Vestiges de magnificences réputées diaprées, les vers produits à l'occasion des fêtes de cour de la seconde moitié du XVIe siècle ont longtemps été considérés comme des objets littéraires dépourvus de tout intérêt. Et pourtant la génération de la Pléiade, bien plus connue aujourd’hui pour ses recueils poétiques devenus classiques, a aussi été à l’origine d’une poésie impromptue qui a donné au poète un rôle fondamental de maître des plaisirs de la cour. Non content de rester à son pupitre ou dans sa « librairie », le poète devait prendre en charge la mise en scène de ses compositions, jouer parfois le rôle de l’un des personnages et travailler en collaboration avec d’autres artistes, d’une manière non plus solitaire mais tout à fait collégiale. Sa poésie non seulement agrémente la fête mais la colore, la suscite et la structure : des vers chantés aux vers gravés dans les décors ou encore sur des petits billets tombant en cascade sur le monarque au moment de son arrivée, la poésie est omniprésente dans la fête dont elle se fait, à divers niveaux, la « légende. Contribuant à dramatiser et à sacraliser l'histoire de France, cette poésie se développe en outre sur l'esthétique des merveilles qui caractérise les fêtes de cette époque. Enfin les genres poétiques qui y apparaissent (mascarades, momeries, cartels, etc.) s'influencent alors les uns les autres et se développent au carrefour de multiples pratiques poétiques. / The poems written for court festivals in the second half of the Sixteenth century have long been considered unworthy of the attention of scholars of French literature. However, these colourful traces of famously splendid court festivities involved many of the poets of the generation of the “Pléiade”, remembered today mostly for its classic collections of poetry. Nonetheless, these poets also participated in the practice of composing impromptu poetical pieces, which effectively made them the masters of court entertainment. These poets did not restrict their activities to their study or their “librarie”, but designed the sets and organised the saging of their masques – sometimes even playing some of the parts – and collaborating with other artists. The part played by the poet in these festivals is far from being solitary: it is essentially collaborative. His verses are not a mere ornament of the festivities, but are their very life, giving them shape and colour. Poetry plays a part in all aspects of the festivals at court: it is sung, but also inscribed on elements of the décor and showered down on the monarch when he arrives. In this sense, poetry is the “légende” of the celebrations, serving as a caption and as a way creating a legendary, sacred and dramatic representation of power. This poetry also participates in the aesthetic of the maraviglia characteristic of manneristic and baroque festivals. The poetic genres that they involve (masques, mummeries, cartels etc.) mutually influenced each other and developed as hybrid forms which were grew out of the intertwining of many different poetic traditions.

Submitted by Irene Nascimento (irene.kessia@ufpe.br) on 2016-06-28T17:38:34Z No. of bitstreams: 2 license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) Dissertação Edilange Luiz Pereira.pdf: 9341302 bytes, checksum: 4952a4d86c21484114ee60a673aa3199 (MD5) / Made available in DSpace on 2016-06-28T17:38:34Z (GMT). No. of bitstreams: 2 license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) Dissertação Edilange Luiz Pereira.pdf: 9341302 bytes, checksum: 4952a4d86c21484114ee60a673aa3199 (MD5) Previous issue date: 2015-12-14 / FACEPE / No cenário contemporâneo a economia e a cultura são abordadas como questões fundamentais para as políticas de desenvolvimento, tendo em vista o reconhecimento das agências dedicadas a ele e que a cultura o favorece, cria emprego e promove a coesão social, tornou-se imperativo promover o empoderamento das atividades culturais. Nessa perspectiva, a economia criativa e suas categorias passaram a ser tomadas como estratégias para a formulação e implementação de políticas, focando, principalmente, na promoção e distribuição das manifestações culturais para propiciar o crescimento econômico. Como marco das iniciativas da economia criativa brasileira, está a proposta metodológica para identificação de polos criativos e a instituição do programa de incentivo. Em 2011, a Bomba do Hemetério se tornou polo criativo, na condição de um território expandido que agrega uma diversidade de agremiações carnavalescas, algumas delas consideradas de fundamental importância para o Carnaval de Pernambuco. Pode-se dizer que o cenário cultural local tornou possível o seu reconhecimento como polo criativo. A comunidade recebeu uma iniciativa de desenvolvimento local realizada a partir da articulação do poder público e de instituições não governamentais. Com base nisto, esta pesquisa se dedicou à análise da cultura carnavalesca da Bomba do Hemetério afim de desvelar os discursos que caracterizam essa cultura como recurso de desenvolvimento local. Utilizamos como lente teórica a teoria do Pósdesenvolvimento e, por meio da interpretação do arquivo inspirada na Análise de Discurso Foucaultina, foram reveladas três formações discursivas: uma sobre a cultura local e suas tradições, outra evidencia a cultura local como fonte de sobrevivência e outra aponta para a política de economia criativa. / In the contemporary scenario the economy and culture are addressed as key issues for development policies, considering the recognition of dedicated agencies and a culture that favors it, creates jobs and promotes social cohesion, it has become imperative to promote the empowerment of