Este projeto pretende analisar a produção humorística de Millôr Fernandes na revista Veja entre os anos de 1968 e 1982. A partir da interpretação desse material, apontar novos subsídios para futuras pesquisas sobre humor e história cultural durante a última ditadura brasileira. / This project aims to analyze the humorous production of Millôr Fernandes in Veja magazine between 1968 and 1982. The proposal is from the interpretation of this material to point new subsidies for future research on humor and cultural history during the last Brazilian dictatorship.

[pt] A modernidade tem na noção de contingência um de seus atributos mais marcantes. Isso significa que, na era moderna, vacilam os modos tradicionais de atribuição de sentido às coisas do mundo. É possível afirmar que tal situação ocorre em virtude, principalmente, da alteração que a idéia de progresso promove nas formas de apreensão da temporalidade histórica. O progresso, enquanto qualidade de aperfeiçoamento ilimitado do homem, afasta ao infinito o horizonte teológico que, até então, determinava o futuro. Assim, na modernidade, o futuro se torna aberto à indeterminação, situação que se traduz no rompimento dos elos que mantinham unidos passado, presente e futuro, tal como se pode perceber na perda de validade do tradicional topos Historia Magistra Vitae. Para o historiador Reinhart Koselleck, este momento, que equivale ao descompasso definitivo entre as categorias espaço de experiência e horizonte de expectativa, tem na Revolução Francesa seu apogeu. A partir da Revolução o homem moderno se vê forçado a buscar um elenco alternativo de explicações para os acontecimentos, capaz de lidar com a aceleração do tempo, com a transitoriedade instalada em um presente cada vez mais fugaz, com a contingência. A tese toma o problema da continuidade histórica como ponto de partida para refletir sobre os modos pelos quais, no período pós-revolucionário, passou-se a estabelecer a relação entre futuro, presente e passado, considerando o atributo da contingência que permeia a vida moderna. Para tanto, elegemos como objetos de análise e comparação duas perspectivas sobre a história: aquela elaborada por Jacob Burckhardt em sua historiografia da cultura; e aquela formulada por G.W.F Hegel em sua filosofia da história. / [en] Modernity has in the idea of contingency one of its most defining attributes. This means that the traditional modes of assign sense for things of the world hesitate at modern age. One can say that this situation occurs mainly in face of the modification the idea of progress causes on the apprehending modes of historical temporality. Progress, as the quality of man´s unlimited improvement, removes to the infinite the theological horizon that until then determined the future. In this manner, at modernity, the future becomes opened to indetermination, a situation translated as the rupture of the links that had kept together past, present and future as it can be perceived in the loss of validity of the traditional topos Historia Magistra Vitae. This moment, which is to the historian Reinhart Koselleck equal to the definitive disagreement between the categories space of experience and horizon of expectation, has its culmination in the French Revolution. From the Revolution on, man is forced to find out an alternative cast of explanations for the events, capable to deal with the temporal acceleration, with the trasitoriness settled at a present more and more ephemeral, with the contingency. The dissertation takes the problem of historical continuity as a starting point to the reflection on the ways in which the relation between future, present and past occurred at the post-revolutionary period, taking into consideration the attribute of contingency that permeates modern life. Therefore we choose as objects for analysis and comparison two perspectives about history: the one elaborated by Jacob Burckhardt in his cultural historiography; and that formulated by G.W.F. Hegel on his philosophy of history.

