Dos Estados Unidos da América, o movimento denominado \"contracultura\" se propagou, nos anos sessenta do século XX, para diversos países, entre os quais o Brasil. Em meio à repressão imposta pelo regime militar, sobretudo a partir do AI-5, de dezembro de 1968, o ideário libertário da contracultura foi discutido por Luiz Carlos Maciel na coluna Underground de O Pasquim. Este trabalho analisa as motivações do movimento contracultural internacional e sua introdução no Brasil em um período marcado por fortes rivalidades políticas e ideológicas. Questiona, com base no discurso do autor acima citado, se a concepção de liberdade proposta pelo movimento é, como defende a crítica, mera expressão de escapismo hedonista ou efetivamente revolucionária. Investiga as origens históricas desse ideário, o qual é identificado como uma resposta à emergência do capitalismo e do cientificismo. / In the 1960s, a movement named counterculture spread out from the United States of America over many other countries in the world, including Brazil. Along with the repression imposed by the Brazilian military regime - mainly just after AI-5 - the set of libertarian doctrines of the counterculture started being discussed by Luiz Carlos Maciel in his column called \"Underground\" in the weekly newspaper O Pasquim. This study goes through the motivations of the international countercultural movement and its introduction into Brazil in a period distinguished by severe political and ideological rivalries. Furthermore, based on Maciel´s viewpoints, the text raises questions whether the concept of freedom proposed by the movement is either a simple expression of a hedonistic escapism - as defended by the critics - or actually revolutionary. The text also investigates the historical origins of these doctrines which are identified as an answer to the rise of both the capitalism and the scientificism.

Este trabalho tem como proposta central investigar as aproximações e os distanciamentos, as semelhanças e as diferenças entre dois campos de atuação: a história e o jornalismo. Embora tenham especificidades e características muito próprias, os dois ofícios dividem algumas práticas em comum, entre elas contar histórias. O que se propõe aqui é um debate teórico e uma interpretação da escrita da história protagonizada por jornalistas. Os quatro volumes da série As ilusões armadas, publicados entre 2002 e 2004 pelo jornalista brasileiro Elio Gaspari, funcionam como um pano de fundo para discutir alguns conceitos-chave da história e do jornalismo, como fato histórico e notícia, entrevista e fontes orais, a crítica da fonte, além de debater a escrita da história, especialmente quando ela é executada por repórteres que se valem das técnicas jornalísticas para construir obras de maior fôlego, a partir de temas, momentos e personagens históricos. Para compor os quatro capítulos, foram fundamentais os textos de autores que pensam sobre a história a partir de reflexões teóricas, como Paul Ricoeur, François Hartog, Jörn Rüsen e Reinhart Koselleck, além dos trabalhos produzidos no Institut d´Histoire du Temps Présent (IHTP). Entre os teóricos do jornalismo, as pesquisas de Nelson Traquina e Luiz Gonzaga Motta balizaram as discussões em torno da notícia e da pretensa objetividade jornalística. Na primeira parte, a tese de Tobias Peucer (1690) foi ponto de partida para as (antigas) relações entre história e jornalismo. O capítulo seguinte trata do conceito de notícia, do fato histórico e de como esses dois temas aparecem nos livros de Gaspari. O terceiro capítulo analisa como o jornalista se apropria das fontes, unindo técnicas da história e do jornalismo para construir o texto. As estratégias de escrita do autor estão apresentadas no quarto e último capítulo, mescladas com discussões teóricas e metodológicas a respeito da escrita da história. Gaspari escreve livros históricos com técnicas da reportagem e do