cultural activities. From this perspective, the creative economy and its categories came to be taken as strategies for the formulation and implementation of policies, focusing mainly on promotion and distribution of cultural events as economic growth factors. The methodological proposal for identifying creative centers and the institution of the incentive program is a starting point of initiatives of the Brazilian creative economy. In 2011, Bomba do Hemetério district became a creative center, as an expanded territory that aggregates a variety of carnival groups, some of them considered of fundamental importance for the Pernambuco Carnival. It can be said that the local cultural scene has made possible its recognition as a creative center. The community received a local development initiative carried out through the articulation of government and non-governmental institutions. Based on this, this research was dedicated to the analysis of Bomba do Hemetério district carnival culture in order to unveil the discourses that characterize this culture as a local development resource. We used post-development theory as theoretical lens and, by interpreting the file inspired by Foucauldian Discourse Analysis, three discursive formations were revealed: one on the local culture and its traditions, the other highlights local culture as a source of survival and another points to the creative economy public policy.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The paper presents a study on the Carnival celebrations in Brazil, the shrovetide Carnival professionalization in the capital of the country, with the focus to the Micarême of Laranjeiras/SE-Brazil, in the decades of 1930/1945, period of emergence and Structuration of the Carnival celebration in the city, and from that party, to understand how the Carnival and its professionalization influenced the creation of the Micarême. The Micarême of Laranjeiras/SE so configured as a Carnival party that occurs since 1930, emerging from soccer teams in the city, and with the influence of cultural manifestations in municipality of Laranjeiras. Understand how the policies of Government of Getúlio Vargas, which was used not only of the Carnival, but also from the radio and football, in an attempt of a construction of a national identity interfered in party configures the primary objective of this research. / O trabalho apresenta um estudo sobre as festas carnavalescas no Brasil, do entrudo à profissionalização do carnaval na capital do país, com o enfoque para a Micarême de Laranjeiras/SE Brasil, nas décadas de 1930/1945, período de surgimento e estruturação da festa carnavalesca na cidade, e a partir dessa festa, entender quanto o carnaval carioca e sua profissionalização influenciou a criação da Micarême. A Micarême de Laranjeiras/SE configura-se então como uma festa carnavalesca que ocorre desde 1930, surgindo a partir de times de futebol da cidade, e com a influência das manifestações culturais existentes no município de Laranjeiras. Entender como as políticas de governo de Getúlio Vargas, que utilizou-se não só do carnaval, mas também do rádio e do futebol, na tentativa de uma construção de uma identidade nacional interferiu na Festa configura-se no objetivo primordial dessa pesquisa.

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.

Esta dissertação apresenta as principais transformações institucionais, estéticas e musicais das escolas de samba da cidade de São Paulo entre 1968 e 1996. O corte cronológico inicial se justifica a partir da oficialização do concurso de cordões carnavalescos e das escolas de samba pela prefeitura da cidade, em 1968, que introduziu novas regras que modificaram a estrutura dos desfiles, contribuindo para a extinção dos cordões nos bairros da cidade. Já o corte final é justificado pelas transformações ocorridas na década de 1990, quando os desfiles deixam o espaço público da rua e passam a acontecer em um espaço construído exclusivamente para esse fim, o Sambódromo. A pesquisa histórica se dá reconstruindo a atuação das duas principais federações carnavalescas da cidade de São Paulo: a União das Escolas de Samba Paulistanas (UESP), fundada em 1973 com o objetivo de reunir as escolas de samba e blocos carnavalescos e representá-las junto ao poder público, e a Liga Independente das Escolas de Samba de São Paulo (Liga), fundada em 1986 a partir de membros descontentes com a atuação da UESP e que representa as escolas de samba do Grupo Especial e Grupo de Acesso. / This masters degree dissertation presents the main institutional, aesthetic and musical changes of samba schools of São Paulo between 1968 and 1996. The initial chronological mark is justified starting from the official street carnival contests and samba schools organized by the City Hall in 1968, which introduced new rules that changed the structure of the parades and contributed to the extinction of the street carnival in city districts. The final period is presented by the changes occurred from 1991 on when the parades moved from street public space to an area built strategically for this purpose, the Sambadrome. The historical research is done assessing the performance of two main carnival representative institutions of São Paulo city: the UESP (Union of Paulistanas Samba Schools) founded in 1973 with the goal of bringing together the samba schools and the street carnival blocks and representing them before the government, and LIGA (Independent League of Samba Schools of São Paulo), which was founded in 1986 by members that were unhappy about the performance of the UESP, whose objective is to represent the samba schools of the Special Group and the Access Group.