Cette thèse doctorale présente la corrida de taureaux comme un phénomène culturel producteur de représentations nationales et genrées. L’objectif principal est l’analyse des discours reliant le spectacle taurin à la construction de la nation et aux identités de genre en Espagne entre 1874 et 1923, une période de crise nationale et de reconfiguration des rôles masculins et féminins dans la société espagnole. L’approfondissement de ces questions se réalise principalement à travers trois études de cas : le succès d’une équipe de toreras, les Noyas ; la transsexualité d’un/e torero/a, la Reverte ; la célèbre rivalité entre les toreros Joselito et Belmonte. Cette recherche aborde les trajectoires de ces personnages notamment à partir des articles de presse généraliste et taurine, repérant les pratiques discursives des journalistes sur la nation et le genre, les encadrant dans l’évolution de la société espagnole et son système de représentations culturelles de l’identité nationale et des identités de genre. La corrida de taureaux s’articule autour de la régénération nationale configurant une masculinité à l’espagnole, à partir de la figure du torero, et des rapports de genre par la domination, symbolisés dans l’exclusion des femmes en tant que protagonistes de la nommée fête nationale. / This thesis addresses the Spanish bullfighting as a cultural phenomenon producer of national and gendered representations. The main objective of this research is to analyze the discourses linking bullfighting show to the construction of the nation and to gender identities in Spain between 1874 and 1923. It covers a time of national crisis in the Spanish history and a period of reconfiguration of the male and the female roles in the society. To do so, this research explores these questions through an in-depth study of three cases relevant to this period: the success of a team of women bullfighters, the Noyas; the transsexuality of a bullfighter, the Reverte; and the famous rivalry between two bullfighters, Joselito and Belmonte. The research approaches the trajectories of each case through content analysis of articles in the general and the bullfighting press. It identifies journalists’ discursive practices on the nation and gender, in close connection with the evolution of the Spanish society and its system of cultural representations of national and gender identities. Bullfighting revolves around national regeneration by reconfiguring a Spanish masculinity, starting from the figure of the bullfighter and gender relations of domination symbolized in the exclusion of women as protagonists of the so-called national party.

Made available in DSpace on 2016-08-10T10:34:43Z (GMT). No. of bitstreams: 1 Carla Adriana Limongi de Oliveira.pdf: 1067468 bytes, checksum: 6b21ff3c99f4031867a4cb4c27865814 (MD5) Previous issue date: 2012-03-20 / This work researches the possibilities for discussion of themes of work and institutions through the principles and concepts of cultural history and through the studies in the organizational field. Based on a literature search, this work takes into account elements brought by cultural history, in his historiography, that can be explored conceptually by the studies of work and institutions, in particular, as regards the analysis that show the identities, sensibilities and the institutions imaginary. Through these concepts, it is possible to map a core of discussions that emphasizes the role of charisma and institutions seduction as ways to invent identities and respond to the contemporary crisis that affects individuals and the society. The research also explores the studies in the relationship between history and fiction, electing, through film and literature, interpretations that may be useful to reflect on power, leadership and concerns in modern Brazil. In possession of reflection about the relationship between cultural history and work, this research also raises the discussions about the culture as a theme in the studies about the organizations and the way how the studies about organizational culture dialogs with the cultural history and can contributes to identify traces of imaginary and institutional practices in Brazil. Being an interdisciplinary research, this work uses, as discussion base, references that come from the history and the field of organizational studies, showing the possibilities of researching in work field and institutional analysis in addition to economic studies, focusing on themes and concepts explored by studies of culture. Thus, in this work, concepts of cultural history are faced with the area of organizational studies, highlighting contact points between multiple fields in researches brought from institutions and the world of work. / Esta pesquisa investiga as possibilidades de discussão das temáticas do trabalho e das instituições por meio dos princípios e conceitos da história cultural e dos estudos no campo organizacional. Tendo como base uma pesquisa bibliográfica, este trabalho considera que a história cultural traz, em sua historiografia e epistemologia, elementos que podem ser explorados conceitualmente pelo campo temático dos estudos do trabalho e das instituições, em especial, no que toca às análises que evidenciam as identidades, as sensibilidades e o imaginário. Por meio destes conceitos, é possível mapear um núcleo de discussão que valoriza o papel do carisma e da sedução institucionais como meios para inventar identidades e responder à crise contemporânea que atinge indivíduos e a sociedade. A pesquisa, ainda explora o tema estudado na relação entre história e ficção, elegendo, por meio do cinema e da literatura, interpretações que podem ser úteis à reflexão sobre poder, liderança e as inquietações modernas no Brasil. De posse da reflexão sobre a relação entre história cultural e a temática do trabalho, a pesquisa, ainda, levanta as discussões sobre a cultura como tema nos estudos a respeito das organizações, a maneira como os estudos sobre cultura organizacional dialogam com a história cultural e podem contribuir para identificação de traços do imaginário e das práticas institucionais no Brasil. Por ser uma pesquisa interdisciplinar, usa como base de discussão, referências advindas da história e da área dos estudos organizacionais, evidenciando, nesse encontro, as possibilidades de pesquisa no campo do trabalho e da análise institucional para além dos estudos econômicos, tendo como foco, as temáticas e conceitos explorados pelos estudos da cultura. Assim, nesta dissertação, conceitos da história cultural são confrontados com estudos da área organizacional, destacando pontos de contato entre campos múltiplos nas pesquisas que tratam das instituições e do mundo do trabalho.

