Should we see a calling into question of the established order, the social policy and the austerity marking the end of the reign? Does its use allow, under the cover of a “disease of the soul”, to criticize the policy and manners of Louis XIV? Who hides behind the subversive speech of Folly? What is the role of this figure in the aesthetic debates of the period? This research explores the role, as well as musical, dramatic and scenic treatments of such a figure through the study of works created at the Opera. We propose here a physical, moral and social portrait of Folly, in the light of multiple musical, textual and iconographic documents of the time, and present different character traits and several themes that are related to it in order to understand the reasons for its presence at this time

À partir de l'exemple du phénomène des batucadas en France et en Europe, cette thèse propose d'explorer des processus d'appropriations culturelles de modèles musicaux brésiliens, en particuliers ceux du samba enredo carioca, du samba- reggae bahianais et du maracatu recifense. L'ethnographie, entreprise entre 2000 et 2010, se compose de nombreux récits de vie et entretiens semi-directifs réalisés auprès d'amateurs de percussions brésiliennes et de musiciens professionnels (français et brésiliens) ; d'observations de pratiques musicales en Europe et au Brésil ; de participations de l'ethnographe à des projets artistiques dans le sud de la France. À rebours d'une approche historique de l'objet diffusé, ce travail propose de restituer des parcours d'appropriations en partant de l'émergence et du déploiement de la batucada en France. Sont abordés plusieurs champs de l'appropriation musicale : la forme instrumentale de la batucada, les modèles brésiliens, et les postures artistiques vis-à-vis de ces modèles qui révèlent une recherche commune d'une pratique culturelle « populaire », vivante et festive. Des représentations idéalisées du Brésil, de ses musiques et de ses carnavals semblent répondre à cette quête. Les voyages vers les sources musicales au Brésil tendent à devenir une étape importante de l'appropriation musicale européenne et leur observation permet de mettre en exergue les enjeux sociaux et culturels entre Brésiliens et étrangers autour des transmissions musicales (...) Enfin, l'appropriation de la batucada permet d'ouvrir un débat général sur l'appropriation culturelle dans le contexte de la mondialisation. / Using the example of the batucada phenomenon in France and Europe, this thesis explores the processes of cultural appropriation of Brazilian musical models, in particular those of Rio's samba enredo, Bahia's samba-reggae and Recife's maracatu. The ethnographic fieldwork, conducted during the first decade of 2000, is composed of: numerous life stories and semi-structured interviews with French and Brazilian amateur percussionists and professional musicians, observations of musical practices in Europe and Brazil, and participating observations in the framework of artistic projects in the South of France. Rather than taking a historical approach of the diffusion of objects, this work analyzes the trajectories of the appropriations of batucada in France, from its emergence to its spread. Several fields of musical appropriation are broached: the instrumental form of the batucada, the Brazilian musical models, and the artistic positions taken regarding these models which reveal a common quest for a “popular”, lively and festive cultural practice. Idealized representations of Brazil, its music and its carnivals seem to respond to this quest. Travels to the musical sources in Brazil appear as an important step in the Europeans’ musical appropriation. Observation of these travels allows underscoring the social and cultural stakes of musical transmissions between Brazilians and foreigners. Lastly, the appropriation of batucada enables enlarging a general debate on cultural appropriation in a context of globalization.

Cette thèse étudie le Carnaval de Salvador de Bahia (Brésil) et les festivités de l’Indépendance de Carthagène des Indes (Colombie) dans l’optique de saisir comment leurs différentes formes de manifestations provoquent des tensions politiques, économiques et culturelles au sein de ces deux villes d’Amérique latine. Cette thèse argue que les festivités impliquent des relations antagonistes entre une forme hégémonique de célébration — associée aux pratiques et aux discours des élites urbaines — et d’autres formes diverses, dissidentes, et souvent marginalisées de participation. Dans ce cas, le carnaval et les festivités de Salvador et de Carthagène ne sont pas seulement des espaces de rencontre culturelle à travers les symboles, la danse et la musique, mais aussi des espaces politiques dans lesquels les identités, et les relations de classes et « raciales » sont contestées et reconfigurées. De plus, ces célébrations créent une opportunité pour des groupes différents de déployer de vives critiques envers leur position économique et politique dans un contexte urbain plus grand, qui est renforcé par le tourisme industriel global et les interventions d’un Etat multiculturel. / This thesis studies the Carnival of Salvador de Bahia (Brazil) and the Independence Day Festivities in Cartagena de Indias (Colombia) in order to understand how different ways of celebrating give rise to political, economic, and cultural tensions in these two Latin American cities. This thesis argues that these festivities involve an antagonist relationship between an hegemonic form of celebration— associated with the practices and discourses of the urban elites— and other diverse, dissident, and often marginalized forms of participating. In this way, the carnival and festivities in Salvador and Cartagena are not only spaces of cultural encounter through symbols, dance, and music, but also political spaces in which identities, and racial and class relations are contested and reconfigured. Furthermore, these celebrations create an opportunity for different groups to raise harsh criticism to their own economic and political position in a broader urban context that is highly shaped by the global tourism industry and the interventions of the multicultural state.