jornalismo e, assim, compõe uma produção classificada neste tese como “híbrida”. / This paper has the objective of investigating the approach and gaps, the possibilities and differences, between two action fields: History and journalism. Tough having their very own characteristics and specifications, the two occupations share a few practices, and telling stories is one of them. The purpose here is a theoric debate and an interpretation on the historic writing performed by journalists. The four volumes of "As Ilusões Armadas", published between 2002 and 2004 by Brazilian journalist Elio Gaspari, work like a background for discussing key-concepts of journalism and history, as both historic fact and news, interview and oral source, the critic on the source, and also debating the writing of history, specially when carried out by reporters who make use of journalism technics to build more breathtaking texts, from themes, moments, and historic characters. For making the four chapters, texts from authors that think about history from theoretical reflections, like Paul Ricoeur, François Hartog, Jörn Rüsen and Reinhart Koselleck, as well as papers produced at Institut d'Histoire du Temps Présent (IHTP). Between theoreticals of journalism, the researches of Nelson Traquina and Luiz Gonzaga Motta guided the discussions about news and the alleged journalistic objectivity. In the first part, Tobias Peucer's thesis (1690) served as a starting point for the (old) correlations between history and journalism. The following chapter deals with the concept of news, the historic fact and how these two themes are shown in Gaspari's books. The third chapter analyses how the journalist appropriates the used sources, and joins history and journalism technics to write a text. The author's writing strategies are introduced in the fourth and last chapter, mixed with theoretical and methodological discussions about the writing through history. Gaspari writes historical books using journalistic technics, creating an hybrid text.

Dos Estados Unidos da América, o movimento denominado \"contracultura\" se propagou, nos anos sessenta do século XX, para diversos países, entre os quais o Brasil. Em meio à repressão imposta pelo regime militar, sobretudo a partir do AI-5, de dezembro de 1968, o ideário libertário da contracultura foi discutido por Luiz Carlos Maciel na coluna Underground de O Pasquim. Este trabalho analisa as motivações do movimento contracultural internacional e sua introdução no Brasil em um período marcado por fortes rivalidades políticas e ideológicas. Questiona, com base no discurso do autor acima citado, se a concepção de liberdade proposta pelo movimento é, como defende a crítica, mera expressão de escapismo hedonista ou efetivamente revolucionária. Investiga as origens históricas desse ideário, o qual é identificado como uma resposta à emergência do capitalismo e do cientificismo. / In the 1960s, a movement named counterculture spread out from the United States of America over many other countries in the world, including Brazil. Along with the repression imposed by the Brazilian military regime - mainly just after AI-5 - the set of libertarian doctrines of the counterculture started being discussed by Luiz Carlos Maciel in his column called \"Underground\" in the weekly newspaper O Pasquim. This study goes through the motivations of the international countercultural movement and its introduction into Brazil in a period distinguished by severe political and ideological rivalries. Furthermore, based on Maciel´s viewpoints, the text raises questions whether the concept of freedom proposed by the movement is either a simple expression of a hedonistic escapism - as defended by the critics - or actually revolutionary. The text also investigates the historical origins of these doctrines which are identified as an answer to the rise of both the capitalism and the scientificism.