Esta tese analisa a obra do historiador norte-americano Richard Morse (1922-2001) sobre a história de São Paulo. Publicado pela primeira vez em 1954 nas comemorações do IV Centenário de São Paulo como De comunidade a metrópole: biografia de São Paulo, o trabalho é fonte importante dos estudos históricos urbanos sobre São Paulo ainda hoje. Editado em inglês em 1958 nos Estados Unidos, foi republicado no Brasil em 1970 - com algumas diferenças importantes - com o título Formação histórica de São Paulo: de comunidade à metrópole. Essa obra é examinada aqui por três perspectivas - como história urbana, como uma história cultural e como parte do debate sobre a urbanização das cidades na América Latina. Inserindo-a no campo dos estudos históricos urbanos norte-americano e brasileiro, no momento de sua constituição, pretende-se contribuir para o campo da história urbana preenchendo certas lacunas da historiografia da cidade de São Paulo. Ao retraçar os vínculos entre cidade, história e literatura que a obra parece conter, a tese contribui para a discussão de uma história cultural urbana de São Paulo. Reconhecendo o autor como personagem chave na constituição do debate sobre a cidade latino-americana entre as décadas de 1940 e 1970 - justamente o período em que se realizam as três edições -, o exame da obra permite ainda lançar luz em décadas fundamentais da urbanização latino-americana, retomando temas e questões sobre a metropolização em curso na cidade de São Paulo e no continente latino-americano. / This thesis analyzes the work of the American historian Richard Morse (1922-2001) on the history of São Paulo (Brazil). First published in 1954 in celebration of the fourth centenary of São Paulo, under the title of De Comunidade a Metrópole: Biografia de São Paulo, until today the work is an impor6 tant source of urban historical studies of São Paulo. Published in English in 1958 in the United States, was republished in Brazil in 1970 as Formação Histórica de São Paulo: de Comunidade à Metrópole, with some important differences. This work is examined here from three different perspectives - urban history, cultural history and as part of the urbanization of Latin American cities discussion. Entering on the urban historical studies in the U.S. and Brazil, at the time of its constitution, the thesis aims at contributing to the urban history field in order to fill certain gaps in the historiography of the city of São Paulo. By retracing the links between city, history and literature that seems to contain the work, the thesis contributes to the discussion of an urban cultural history of São Paulo. Recognizing the author as a key person in the establishment of the debate on the Latin American city between the 1940s and 1970s - precisely the period in which are held the three editions - it also allows the examination of the work and shed light on fundamental decades of urbanization in Latin America, taking up issues and questions about the ongoing metropolisation in the city of São Paulo and in the Latin American continent.

The eighteenth century in England has long been associated with increasing consumption, trade, luxury, and intellectual exchange. In contrast with the religiously-fueled tumult of the previous century, it is frequently portrayed as a polite, enlightened and even secularising age. This thesis questions this picture. Taking the ambiguous legacies of the so-called "Toleration Act" of 1689 as its starting point, it explores the impact of the complex and uncertain outcomes of the 1689 Act on social relations between Protestant Dissenters and members of the Established Church in England in the first half of the eighteenth century. In connecting broader legislative change with developing social discourses and the practicalities of everyday life, it demonstrates the extent to which the Toleration Act made religious questions integral to the social and cultural development of the period. As a result, it stresses not only that developing modes and norms of sociability were essential to determining the nature of religious coexistence, but also that the changing religious landscape was absolutely integral to the evolution of multiple different social registers in eighteenth-century England. It therefore demonstrates how previously disparate approaches to eighteenth-century England are mutually illuminating, creating an account of the period that is better able to attend to both religious and cultural change. With this in mind this thesis pays particular attention to the language through which contemporaries described their sociability, suggesting that they have great potential to illuminate the nature of religious coexistence in this period. Starting from the premise that the words an individual chooses are in some way both reflective and constitutive of their ways of thinking, several of the chapters that follow draw on and analyse the language contemporaries employed at the intersections between religion and sociability. The thesis as a whole suggests that doing so can give us insight into how their religious lives were socially organised, how groups were formed, bounded, and transgressed, and how that in itself fed back into the structures of sociability.