Le carnaval, symbole de la culture festive de l’Europe du Moyen Age, a aujourd’hui largement disparu. L’impact de la Réformation a souvent été questionné, sans être étudié : quel rôle Luther et les siens ont-ils joué dans cette évolution? Dans l’Empire, le carnaval est d’abord utilisé comme un instrument au service de l’entreprise de déstabilisation et de désacralisation de l’Église romaine. Dès 1520, Luther lui emprunte un langage bas, propice à la satire et cohérent avec le principe du sacerdoce universel. Les carnavals moquent l’Église comme un élément malsain de la société, et favorisent la révolution religieuse en présentant le retour à l’ordre comme celui de la réforme de l’Église folle. Pourtant, à mesure que la puissance de destitution du carnaval se révèle et que les clercs protestants se mettent à le définir comme la fête de la fausse Église, les Églises luthériennes basculent contre le carnaval. Dès lors, prédicateurs et réformateurs cherchent des solutions pastorales et liturgiques pour le supplanter. Théoriquement, ces efforts sont épaulés par l’action des autorités temporelles. Mais il faut du temps pour que celles-ci s’approprient leur charge, et surtout pour qu’elles considèrent le carnaval comme un élément nuisible à la société, à rebours des traditions de diplomatie et de cohésion civique qu’il assumait jusqu’alors. Ce combat contre carnaval, qui mène peu à peu à son interdiction par les Églises luthériennes, exprime le refus d’une culture profane préexistant à la Réformation. La lenteur et la difficulté à éradiquer le carnaval s’expliquent à la fois par son ancrage coutumier et son aspect protéiforme. / Carnival, which was emblematic of the festive culture in mediaeval Europe, has disappeared to a large extent today. The question of the impact of the Reformation has often come up without being studied: what part did Luther and his followers play in this evolution? In the Holy Roman Empire carnival was first used as a means for destabilizing the Roman Catholic Church and taking away its sacred aura. As early as 1520 Luther adopted its low-level language, which was most suitable for satire and consistent with the principle of universal priesthood. Carnivals make fun of the Catholic Church as an unwholesome component of society and favor the religious revolution in presenting the restoration of order as the fruit of the reformation of a « foolish » Church. However,as the carnival subversive power was being revealed and the Protestant clerics started defining it as the feast ofthe false Church, Lutheran churches turned against it. Since then, preachers and reformers did try and find pastoral and liturgical ways of supplanting it. In theory, these efforts were supported by the action of the temporal authorities. But the latter were a long time taking on their responsibility and moreover considering carnival very harmful to society, against its traditional diplomatic and civic cohesion role. This long-term fight against carnival which leads progressively to its banning by the Lutheran churches expresses the refusal of a profane culture preexisting to Reformation. The reasons why it took such a long time to eradicate carnival are both its rooting inancient custom and its protean character.