La thèse démontre l’impact du théâtre de Krejča sur l’évolution de l’art dramatique belge francophone. Elle scinde l’activité théâtrale de Krejča en Belgique en deux parties, chacune placée sous le sceau d’une réalité politique différente. La première correspond à un moment de détente dans le paysage politique tchécoslovaque et débute avant la création du Divadlo za branou. Assimilée à la seconde avant-garde théâtrale tchèque, elle inaugure aussi la série de succès internationaux de Krejča dans des pays non socialistes. La seconde période survient après la liquidation du Divadlo za branou par les autorités communistes tchécoslovaques et après le départ de Krejča en semi exil. Théâtralement, la Belgique francophone est alors en pleine émulation, qui s’observe notamment dans les propositions artistiques du « Jeune théâtre » (1976-1986). L’arrivée de Krejča, dans les années 1960, sur la scène du Théâtre National de Belgique s’inscrit dans la dynamique des échanges théâtraux européens et dans une volonté diplomatique de rapprochement entre la Tchécoslovaquie et la Belgique. La thèse insiste sur ces rencontres entre les artistes belges francophones et les artistes internationaux car elles jouent un rôle fondamental, auquel prend part Krejča, dans l’histoire du théâtre belge de langue française. Fort de sa réappropriation de la tradition théâtrale tchèque et des concepts de Stanislavskij, Krejča est l’un des premiers à apporter en Belgique francophone un regard dépassant la dimension représentationnelle de la première lecture du texte et à proposer une alternative au manque laissé par le retard de l’avant-garde théâtrale belge francophone. Sa poétique, principalement influencée par le théâtre atelier d’E.F. Burian, le théâtre poétique de Frejka, le civilisme d’Hilar, les théories préfigurant la sémiologie théâtrale initiée par l’école de Prague et par les développements du « Mchat », rencontre un accueil mitigé parmi les journalistes polygraphes mais ne manque pas d’impressionner certains animateurs de la scène théâtrale belge à l’instar de Janine Patrick ou de Marc Liebens. Aussi trouve-t-elle notamment un prolongement dans le Théâtre du Parvis. La thèse situe l’apport le plus évident de la poétique krejčaïenne en Belgique francophone dans le traitement dramaturgique, polyphonique et préfigurant le théâtre postdramatique, que le metteur en scène propose. A Louvain-la-Neuve, c’est à nouveau la puissance de la tradition tchèque et la conviction philosophique de Krejča qui impressionnent ses collaborateurs et se déclinent à travers les excroissances théâtrales francophones belges dont la plus manifeste est une expérience théâtrale, toujours en cours aujourd’hui : le théâtre de l’Éveil. La dissertation délimite d’abord les spécificités de la poétique théâtrale de Krejča, puis, après une analyse des mises en scène de Krejča, elle retrace et détaille les diverses formes sous lesquelles son esthétique se manifeste : transmission d’un héritage théâtral (avant-garde historique tchèque, sémiologie théâtrale développée par l’Ecole de Prague) et littéraire (mise à l’honneur de Schnitzler et de Nestroy), prolongement de la recherche théâtrale jusqu’à l’approche postdramatique (révélation de la dramaticité des pièces de Tchékhov, importation du théâtre musical), regards dramaturgique et philosophique, écriture dramatique (influence sur l’écriture d'auteurs dramatiques, Krejča-personnage dans des pièces d’acteur)… / The thesis focuses on Czech theatre from first avant-garde to second avant-garde; mainly it is focusing on Otomar Krejča’s theatre and its relationship with Belgian theatre within the second Czech avant-garde theatre to the end of the Normalization. Krejča worked an intensive part of his artistic life in Belgium. His Belgian theatrical activity can be divided into two distinct periods. The first one was coinciding with the foundation of his “Theatre Beyond the Gate” (Divadlo za branou) in Prague in 1965 and took place in the Belgian National Theatre in Brussels. Those years were squaring with Czechoslovakian destalinization and were particularly productive in the artistic field. In Brussels Krejča directed four plays: in 1965, Hamlet, in 1966, The Seagull, in 1970, Three Sisters, in 1978, Romeo and Juliet. The first three plays occurred before the Normalization and his departure in specific exile. The last one marked the beginning of his second period in Belgium, closely bound to Louvain-la-Neuve city. The two following Krejča’s productions were first created for the Festival d’Avignon: in 1978, Waiting for Godot and Lorenzaccio in 1979, before being performed at Atelier théâtral Jean Vilar in Louvain-La-Neuve. The three following plays were the last of Krejča’s Belgian works: Three Sisters in 1980, A. Schnitzler’s The Green Cockatoo in 1981 and Dostoevsky’s The Possessed adapted by Krejča himself in 1982. In Belgium, the reception of his plays was mitigated. Duality between critics can be explained by Krejča’s new regard on plays, by Krejča’s use of dramaturgy. Krejča’s productions in Belgium were innovating because through dramaturgy they paved the way for something new : it was the end of a romantic Hamlet in the Shakespearian tradition and the end of Pitoëff’s aesthetic in Chechov’s productions. Krejča’s work of art, impregnated by Czech tradition theatre of avant-garde, influenced his Belgian collaborators. Krejča was influenced by leaders in Czech first avant-garde theatre such as Burian, Frejka, theatrical theory of Honzl and Hilar’s theatre conception. When Krejča started to work in Belgium, the country was undergoing a theatrical revolution. At the end of the 1960s, French-speaking Belgium lived at the rhythm of its first avant-garde in staging. According to me, this fact is the main explanation to Krejča’s significance in French-speaking Belgium. Thanks to Krejča’s Belgian productions, a part of the first Czech theatrical avant-garde and the second Czech theatrical avant-garde penetrated in Belgium. All of Krejča’s concepts (human beings, ethic of responsibility, importance of dramaturgy, personal appropriation of Stanislavski’s approach) slowly instilled French-speaking Belgian theatrical life. Sure an evident mark of continuity of his aesthetic cannot be seen in the long time, nevertheless Krejča’s influence was considerable and briefly materialized in many fields. It is obviously still vivid in the way some actors play, feel and teach theatre.