Made available in DSpace on 2016-04-27T19:30:57Z (GMT). No. of bitstreams: 1 Rogerio Souza Silva.pdf: 38406474 bytes, checksum: 13c790b2070c7cf6d92a60a27f050ed3 (MD5) Previous issue date: 2014-05-13 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This thesis performs a discussion of the humorous production of Raul Pederneiras. The starting point of the research is the year 1898, when the artist published his first caricature, in O Mercurio. Aspects of modern urban area of Rio de Janeiro were among his favorite subjects. He noted the wide gap between a modernity seen as ideal, which was modeled on the North Atlantic world, and its application to the Brazilian reality. But his vision was global and international issues were among their concerns. Besides caricaturist, Raul Pederneiras wrote texts of humor with high quality, getting to play with words and making numerous puns. He was a multifaceted character, which made it more interesting. Among its activities, may be included journalist, playwright, poet, painter, composer, propagandist, police officer and professor of international law, having written several books in his career. The final milestone of the research is the year 1936, when Raul published his latest book, titled Musa travessa: ruma de rimas sem rumo, having already clear signs of decline in his artistic and intellectual production. In this historical moment, there is a look of the comedian to the change process by which the country was in that context / A presente tese realiza uma discussão da produção humorística de Raul Pederneiras. O marco inicial da pesquisa é o ano de 1898, quando o artista publicou a sua primeira caricatura, em O Mercurio. Os aspectos de modernidade do espaço urbano carioca estavam entre os seus temas prediletos. Ele notava o grande abismo existente entre uma modernidade vista como ideal, que tinha como modelo o mundo do Atlântico Norte, e a sua aplicação à realidade brasileira. Porém, sua visão era global e as questões internacionais estavam entre as suas preocupações. Além de caricaturista, Raul Pederneiras foi autor de textos de humor de grande qualidade, conseguindo brincar com as palavras e fazer inúmeros trocadilhos. Ele era um personagem multifacetado, o que o tornava mais interessante. Entre as suas atividades, podem ser incluídas as de jornalista, teatrólogo, poeta, pintor de quadros, compositor, reclamista, delegado de polícia e professor de direito internacional, tendo escrito vários livros na sua carreira. O marco final da pesquisa é o ano de 1936, quando Raul publicou o seu último livro, intitulado Musa travessa: ruma de rimas sem rumo, já havendo claros sinais de queda em sua produção artística e intelectual. Nesse momento histórico, nota-se um olhar do humorista para os processos de mudanças pelos quais o país passava naquele contexto

A presente dissertação investiga narrativas de memórias de estudantes acerca de espaços e prédios escolares por eles habitados. Elegeram-se quatro instituições de ensino privadas de Porto Alegre: o Colégio Anchieta, o Colégio Americano, o Colégio Farroupilha e o Colégio Rosário. O estudo inscreve-se no campo da História da Educação e utiliza os postulados da História Cultural, especialmente, o conceito de sensibilidade, para buscar compreender as narrativas discentes. Neste sentido, se vale das contribuições de Sandra Pesavento, Serge Gruzinski e Alain Corbin, no que se refere à história das sensibilidades. Tem-se como principal objetivo a produção de uma espécie de cartografia das sensações sobre os espaços vividos durante a escolarização, identificadas na documentação. A pesquisa privilegiou a análise de escritos discentes e do conteúdo discursivo das entrevistas. Como fontes suplementares, destacam-se fotografias das escolas, plantas arquitetônicas e relatórios, entre outros registros institucionais. Utilizou-se a análise documental histórica e a História Oral para o tratamento metodológico dos documentos escritos e orais, respectivamente. A temporalidade da pesquisa compreende o período de 1920 a 1980, pois, na década de 1920, são construídos os prédios de dois dos colégios examinados e se estende