São raras as oportunidades para expor um traje de cena fora da cena, em uma exposição na qual seja possível refletir sobre a obra criada, seu processo de trabalho e propostas cênicas, tanto no País quanto no exterior. A maior exposição internacional de performance design acontece, há 58 anos, na República Tcheca, tendo reunido artistas, pesquisadores e estudantes de 90 países, na última edição, em 2015. Durante a Quadrienal de Praga (1967-2015), o Brasil já foi premiado diversas vezes, incluindo o prêmio máximo da PQ: a Triga de Ouro, em 1995 e 2011. Porém, a falta de uma instituição responsável pela organização da participação do País causa instabilidade nas formas curatoriais, além de escassez de verba. Este estudo investiga como o traje de cena do teatro brasileiro é representado na exposição internacional. Um percurso que se faz necessário iniciar na Bienal Internacional das Artes Plásticas do Teatro (1957 a 1973), evento criado como um quadro pertencente à Bienal de São Paulo e que, após sua quinta edição, faria surgir a exposição tcheca. Uma documentação inédita, com amplo resgate documental e iconográfico, compõe esta tese e serve como fundamental objeto de estudo para reconhecer qual a posição do traje cênico nesta trajetória de vinte edições, construída ao longo de 58 anos, para possibilitar a investigação da hipótese desta tese: confirmar se, no histórico da participação brasileira, entre 1987 e 2003 - quando a representação do país esteve aos cuidados do cenógrafo J. C. Serroni - houve algum tipo de preferência curatorial por artistas e/ou trabalhos cujos trajes de cena tenham reforçado uma possível presença de influência na construção da imagem do figurino teatral de acordo com estereótipos da cultura brasileira, em destaque as características estéticas do Carnaval. / There are few opportunities to expose a costume design out of the scene in an exhibition in which to reflect on the work created, their process and scenic proposals, both at home and abroad. The largest international exhibition of performance design happens, during the last 58 years, at the Czech Republic and brought together artists, researchers and students from ninety countries in the last edition in 2015. During the Prague Quadrennial (1967-2015), Brazil has been awarded several times, including with the top prize of the PQ: the Golden Triga, in 1995 and 2011. However, the lack of an institution responsible for organizing the country\'s participation causes instability in curatorial forms, as well as lack of funds. This study investigates how the Brazilian theatrical costume design is represented at the international exhibition. A route that is needed to start with the International Biennial of Visual Arts of Theater (1957-1973), an event created as a frame belonging to the Bienal de São Paulo and, after its fifth edition, would raise the Czech exhibition. An unpublished documentation with extensive documentary and iconographic rescue, makes up this thesis and serves as a fundamental object of study to recognize what position the scenic costume has in this twenty editions\' trajectory, built over 58 years, to enable the research hypothesis of this thesis: confirm that, in the history of Brazilian participation at PQ, between 1987 and 2003 - when the representation of the country was in the care of set designer J. C. Serroni - there was some sort of curatorial preference by artists and / or works that led to the reinforcement of stereotypes of the Brazilian culture, highlighted the aesthetic features of the Carnival.

Made available in DSpace on 2015-04-14T13:46:36Z (GMT). No. of bitstreams: 1 407249.pdf: 229041 bytes, checksum: da987297abfe18722c551bba573ea4c7 (MD5) Previous issue date: 2008-08-08 / Mulheres e carnaval: este ? o tema tratado nesta disserta??o. Porto Alegre, por volta do ?ltimo quartel do s?culo XIX, passa a sofrer uma transforma??o no que se refere a sua maneira de render louvores ao deus Momo: surgiam as sociedades carnavalescas Esmeralda e Venezianos; at? ent?o a data era comemorada sob a forma do entrudo, na qual as mulheres tinham ativa participa??o. Desta forma, este trabalho tem como objetivo analisar a participa??o das mulheres no carnaval de Porto Alegre, de 1869 a 1885, apontando para os diferentes lugares e condi??es que elas ocuparam nestes festejos.

Biyi Bandele est un écrivain d'origine nigériane dont l'œuvre novatrice et très riche reste encore peu connue du milieu universitaire en France. Aucune étude de grande ampleur n'a encore été consacrée à sa production et le présent travail essaie de combler ce grand vide. Cette étude qui s'appuie principalement sur les quatre romans de l'auteur a pour objectif de montrer que Biyi Bandele est un romancier carnavalesque et que tout son effort consiste à s'interroger sur les conditions de vie de ses concitoyens nigérians, la nature du pouvoir politique et ses modes d'exercice et les raisons pour lesquelles la construction d'une vraie nation semble impossible au Nigeria tant d'années après l'indépendance. A travers ces diverses interrogations, Biyi Bandele peint surtout un pays dont l'état de déconfiture et d'anomie est tel qu'il semble inconcevable d'en rendre compte avec les moyens traditionnels du roman réaliste européen. Mais grâce à son exceptionnel talent de conteur, Biyi Bandele réussit à nous faire prendre conscience de cette réalité grâce à une langue riche, et un nouvel art de conter inspiré des traditions yoruba et d'autres éléments de la culture populaire nigériane. / Biyi Bandele is a Nigerian writer whose innovative and very rich writings are still little known by academics in France. No large-scale study has been devoted to his writings yet, and this work tries to make up for this gap. This study which is mainly based on the four novels written by Biyi Bandele aims at showing that he is a Carnivalesque novelist and that all of his effort consists in raising questions about the living conditions of his fellow countrymen, the nature of political power and its functioning, and the reasons why nation-building seems impossible in Nigeria so many years after independence . Through these different questions, Biyi Bandele mainly portrays a country in shambles, in such a state of anomy that one can no longer rely on the means of the Europen realist novel to render its situation. But thanks to his exceptional talent as a storyteller, Biyi Bandele manages to make us become aware of this reality by inventing a rich language and a new way of telling story inspired by yoruba traditions and other elements of Nigerian popular culture.