Orientador: Etienne Ghislain Samain / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-22T21:04:38Z (GMT). No. of bitstreams: 1 Senatore_PaulaMarchini_M.pdf: 5270970 bytes, checksum: 5f5ea6784140e1b19c455abb1c27aece (MD5) Previous issue date: 2013 / Gloriosa, de Arthur Omar, que nos apresenta 161 imagens de rostos brasileiros em situação de êxtase carnavalesco, as quais correspondem a um projeto muito particular de execução de uma nova ciência, marcada por uma forte presença do sujeito. Tal presença é visível no método bastante subjetivo de criação dessa antropologia, que satura não apenas a imagem quanto o discurso. Para entender os procedimentos de composição dessa proposição estético-científica, estudam-se, primeiramente, conceitos relativos à percepção dionisíaca do mundo e sua relação com a percepção apolínea e, num segundo momento, conceitos artísticos e antropológicos que se relacionam com o carnaval enquanto manifestação estética e cultural. Esse percurso teórico ampara a interpretação de que a matéria discursiva e fotográfica é moldada em harmonia com relação ao aspecto temático abordado na Antropologia da Face Gloriosa, em que Apolo e Dionísio tramam, entre luz e sombras, a expressão do ethos brasileiro / Abstract: The aim of this research is to make an interpretation of the book Anthropology of the Glorious Face, written by Arthur Omar. This book presents 161 images of faces in a situation of Brazilian Carnival Ecstasy, which correspond to a very special project for the implementation of a new science, marked by a strong presence of the subjectivity. Such a presence is visible in the method of creating this very subjective anthropology, which saturates the image and the discourse. To understand the compositional procedures of this aesthetic-scientific method, it will be studied Dionysian concepts related to the perception of the world and its relation to Apollonian concepts. It will be studied as well artistic and anthropological concepts that are related to the carnival as a cultural and aesthetic expression. This theoretical path supports the interpretation that the image and the discourse levels are made in harmony with the thematic aspect addressed in the Anthropology of the Glorious Face, in which Apollo and Dionysus plot, between light and shadows, the expression of brazilian ethos / Mestrado / Multimeios / Mestra em Multimeios

Submitted by Maria Teresa Guilhon M. de Barros (teresa@oinstituto.org.br) on 2013-05-31T23:19:15Z No. of bitstreams: 1 RelatorioFinal_TeresaGuilhon.pdf: 3758475 bytes, checksum: 0363e8c142a5df1587cdd94f0cda00d9 (MD5) / Approved for entry into archive by Rafael Aguiar (rafael.aguiar@fgv.br) on 2013-08-08T13:40:29Z (GMT) No. of bitstreams: 1 RelatorioFinal_TeresaGuilhon.pdf: 3758475 bytes, checksum: 0363e8c142a5df1587cdd94f0cda00d9 (MD5) / Approved for entry into archive by Marcia Bacha (marcia.bacha@fgv.br) on 2013-08-09T18:53:59Z (GMT) No. of bitstreams: 1 RelatorioFinal_TeresaGuilhon.pdf: 3758475 bytes, checksum: 0363e8c142a5df1587cdd94f0cda00d9 (MD5) / Made available in DSpace on 2013-08-09T18:54:37Z (GMT). No. of bitstreams: 1 RelatorioFinal_TeresaGuilhon.pdf: 3758475 bytes, checksum: 0363e8c142a5df1587cdd94f0cda00d9 (MD5) Previous issue date: 2013-04-12 / The focus of this work is the design creation and development of a prototype virtual space that gathers and organize s information about the Street C arnival in Rio. The Carnival celebration in the streets of Rio de Janeiro, despite being an old tradition of the city, went trough a process of expansion and restructuring, during the past twenty years, coming to the present day, in which the party mobilizes millions of revelers. The contemporary gropu s were founded in the mid 1980s, and than shared symbols and values related to identity Rio, the Brazilianness and cultural resistance, dealing with a world of enormous wealth, which speaks directly to the urban development and the political context, and touches issues such as globalization, consumption, circulation, social inclusion, citizenship, among others. Register the memory of that moment of rediscovery and contribute to raising research sources connected to this 'new' Street Carnival, were the mai n motivations for research. / O foco deste trabalho é o projeto de criação e desenvolvimento do protótipo de um espaço virtual que reúne e organiza informações sobre o Carnaval de rua carioca. A celebração do Carnaval nas ruas do Rio de Janeiro, apesar de ser uma antiga tradição da cidade, passou, nos últimos vinte anos, por um processo de expansão e reestruturação, chegando aos dias atuais, em que a festa mobiliza milhões de foliões. Os blocos fundados em meados de 1980, e principalmente nos anos 1990 compartilharam símbolos e valores ligados à identidade carioca, à brasilidade e à resistência cultural, lidando com um universo de enorme riqueza, que dialoga com a evolução urbana, o contexto político, além de questões como globalização, consumo, circulação, inclusão, cidadania, memória, entre outros. Registrar a memória desse momento de redescoberta e contribuir para o levantamento de fontes de pesquisa ligadas a esse 'novo' Carnaval de rua, foram as principais motivações que levaram à investigação.