até 1980, considerando o período de escolarização dos entrevistados. Cada testemunho constitui-se em uma rica versão de representações do sensível. Esta pesquisa, portanto, provoca questionamentos: o que mudou nos prédios e em suas concepções arquitetônicas? Quais foram as influências? Qual a relação dos estudantes com o espaço construído? Que memórias podem ser evocadas em estudantes acerca do prédio e do entorno da escola? De que forma lembram o espaço e o prédio da escola? Para responder a tais indagações, as análises foram desenvolvidas a partir das recorrências e dissonâncias encontradas nas narrativas, articuladas em quatro categorias de análise: “O Antigo e o Novo: relações entre os estudantes e os prédios das escolas”; “Entre a vigilância e a diversão: o espaço escolar como elemento curricular”; “A escola como casa: sensações de pertencimento” e, por fim, “A arquitetura escolar e a sensação de liberdade”. Nestas categorias, pode-se perceber como os sujeitos eram afetados e de que forma vivenciavam os espaços que foram projetados também para eles.. Entende-se que o edifício atua como regulador na vida dos estudantes, mas não age de modo uniforme e possibilita momentos de diversão, como uma espécie de fuga. A pesquisa conclui que os espaços da escolarização adquirem um lugar de destaque na hora de rememorar. E estas lembranças, carregadas de ressignificação, trazem evidências para compreender a arquitetura escolar como agente na construção de sensibilidades estudantis. / This dissertation investigates students memories about spaces and school buildings they inhabit. This study elected to investigate four private educational institutions of Porto Alegre: the Anchieta College, the American College, the College Farrukhabad and the Rosary College. The study is part of the field of History of Education and uses the postulates of cultural history, especially the concept of sensitivity, to seek to understand the students' narratives. In this sense, it is worth the contributions of Sandra Pesavento, Serge Gruzinski and Alan Corbin, in relation to the history of sensibilities. has as main objective the production of a kind of mapping of feelings about the spaces lived during the school identified in the documentation. The research focused the analysis of students' written and discursive content of the interviews. As additional sources, they highlight photographs of schools, architectural plans and reports, and other institutional records. We used historical document analysis and oral history for the methodological treatment of oral and written documents, respectively. The survey covers the period 1920-1980, as in the 1920s, are constructed the buildings of two of the examined schools and extends to 1980, considering the period of education of the respondents. Each witness is in a rich representations version sensitive. This research therefore provokes questions: what has changed in the buildings and their architectural conceptions? What were the influences? What is the relationship of the students with the built space? What memories can be evoked in students about the building and the school environment? How reminiscent of the space and the school building? To answer such questions, the analyzes were developed from the recurrences and dissonances found in narratives articulated in four categories of analysis: "The Old and the New: relationships between students and school buildings"; "Between surveillance and fun: the school space as a curricular element"; "The school as a house, belonging feelings" and finally, "The school architecture and the feeling of freedom." In these categories, you can see how the subjects were affected and how they experienced the spaces that are also designed for them .. It is understood that the building acts as a regulator in the lives of students, but does not act uniformly and enables times fun, as a kind of escape. The research concludes that schooling spaces acquire a prominent place at the time of recall. And these memories, full of reframing, bring evidence to understand the architecture school as an agent in the construction of student sensibilities.