Submitted by JOSIANE SANTOS DE OLIVEIRA (josianeso) on 2018-05-09T13:21:03Z No. of bitstreams: 1 Marcus Vinicius Jesus de Brito_.pdf: 2880472 bytes, checksum: 79323da862cd017642dd051e70939e84 (MD5) / Made available in DSpace on 2018-05-09T13:21:03Z (GMT). No. of bitstreams: 1 Marcus Vinicius Jesus de Brito_.pdf: 2880472 bytes, checksum: 79323da862cd017642dd051e70939e84 (MD5) Previous issue date: 2018-03-26 / Nenhuma / De atuação exclusivamente online, a Rádio Arquibancada dedica sua programação inteira ao Carnaval das escolas de samba, fundamentalmente do Rio de Janeiro. Essa pesquisa investiga de que forma lógicas midiativistas empregadas nas práticas jornalísticas desta rádio contribuem para a circulação, o consumo e a manutenção da cultura das escolas de samba. O processo de construção da pesquisa teve pontos distintos de observação, como das redes sociais da emissora em estudo e entrevistas realizadas com seus idealizadores, além de alguns ouvintes. Também foram realizadas observações de duas transmissões ao vivo realizadas pela Rádio Arquibancada nos dias 13 e 14 de outubro de 2017, dos eventos de escolhas dos sambas-enredo das escolas de samba Mocidade Independente de Padre Miguel e Portela, a partir da adaptação de cinco níveis de análise utilizados para estudo de coletivos midiáticos (AQUINO BITTENCOURT; GONZATTI; RIOS, 2018). A atuação da emissora em uma transmissão também foi observada in loco, durante realização do evento Carnavália-Sambacon, realizado no Rio de Janeiro entre 13 e 15 de julho de 2017, com presença do autor desta pesquisa. Ao final da pesquisa, entende-se a Rádio Arquibancada como um veículo midiativista, que almeja a rentabilidade através de suas práticas jornalísticas, colocando a cultura carnavalesca como o principal fio condutor de suas coberturas, e tendo como lógica de resistência perante a imprensa de massa os princípios do ativismo midiático. / Of online update only, Radio Arquibancada dedicates its entire program to the Carnival of samba schools fundamentally from Rio de Janeiro. This research investigates how media activist logics employed in the journalistic practices of this radio can contribute to the circulation, consumption and maintenance of the culture of samba schools. The process of construction of the research had distinct points of observation, such as the social networks of the station under study and interviews with its creators, as well as some listeners. There were also observations of two live broadcasts conducted by Radio Arquibancada on October 13 and 14, 2017, of the samba theme choice events of the samba schools Mocidade Independente de Padre Miguel and Portela, from the adaptation of five levels of analysis used for the study of media collectives (AQUINO BITTENCOURT, GONZATTI; RIOS, 2018). The performance of the station in a transmission was also observed in loco during Carnavalia-Sambacon held in Rio de Janeiro between July 13 and 15, 2017, with the presence of the author of this research. At the end of the research, it is understood Radio Arquibancada as media activist vehicle which aims at profitability through its journalistic practices, placing the carnival culture as the main guideline of its coverage, and having as logic of resistance to mass media the principles of media activism.