Submitted by Programa de Pós-Graduação em Mídia e Cotidiano (ppgmc@vm.uff.br) on 2017-05-09T18:42:56Z No. of bitstreams: 1 Texto para a defesa da dissertação_vf_alterada_p_mim_erafael_.pdf: 2778682 bytes, checksum: 9db47196688b5756ef01086b5bad6344 (MD5) / Approved for entry into archive by Josimara Dias Brumatti (bcgdigital@ndc.uff.br) on 2017-06-01T15:07:18Z (GMT) No. of bitstreams: 1 Texto para a defesa da dissertação_vf_alterada_p_mim_erafael_.pdf: 2778682 bytes, checksum: 9db47196688b5756ef01086b5bad6344 (MD5) / Made available in DSpace on 2017-06-01T15:07:18Z (GMT). No. of bitstreams: 1 Texto para a defesa da dissertação_vf_alterada_p_mim_erafael_.pdf: 2778682 bytes, checksum: 9db47196688b5756ef01086b5bad6344 (MD5) / A proposta da dissertação é compreender o atual formato de transmissões online dos desfiles das escolas de samba do carnaval no Sambódromo do Rio de Janeiro, levando em consideração as novas formas de apropriação por parte dos espectadores, ou seja, como o grande público interage com a transmissão no ambiente das redes sociais pós-advento da Web 2.0. Nesse âmbito, busca-se entender quais são as novas produções de sentido configuradas pelo percurso tecnológico, propagado pela internet, onde os usuários que utilizam tais plataformas se tornaram participantes ativos no processo de construção e apropriação do conteúdo midiático. Observa-se a pertinência da hipótese de que as transmissões colaborativas pelas redes sociais digitais surgem como uma ferramenta de interação das transmissões televisivas do Sambódromo, em tempo real, por haver manifestação direta do espectador no momento da transmissão e as opiniões, interações (cliques, compartilhamentos, curtidas, etc.), que podem influenciar a cobertura do evento. Neste sentido, trabalha-se a questão da interação entre público (usuários das redes sociais) e produtor (empresa) com a transmissão do carnaval no Sambódromo, na configuração que se estabelece a partir das transmissões colaborativas. O carnaval – enquanto movimento genérico – faz parte do cotidiano da cultura brasileira e entender o momento atual pelo viés das transmissões colaborativas das redes sociais pode demonstrar que tipo de relação cotidiana os brasileiros possuem atualmente com essa festa popular na ambiência midiática. Além do percurso bibliográfico, realizamos análise das redes sociais (ARS), em recorte específico segundo os dias de transmissão do carnaval, enquete com os usuários das redes sociais e entrevista em profundidade com os representantes do portal G1. / The purpose of the dissertation is to understand the current online broadcasting format of the parades of Carnival samba schools in the Sambadrome in Rio de Janeiro, taking into account new forms of appropriation by the spectators, that is how the public interacts with the transmission in the post-advent of Web 2.0 social networking environment. In this context, we seek to understand what the new productions of meaning set by the technological route, propagated by the Internet, where users that use such platforms have become active participants in the process of construction and appropriation of media content. Note the relevance of the hypothesis that the collaborative broadcasts by digital social networks emerge as an interaction tool of television broadcasts from the Sambadrome, in real time, there is a direct manifestation of the viewer at the time of transmission and opinions, interactions (clicks, shares, tanned, etc.) that can influence the coverage of the event. In this sense, it work’s the question of interaction between public (users of social networks) and producer (company) with the transmission of Carnival at the Sambadrome, in the configuration that is established from collaborative transmissions. The Carnival - while a general movement - is part of the Brazilian daily culture and to understand the current moment by the bias of collaborative transmission of social networks can to demonstrate what kind of daily relationship Brazilians currently have with this popular party media ambiance. In addition to the bibliographic route, we perform analysis of social networks (ARS), in particular cut according to the day of transmission of the carnival, survey of users of social networks and interview in depth with representatives of the G1 portal.