Este é um estudo historiográfico sobre a Casa do Estudante Universitário Aparício Cora de Almeida (CEAUCA), fundada no ano de 1934 em Porto Alegre - RS. Busca- se entender a Casa como uma instituição educativa, tendo como documentos privilegiados narrativas de memória de oito antigos moradores. Trata-se, portanto, de uma noção ampliada do processo educativo nas moradias estudantis, para além da escolarização, interessada em buscar, por meio da construção de uma história desta instituição, práticas e experiências dos sujeitos habitantes, bem como analisar os modos como a Casa é significada por cada um dos entrevistados. A pesquisa posiciona-se no campo da História da Educação, utilizando os postulados da História Cultural, especialmente o conceito de representação, por meio dos quais busca analisar de forma dialógica as oito entrevistas produzidas e demais documentos mobilizados para a construção da presente narrativa historiográfica, como periódicos, imagens, estatutos e plantas do prédio sede. Para o tratamento metodológico dos documentos orais e escritos foram utilizadas a História Oral e a análise documental histórica, respectivamente. Os marcos históricos eleitos para contextualizar a instituição CEUACA foram a Ditadura Civil Militar (1964-1985) e o Maio de 68. Na intenção de valorizar as experiências daqueles que narram, a temporalidade final foi definida cronologicamente, entre a entrada do morador entrevistado mais antigo e a saída do mais recente (1963-1981). O estudo discutiu, entre outras coisas, as origens e consolidação da Casa como instituição, a formação de sua complexa estrutura organizacional e os efeitos do modelo de autonomia e autogestão. A CEUACA pôde ser percebida como um espaço de ambivalências, de transição, ocupado por estudantes oriundos de camadas empobrecidas que em pouco tempo passariam por um processo de ascensão social. Foram dados a ver trajetórias formativas irregulares e estratégias de permanência e condições de possibilidade da presença destes estudantes no Ensino Superior, bem como aspectos relacionados à inserção destes no novo círculo de sociabilidades. Foram recorrentes tanto nas narrativas quanto no discurso dos periódicos analisados, a atribuição de um sentido formativo à experiência de moradia estudantil. O estudo contemplou ainda as implicações do contexto político e suas reverberações no interior da Casa, por meio de cisões ideológicas que concorreram fortemente na forma como os sujeitos rememoraram suas vivências na instituição. Ainda que todas as valorações sobre esta experiência de moradia elaboradas pelos antigos moradores tenham sido positivas, foi possível perceber que a Casa é inscrita e elaborada de diferentes maneiras nas narrativas de si dos sujeitos entrevistados. / This is a study on the history of the College Student Residence Aparício Cora de Almeida - Casa do Estudante Universitário Aparício Cora de Almeida (CEAUCA), established in 1934 in Porto Alegre - RS. Its aim is to acknowledge CEAUCA as an educational institution, having memory narratives of eight former tenants as its privileged documents. This is, therefore, a broadened view of the educational process in the college residence halls beyond schooling, which is interested in investigating practices and experiences of tenants subjects through the construction of the history of this institution, as well as in analyzing the ways the House is signified by each one of the interviewees. The study is constructed in the History of Education field, using the postulates of Cultural History, in particular the representation concept, by which it aims to analyze in a dialogic form the eight produced interviews and other documents fulfilled for the construction of this historiographical narrative, such as periodicals, images, statutes and architectural plans of the head office. For the methodological treatment of the oral and written documents, Oral History and historic documental analysis were used respectively. The elected historical landmarks were the Civil-Military Dictatorship (1964-1985) and the May 68. In an attempt to value the experiences of the narrators, the final temporality was defined chronologically, from the admission of the oldest interviewed tenant to the withdrawal of the most recent (1963-1981) The study discussed, among other things, the origins and consolidation of the House as an institution, the formation of its complex organizational structure and the effects of the autonomy and self-management model. CEUACA could be perceived as a space of ambivalences and transition, inhabited by students derived from impoverished layers that in a short period of time would pass through a social ascension process. The following were data considered: irregular formative trajectories, retention strategies and conditions of possibility of these students’ presence in higher education, as well as aspects related to their inclusion in the new social circle. The attribution of a formative sense to the experience of living in a College Student Residence was recurrent not only in the narratives but also in the discourse of the analyzed periodicals. The study encompassed the implications of the political context and its repercussions within the student house as well, through ideological fissures that strongly concurred with the way the subjects recollected their experiences in the institution. Though all the valuations regarding this housing experience elaborated by the former tenants were positive, it was possible to notice that CEUACA is embodied and elaborated in various ways in the self-narratives of the subjects interviewed.