This doctoral thesis deals with the intellectual biography of the writer and journalist Manuel Brunet (Vic, 1889, Figueres, 1956). It reconstructs the life and professional studies of the author, and the most important facets of his literature and journalism. In addition, it examines his literary texts. A special emphasis has been placed on the study of journalistic production of Brunet and on the analysis of the professional profile of the author. Examination and assessment of its production has been accurate, including a classification of the items and a comparison of his journalistic style with that of other contemporary authors, both Catalan (Josep Pla and Joseph M. de Sagarra), French (Charles Maurras and Léon Daudet) and English (GK Chesterton and Hilaire Belloc). The latter part of the work analysises the condition of "victor won" of Manuel Brunet after the Spanish Civil War, and how this author is an example of a whole generation of conservative Catalan nationalist witers who lived a difficult situation after the conflict. / Aquesta tesi doctoral aborda la biografia intel•lectual de l’escriptor i periodista Manuel Brunet (Vic, 1889-Figueres 1956). Reconstrueix la trajectòria vital i professional de l’autor i estudia les facetes més rellevants de la seva producció literària i periodística. A més s’hi analitzen els seus textos literaris. S’ha posat especial èmfasi en l’estudi de la producció periodística de Brunet, així com en l’anàlisi del perfil professional de l’autor. L’examen i valoració de la seva producció ha estat detinguda, amb l’agrupació dels articles per àmbits temàtics i la comparació del seu estil amb el d’altres autors contemporanis, tant catalans (Josep Pla i Josep M. de Sagarra) com francesos (Charles Maurras i Léon Daudet) i anglesos (G. K. Chesterton i Hilaire Belloc). A l’última part del treball, s’aborda l’anàlisi de la condició de “vencedor vençut” de Manuel Brunet després de la guerra, i la forma com aquest autor és exemple de tota una generació d’escriptors catalanistes conservadors que van viure una situació complicada després del conflicte.