Cette étude met en lumière la dimension carnavalesque telle que théorisée par Mikhaïl Bakhtine chez Rabelais dans le roman cubain contemporain (El arpa y la sombra d’Alejo Carpentier, Paradiso de José Lezama Lima, De donde son los cantantes de Severo Sarduy, Tres tristes tigres de Guillermo Cabrera Infante, El color del verano o Nuevo “Jardín de las Delicias” de Reinaldo Arenas, La piel y la máscara de Jesús Díaz). Il s’agira principalement de montrer comment les caractéristiques de « ce monde à l’envers » qui marque la « vision carnavalesque » proposée par le théoricien russe s’inscrivent dans l’écriture, tant dans l’intégration des codes du carnaval comme motifs littéraires que dans les techniques narratives employées. Dans une lecture dépassant le concept baroque associé jusqu’ici aux romans cubains de notre corpus, nous envisageons la résurgence de traditions populaires anciennes de la fête carnavalesque, le mélange entre hommage et irrévérence, sacralisation et désacralisation, comme le symptôme d’une crise du sujet cubain, l’expression postmoderne du rejet des idoles en même temps que la manifestation d’un désir profond de retrouver une liberté provisoire dans la représentation littéraire carnavalisée et de se plonger dans l’âge d’or célébré par la fête. / This study sets out the Bakhtine “carnival dimension” in the Cuban contemporary novel (El arpa y la sombra by Alejo Carpentier, Paradiso by José Lezama Lima, De donde son los cantantes by Severo Sarduy, Tres tristes tigres by Guillermo Cabrera Infante, El color del verano o Nuevo “Jardín de las Delicias” by Reinaldo Arenas, La piel y la máscara by Jesús Díaz). Our main concern is to demonstrate that “upside down world characteristics” that fixe the “carnavalesque vision” proposed by the Russian theorist is part of the writing in the integration of the carnival’s codes both as literary themes as narrative techniques. In a reading exceeding the baroque concept associated up to now with the Cuban novels of our corpus, we envisage the resurgence of the carnival’s former popular traditions, the mixture between tribute and irreverence, sacralization and deconsecration, as the symptom of the Cuban subject’s crisis, the postmodern expression of the rejection of the idols at the same time as the demonstration of a deep desire to recover a temporary freedom in the carnivalized literary representation and to plunge into a golden age celebrated by the carnival.

Dans les romans et nouvelles d’Earl Lovelace, l'île de Trinidad se trouve aux confluents de systèmes antagonistes, branlés par la récente décolonisation. Les forces civiles et religieuses, piliers de l’organisation sociétale, ne peuvent échapper aux dynamiques de transmutation et d’adaptation. Ainsi, dans un contexte de sécularisation et de politisation croissante, le religieux se voit obligé d’écarter toute tendance autarcique, s’il veut triompher de la tentative d’annexion par le politique. Un conflit, dont l’enjeu n’est autre que la survie de l’individu, est dès lors engagé. Cette thèse se propose d’explorer les relations de rivalité et d’usurpation entre pouvoirs civils et religieux de même que l’issue du dépassement de cette dichotomie au sein de la Caraïbe lovelacienne. En d’autres termes, le politique dans la fiction de Lovelace détruit-il le religieux ou fait-il corps avec lui afin que s’opère le passage d’une politique condamnable à une foi praxis de libération ? / In his novels and short stories, Earl Lovelace describes the island of Trinidad as caught in the ebb and flow of two antagonistic systems of thought, both shattered in the event of a sudden decolonisation. Religion and politics, the corner stones of social architecture, have no choice but to undergo changes in view of adaptation. Facing a background of secularisation and growing political consciousness, religion is compelled to lay aside its selfsufficiency to avoid being overthrown by the body politics. As a consequence, a struggle, in which the survival of individuals is at stake, ensues. This thesis offers to explore the rivalries between the religious and political bodies as well as the ability of Lovelace’s fictional Caribbean to overcome this dichotomy. In other words, in Lovelace’s work does polity annihilate religion or act in accordance with it to achieve a move from unworthy politics to a faith aiming at liberation?