Depuis plusieurs décennies, la question nationale a ressurgi de façon spectaculaire sur les scènes politiques et scientifiques. Plutôt que de définir la nation, la recherche s’est intéressée à ses armatures, évoquant désormais ses « imaginaires nationaux » (Benedict Anderson) ou encore ses « inventions de tradition » (Eric J. Hobsbawm). Cette thèse propose d’appliquer ces concepts, complétés néanmoins des travaux d’une génération d’historiens apparue durant les années 1990 (Gérard Noiriel, Anne-Marie Thiesse…) et des armes de l’histoire culturelle, vis-à-vis de l’histoire contemporaine de la Corse. Après la conquête française (1769), l’île n’échappe pas au XIXe siècle, et à son cortège d’exaltations nationales. Tout en demeurant au sein du strict cadre français, une poignée d’élites n’en exalte pas moins les vertus de la Corse, loue ses figures illustres, instaurant déjà quelques paradigmes patriotiques. Afin de livrer la meilleure exhaustivité possible à notre propos, plusieurs sources ont été mobilisées durant ce travail, notamment la littérature, les actes administratifs, la presse ou encore l’image, dont une première pensée tarde à voir le jour. Dans le but de délimiter un cadre thématique précis à notre travail, nous avons orienté nos prospections vers trois axes. Tout d’abord, celui de l’histoire, une des plus importantes « inventions » du XIXe siècle. En marge des histoires nationales qui se développent au même moment sur le Vieux Continent, la discipline sera abordée dans ses expressions littéraires et illustratives sans oublier son facteur institutionnel, qui reste le meilleur support d’enracinement des mythes fondateurs. Le deuxième axe que nous avons choisi de traiter est celui du héros, nous menant à la constitution de l’« assiette héroïque » composée de Sampiero, Paoli et Napoléon. La construction de ce propos observera un développement analogue à la partie précédente, où à la sphère des représentations succèdera celle du figement, marqué par la fonte statuaire.Enfin, ce travail se terminera par l’évocation d’un phénomène que nous avons appelé la « geste nationaliste » prenant pour cadre l’autonomisme de l’entre-deux-guerres. Au moyen de publications phares (A Muvra), celle-ci propose un remodelage complet du système de représentation précédemment édifié, modifiant l’« assiette héroïque » et investissant à son tour les scènes mémorielles. Ayant fait des éléments linguistiques et littéraires leurs forces de créations, cette mouvance se démarquera par les enjeux de palimpseste et de mimesis qu’elle met en place, où à l’exaltation d’une vérité autre répond l’imitation d’un modèle existant. / For several decades, the national question has reappeared in the political and scientific spheres in a spectacular way. Rather than defining the nation, the research was interested in its framework, evoking from now on its “national imagination” (Benedict Anderson) or even its “inventions of tradition” (Eric J. Hobsbawm). This thesis suggests applying these concepts, which are nevertheless completed by both the works of a generation of historians that appeared during the 1990s (Gérard Noiriel, Anne-Marie Thiesse…) and the weapons of cultural history, towards the contemporary history of Corsica.After the French conquest (1769), the island does not escape the 19th century and its procession of national ecstasies. While strictly remaining within the French context, a small elite exalts the virtues of Corsica nevertheless, praises its illustrious figures, already establishing some patriotic paradigms. In order to deliver a completeness as good as possible about our subject, several sources were gathered during this work, especially some sources from literature, administrative acts, the press or even related to the image, the first thought of which takes a long time to emerge. With the aim of defining a specific thematic setting in our work, we steered our research towards three axes. First of all, that of history which is one of the most important “inventions” of the 19th century. Outside the national histories that develop on the Old Continent at the same time, this discipline will be approached on its literary and illustrative expressions, not forgetting its institutional factor which remains the best medium to implant the founding myths.The second axis we chose deals with the theme of the hero and leads us to the creation of what is called the “heroic plate” composed of Sampiero, Paoli and Napoleon. The construction of this subject will follow a development similar to that of the previous part, in which to the sphere of the representations will succeed that of the materialisation marked by the statuary cast iron.Finally, this work will end with the evocation of a phenomenon that we called the “nationalist gest” developing in the context of the interwar period separatism. By means of key publications (A Muvra), this gest proposes a complete reshaping of the previously built system of representation, modifying “the heroic plate” and flooding in its turn the memory scenes. Having drawn its strength of creation from the linguistic and literary elements, this movement will stand out by the stakes oof palimpsest and mimesis that is sets up, and in which, to the ecstasy of another truth answers the imitation of an existing model.