El objeto de esta investigación es visibilizar la presencia femenina en las dinámicas de cambio social acaecidas en las islas occidentales del Archipiélago Canario durante la II República, la Guerra Civil y la dictadura franquista. El presente trabajo inicia el camino para cubrir un vacío en la historia reciente de nuestras islas: la presencia histórica de las mujeres durante la Segunda República y la Dictadura franquista, ya que los estudios feministas y de género sobre estas cuestiones son, en las islas, todavía muy escasos y además parciales al tratar sobre cuestiones muy diversas, de manera que el conocimiento sobre la labor de las mujeres de la provincia de Santa Cruz de Tenerife en este periodo histórico no había sido tratado de manera general. Nuestra investigación abarca tanto la construcción socio-cultural de los diferentes modelos de feminidad existentes en Canarias en el periodo estudiado como el modo de comprender el impacto de las dinámicas políticas, sociales y económicas en la concepción social de la mujer canaria. Profundizando en algunos aspectos más específicos y determinantes en la vida cotidiana de la población femenina; aspectos como la violencia de género, la presencia de las mujeres en el ámbito laboral, la religiosidad, la educación, etc. Gracias a estos elementos analizados se pueden establecer diferentes parámetros que explican las ideas de feminidad existentes en las islas, las modificaciones que sufren y las actuaciones socio-políticas más destacadas de las mujeres isleñas en las etapas históricas estudiadas. Algunos de los parámetros destacados en el estudio fueron: el alto índice de analfabetismo, la existencia de una rígida moral sexual frente a la supervivencia de determinadas conductas culturalmente más laxas en lo referente al sexo fuera del matrimonio, el aumento de la presión social y moral al imponerse el ultracatolicismo de la España franquista, el machismo confrontado con la emigración masiva de hombres a América Latina, la infravaloración del trabajo de las isleñas, la de la participación activa de las mujeres en las revueltas sociales en la etapa republicana, la destrucción tras el golpe de estado del 18 de julio de los logros alcanzados por las mujeres durante la República, la represión sistemática a las mujeres que cuestionaban el orden político o social impuesto por las fuerzas franquistas, etc. Este trabajo se divide en dos grandes etapas: la II República y su impacto entre las mujeres de las islas (realizamos un análisis comparando cuatro tipologías ideales que representan cuatro maneras de entender la feminidad: mujeres modernas, obreras, católicas y falangistas) y la dictadura franquista desde el golpe militar del 36, momento en que se configura el nuevo régimen en el archipiélago. Para completar la realidad femenina del periodo histórico investigado se estudia a aquellas mujeres que quedaron al margen en su paso por la prisión provincial de Santa Cruz de Tenerife. Para la elaboración del presente trabajo de investigación se han consultado diversos archivos y fuentes: el Archivo Histórico Provincial de Santa Cruz de Tenerife (fondo de la Sección Femenina, expedientes de reclusas de la prisión provincial, series del Gobierno Civil, expedientes del Tribunal de Represión de la Masonería y el Comunismo, etc.) / Thesis title: WOMEN AND SOCIAL CHANGE IN THE PROVINCE OF SANTA CRUZ DE TENERIFE.1931-1975. HOUSEWIVES, COMRADES AND MARGINALIZED. The purpose of this research is to demonstrate the presence of women in the dynamics of social change that occurred in the western islands of the Canary Archipelago during the Second Republic, the Civil War and the Francoist dictatorship. We studied the presence of women in the province of Santa Cruz de Tenerife between 1931 and 1975. There are two main stages: in the first place the Second Republic, and its impact among women in the islands (performing an analysis comparing four ideal types representing four understandings of femininity, modem women, working c1ass, Catholics and Falangists) and in the second place the Francoist dictatorship since the military coup of 36, at which time the new regime is set in the archipelago (studying women's participation in various associations, standing out one called Sección Femenina). To complete the feminine reality of the studied historical period, we investigated women who were marginalized (government opponents, prostitutes, etc.) on their way through the provincial prison of Santa Cruz de Tenerife. Special attention is paid to the socioeconomic asymmetries existing in the Canary Islands population of the first half of the twentieth century, to understand the reality of multiple and variable inequalities faced by the island women in this historical period, characterized by profound social conflicts and major changes within the sphere of politics, economics and socio-culture. It also discusses the presence of women at different social classes, the development of patriarchy within a chieftainship system and increasingly repressive (especially after the military uprising of 1936) and, therefore, the inequality and violence of a kind on another, exercising their power of repression and domination over all the women. For the preparation of this research have been consulted various sources in the Provincial Historic Archive of Santa Cruz de Tenerife (collection of the "Sección Femenina", records of inmates in the provincial prison, series of civil government, court records for the Repression of Freemasonry and Communism, etc..) municipal and parish archives, insular press, and so on.