Made available in DSpace on 2016-04-26T18:13:16Z (GMT). No. of bitstreams: 1 Edilaine Correa Goncalves.pdf: 7790458 bytes, checksum: f50bd147d1fca82eca14168e482c4c3c (MD5) Previous issue date: 2013-08-27 / This research aims to analyze how in cartoons designed by Aluísio Azevedo are presented caricatural techniques of scenic arts and elements from Carnival. As the corpus were chosen among several themes that the literary and cartoonist author approaches, four anticlerical images published in the anticlerical and satiric newspaper O Mequetrefe in the year 1877. These images were analysed according to their historical and social contexts as tools to and for contestation. A contestation that at the same time is as much serious as laughable, religious and satirical, aspects which have already allowed in that age the participation of the society to bring some traits that let assume the presence of comicality through the usage of theatrical resources such farce and burlesque, immediately understandable with the purpose to inform and contribute with reflections and changes seen in the posture of the reader audience of the newspaper. This form of analysis, among others, is just one of the study possibilities of this critical object active as entertainment and information. As theoretical background for the review and interpretation, we consulted some authors such as FLUSSER (2008) and his reflections about technical images; MUNIZ SODRÉ (2006) and the sensitive strategies present in the media; the communicative action theory by HABERMAS (1987); the construction of cultural images by MORIN (1984); MARTIN- BARBERO (2002) and the processes of cultural formation through the newspaper and BAKHTIN (2005, 2010), about the carnivalesque elements. In addiction to this we consulted researchers from theatre field, such as PRADO (1999), MEYER (2001), SOUZA (2002), RABETTI (2007) and GUINSBURG (2009). Therefore we summarized to demonstrate how this image assisted in the propagation of an event, according as we realize the idea in relation to the presence of comic is a facilitator quality to the reception of the cartoon. It also acts as an invitation previously accepted and effectively translatable by the reader, educating, informing and serving as a political critic object and still operating as a reflection to possible social changes / A pesquisa procura analisar como em charges de Aluísio Azevedo apresentam-se técnicas caricaturais, das artes cênicas e, ainda, elementos provenientes do carnaval. Como corpus, foram escolhidos, dentre os vários temas que o autor literário e caricaturista ilustrou, quatro imagens anticlericais publicadas no jornal anticlerical e satírico O Mequetrefe no ano de 1877 em seus contextos histórico e social como instrumentos de e para contestação, ao mesmo tempo, séria e risível, religiosa e satírica que já permitia, na época, a participação da sociedade ao trazer em forma de traços que permitem pressupor a presença da comicidade, recursos teatrais da farsa e do burlesco, imediatamente compreensível com o objetivo de informar e contribuir com reflexões e mudanças de postura do público leitor do jornal. Essa forma de análise seria apenas uma das possibilidades de investigação desse objeto crítico de entretenimento e informação, dentre outras. Como base teórica para análise e interpretação, consultamos autores como FLUSSER (2008) e suas reflexões sobre as imagens técnicas; MUNIZ SODRÉ (2006) e as estratégias sensíveis presentes nos meios de comunicação; a teoria da ação comunicativa em HABERMAS (1987); a construção de imagens culturais em MORIN (1984); MARTIN-BARBERO (2002) e os processos de formação da cultura através do jornal e BAKHTIN (2005, 2010), sobre os elementos carnavalizados, além de pesquisadores da área do teatro, tais como PRADO (1999), MEYER (2001), SOUZA (2002), RABETTI (2007) e GUINSBURG (2009). Objetivamos, assim, demonstrar como essa imagem auxiliava na divulgação de um fato, na medida em que entendemos que a ideia em relação à presença do cômico é qualidade facilitadora para a recepção da charge, como um convite previamente aceito e efetivamente traduzível pelo leitor, educando, informando e servindo como objeto crítico político e de reflexão para possíveis mudanças sociais

Esta etnografia multissituada analisa três polos carnavalescos distintos, a partir dos circuitos de trocas estabelecidos entre eles. O principal objetivo da tese é o de compreender como as diferentes configurações culturais nos carnavais de Escolas de Samba do Rio de Janeiro, da Região dos Pampas (em três cidades, Uruguaiana no extremo sul do Brasil, Paso de Los Libres na Argentina e Artigas no Uruguai) e de uma Escola de Samba no carnaval de Notting Hill (Londres/UK) se comunicam e se envolvem em relações de interculturalidade, globalismo e hibridismo entre carnavais. As relações entre os carnavais possibilitam a disseminação de suas produções de cunho competitivo, a circulação de pessoas e objetos que cruzam fronteiras, baseadas nas dimensões da translocalidade. Esses carnavais se entrelaçam e dialogam com o carnaval carioca em circuitos de trocas e negociações, promovendo encontros, conexões, intensa circulação de profissionais, fluxos de materiais, conhecimentos e saberes entre seus contextos locais. / This multi-sited ethnography analyzes three distinct carnival poles, through the exchanges circuits established among them. The main purpose of the thesis is to comprehend how the different cultural configurations in carnivals of Samba Schools of Rio de Janeiro, the Pampas region (in three cities, Uruguaiana in southern Brazil, Paso de Los Libres in Argentina and Artigas in Uruguay) and a Samba School in the Notting Hill Carnival (London/UK) communicate and involve themselves in intercultural relations, globalism and hybridism between carnivals. The relations among the carnivals allow the dissemination of their competitive productions, the circulation of persons and objects that cross borders, based on the dimension of translocality. These carnivals are intertwined and dialogue with the Rio carnival in exchanging and negotiating circuits, promoting encounters, connections, intense professionals circulation, material flows, knowledge and expertise between among its local contexts.