Submitted by Felipe Torquato (felipe.torquato@fgv.br) on 2010-01-08T15:35:18Z No. of bitstreams: 1 CPDOC2009SilvaArmandoDunduro.pdf: 1012190 bytes, checksum: e6eccf9e451be03c57649690d1bd10e9 (MD5) / Made available in DSpace on 2010-01-08T15:44:48Z (GMT). No. of bitstreams: 1 CPDOC2009SilvaArmandoDunduro.pdf: 1012190 bytes, checksum: e6eccf9e451be03c57649690d1bd10e9 (MD5) / The main goal of this dissertation is to propose the creation of a Center of Research and Documentation of Oral History and Social Sciences in the city of Beira, Mozambique. It is intended that the Center will be encharged of promoting projects related to the constitution of a set of collections with historical and documental contents, that will be able to contribute to the development of academic research and the valorization of Mozambican history and culture. The Center will have the oral history as its main methodological research tool. The collections, that will be formed based upon different projects, will be the result of interviews, recorded with actors who come from different social strata, all of them directly envolved in important events of Mozanbican recent history. These interviews should be available at the Center, altogether with other kinds of sources, gathered and organized with the objective of constituting a reference center related to the Mozanbique’s contemporary history. All the Center activities will be supported by projects of teams’ qualification. In this sense, the Center will have to deal with two basic fields: the research, production, preservation and diffusion of sources to the national contemporary history; and the didactic-pedagogical support to the different levels of learnship process. / A presente dissertação tem como objetivo central propor a criação do Centro de Pesquisa e Documentação de História Oral e Ciencias Sociais na cidade da Beira, em Moçambique. Pretende-se, com o Centro, promover projetos que possibilitem a constituição de acervos de caráter histórico e documental, contribuindo, assim, para o desenvolvimento da pesquisa acadêmica e para a valorização da história e da cultura Moçambicanas. O Centro terá como principal ferramenta metodológica de pesquisa a história oral. O acervo a ser constituído no contexto de distintos projetos resultará, portanto, de entrevistas gravadas com atores de diferentes extratos sociais, todos eles participantes diretos de eventos relevantes da história recente de Moçambique. Essas entrevistas deverão estar disponíveis, no Centro, juntamente com outros tipos de fontes, coletadas e organizadas com o objetivo de constituir um centro de referência sobre a história contemporanea do país. Toda a atividade do Centro será acompanhada de projetos de qualificação de equipes. Neste sentido, o Centro terá de lidar com dois importantes campos: a pesquisa, produção, preservação e difusão de fontes para a história contemporânea; e o apoio didático-pedagógico aos diversos níveis do processo de aprendizagem.

Este trabalho tem como proposta central investigar as aproximações e os distanciamentos, as semelhanças e as diferenças entre dois campos de atuação: a história e o jornalismo. Embora tenham especificidades e características muito próprias, os dois ofícios dividem algumas práticas em comum, entre elas contar histórias. O que se propõe aqui é um debate teórico e uma interpretação da escrita da história protagonizada por jornalistas. Os quatro volumes da série As ilusões armadas, publicados entre 2002 e 2004 pelo jornalista brasileiro Elio Gaspari, funcionam como um pano de fundo para discutir alguns conceitos-chave da história e do jornalismo, como fato histórico e notícia, entrevista e fontes orais, a crítica da fonte, além de debater a escrita da história, especialmente quando ela é executada por repórteres que se valem das técnicas jornalísticas para construir obras de maior fôlego, a partir de temas, momentos e personagens históricos. Para compor os quatro capítulos, foram fundamentais os textos de autores que pensam sobre a história a partir de reflexões teóricas, como Paul Ricoeur, François Hartog, Jörn Rüsen e Reinhart Koselleck, além dos trabalhos produzidos no Institut d´Histoire du Temps Présent (IHTP). Entre os teóricos do jornalismo, as pesquisas de Nelson Traquina e Luiz Gonzaga Motta balizaram as discussões em torno da notícia e da pretensa objetividade jornalística. Na primeira parte, a tese de Tobias Peucer (1690) foi ponto de partida para as (antigas) relações entre história e jornalismo. O capítulo seguinte trata do conceito de notícia, do fato histórico e de como esses dois temas aparecem nos livros de Gaspari. O terceiro capítulo analisa como o jornalista se apropria das fontes, unindo técnicas da história e do jornalismo para construir o texto. As estratégias de escrita do autor estão apresentadas no quarto e último capítulo, mescladas com discussões teóricas e metodológicas a respeito da escrita da história. Gaspari escreve livros históricos com técnicas da reportagem e do jornalismo e, assim, compõe uma produção classificada neste tese como “híbrida”. / This paper has the objective of investigating the approach and gaps, the possibilities and differences, between two action fields: History and journalism. Tough having their very own characteristics and specifications, the two occupations share a few practices, and telling stories is one of them. The purpose here is a theoric debate and an interpretation on the historic writing performed by journalists. The four volumes of "As Ilusões Armadas", published between 2002 and 2004 by Brazilian journalist Elio Gaspari, work like a background for discussing key-concepts of journalism and history, as both historic fact and news, interview and oral source, the critic on the source, and also debating the writing of history, specially when carried out by reporters who make use of journalism technics to build more breathtaking texts, from themes, moments, and historic characters. For making the four chapters, texts from authors that think about history from theoretical reflections, like Paul Ricoeur, François Hartog, Jörn Rüsen and Reinhart Koselleck, as well as papers produced at Institut d'Histoire du Temps Présent (IHTP). Between theoreticals of journalism, the researches of Nelson Traquina and Luiz Gonzaga Motta guided the discussions about news and the alleged journalistic objectivity. In the first part, Tobias Peucer's thesis (1690) served as a starting point for the (old) correlations between history and journalism. The following chapter deals with the concept of news, the historic fact and how these two themes are shown in Gaspari's books. The third chapter analyses how the journalist appropriates the used sources, and joins history and journalism technics to write a text. The author's writing strategies are introduced in the fourth and last chapter, mixed with theoretical and methodological discussions about the writing through history. Gaspari writes historical books using journalistic technics, creating an hybrid text.

Cette thèse retrace l’histoire de la biscuiterie Huntley and Palmers, implantée à Reading de 1841 à 1977. Elle étudie le développement de l’entreprise à travers ses successives innovations et modernisations, d’une firme familiale traditionnelle à une entreprise moderne qui finit absorbée par de plus grands groupes. Ce travail examine l’impact de ce géant de l’industrie biscuitière sur la société britannique et plus largement le monde à travers une étude de sa production alimentaire ainsi que de sa production visuelle, en mobilisant des éléments de culture matérielle des archives officielles de la firme ainsi que d’autres fonds originaux. La thèse étudie également en profondeur la question du paternalisme tel qu’il est pratiqué par Huntley and Palmers, afin de re-situer ces pratiques et l’idéologie qui les motive dans un contexte national. Elle évalue ces pratiques à l’aune des différentes variétés de paternalisme existantes et retrace l’évolution d’une forme de paternalisme typique du dix-neuvième siècle vers un « nouveau paternalisme » institutionnalisé puis un « post-paternalisme » propre aux entreprises modernes. Enfin, le travail porte un intérêt tout particulier à mêler la perspective des employeurs à celle des employés, afin de dépasser la vision de l’entreprise donnée par les archives officielles. / This thesis recounts the history of the Huntley and Palmers biscuit company, based in Reading from 1841 to 1977. It examines the development of the company through the successive innovations and modernisations, from the traditional family firm to the modern firm that would eventually be absorbed by larger groups. This work studies the impact of the biscuit giant on British society and on the world at large by a survey of its production, in terms of food as well as visual production, by using elements of material culture present in the company’s official archives as well as original collections. It also investigates the question of paternalism and paternalist practices at Huntley and Palmers’, so as to locate these measures and the ideology behind them in a national context. These practices are assessed in the light of the different varieties of paternalism and enable us to map the evolution from a typical nineteenth-century brand of paternalism towards institutionalised “new paternalism” followed by a form of “post-paternalism” characteristic of modern companies. Finally, the thesis lays emphasis on combining the employers’ perspective with that of the employees in order to go beyond the vision of the company that transpires from the official archives.

Este trabalho tem como proposta central investigar as aproximações e os distanciamentos, as semelhanças e as diferenças entre dois campos de atuação: a história e o jornalismo. Embora tenham especificidades e características muito próprias, os dois ofícios dividem algumas práticas em comum, entre elas contar histórias. O que se propõe aqui é um debate teórico e uma interpretação da escrita da história protagonizada por jornalistas. Os quatro volumes da série As ilusões armadas, publicados entre 2002 e 2004 pelo jornalista brasileiro Elio Gaspari, funcionam como um pano de fundo para discutir alguns conceitos-chave da história e do jornalismo, como fato histórico e notícia, entrevista e fontes orais, a crítica da fonte, além de debater a escrita da história, especialmente quando ela é executada por repórteres que se valem das técnicas jornalísticas para construir obras de maior fôlego, a partir de temas, momentos e personagens históricos. Para compor os quatro capítulos, foram fundamentais os textos de autores que pensam sobre a história a partir de reflexões teóricas, como Paul Ricoeur, François Hartog, Jörn Rüsen e Reinhart Koselleck, além dos trabalhos produzidos no Institut d´Histoire du Temps Présent (IHTP). Entre os teóricos do jornalismo, as pesquisas de Nelson Traquina e Luiz Gonzaga Motta balizaram as discussões em torno da notícia e da pretensa objetividade jornalística. Na primeira parte, a tese de Tobias Peucer (1690) foi ponto de partida para as (antigas) relações entre história e jornalismo. O capítulo seguinte trata do conceito de notícia, do fato histórico e de como esses dois temas aparecem nos livros de Gaspari. O terceiro capítulo analisa como o jornalista se apropria das fontes, unindo técnicas da história e do jornalismo para construir o texto. As estratégias de escrita do autor estão apresentadas no quarto e último capítulo, mescladas com discussões teóricas e metodológicas a respeito da escrita da história. Gaspari escreve livros históricos com técnicas da reportagem e do jornalismo e, assim, compõe uma produção classificada neste tese como “híbrida”. / This paper has the objective of investigating the approach and gaps, the possibilities and differences, between two action fields: History and journalism. Tough having their very own characteristics and specifications, the two occupations share a few practices, and telling stories is one of them. The purpose here is a theoric debate and an interpretation on the historic writing performed by journalists. The four volumes of "As Ilusões Armadas", published between 2002 and 2004 by Brazilian journalist Elio Gaspari, work like a background for discussing key-concepts of journalism and history, as both historic fact and news, interview and oral source, the critic on the source, and also debating the writing of history, specially when carried out by reporters who make use of journalism technics to build more breathtaking texts, from themes, moments, and historic characters. For making the four chapters, texts from authors that think about history from theoretical reflections, like Paul Ricoeur, François Hartog, Jörn Rüsen and Reinhart Koselleck, as well as papers produced at Institut d'Histoire du Temps Présent (IHTP). Between theoreticals of journalism, the researches of Nelson Traquina and Luiz Gonzaga Motta guided the discussions about news and the alleged journalistic objectivity. In the first part, Tobias Peucer's thesis (1690) served as a starting point for the (old) correlations between history and journalism. The following chapter deals with the concept of news, the historic fact and how these two themes are shown in Gaspari's books. The third chapter analyses how the journalist appropriates the used sources, and joins history and journalism technics to write a text. The author's writing strategies are introduced in the fourth and last chapter, mixed with theoretical and methodological discussions about the writing through history. Gaspari writes historical books using journalistic technics, creating an hybrid text.