Esta tese se constitui numa reflexão sobre Luiz Heitor Corrêa de Azevedo, embasada na historiografia musical Brasileira. Ela está elaborada em base aberta de investigação, com recortes na historiografia cultural. Discutimos as escolhas do musicólogo, norteadas entre valores contemporâneos e tradicionais da sua época. Apoiamo-nos em parâmetros da história, ideologia e sociabilidade dos períodos vivenciados por Luiz Heitor, discorremos sobre a sua postura ideológica, a rede social a que pertencia e as suas contribuições para a música brasileira e mundial com apoios na história cultural do passado e do presente, nos documentos históricos levantados nos acervos disponíveis no Brasil, nas entrevistas e depoimentos de músicos e pesquisadores próximos ao musicólogo e na sua produção intelectual. / This thesis is a reflection on Luiz Heitor Correa de Azevedo, based on brazilian musical historiography. It is developed in an open base for research, with cuts in cultural history. We discuss the choices of the musicologist, guided between contemporary and traditional values of his time. We support ourselves in the parameters of history, ideology and sociability periods experienced by Luiz Heitor, we discuss his ideology, the social network to which he belonged, and his contributions to Brazilian and world music with support in the cultural history of the past and present, in historical documents collected in archives available in Brazil, in interviews and testimonials from musicians and researchers next to the musicologist and his intellectual production.

Dans la seconde moitié du XIXe siècle, l’amélioration des techniques photographiques offre de nouveaux outils aux architectes et au monde de la construction ou de la restauration d’édifices. Certains photographes se spécialisent alors dans la photographie d’architecture et de chantier et développent ce marché nouveau. Dans ce contexte, Louis Emile Durandelle, actif à Paris entre 1860 et 1890, illustre cette adaptation de certains photographes à la demande des architectes dont l’utilisation des images d’architecture est alors en transition entre l’héritage du siècle précédent où les gravures étaient essentiellement diffusées dans des publications spécialisées et des pratiques nouvelles de diffusions plus larges des photographies d’architecture. La représentation architecturale connaît alors elle-même une transition importante, bouleversée notamment par la rapidité d’exécution des photographies. Ayant réalisé plus de dix mille photographies de reproductions d’objets d’art et d’architecture et un nombre difficile à évaluer de portraits-cartes, Durandelle joue par l’abondance de sa production et sa présence sur des chantiers parisiens majeurs un rôle important dans l’évolution des usages de la photographie par le monde de la construction. On lui doit un important corpus photographique fournissant de précieuses informations au sujet des travaux de l’Opéra Garnier, du Sacré-Cœur de Montmartre, du Mont-Saint-Michel, du Comptoir d’Escompte de la ville de Paris, de la gare Saint-Lazare, de l’Hôtel-Dieu de Paris, de la Tour Eiffel, du Palais du Louvre ou encore du musée des Beaux-Arts d’Amiens. L’étude retrace sa biographie, son activité de photographe de chantier, d’édifices achevés et de décors monumentaux, depuis sa réalisation des clichés jusqu’à leurs usages variés faits par ses commanditaires. Elle replace l’activité du photographe parmi celles de ses pairs, à une époque où le métier de photographe d’architecture nécessite une importante maîtrise technique notamment pour lutter contre la parallaxe et les distorsions de la perspective. Elle analyse la manière dont certains architectes, certaines administrations ou certains entrepreneurs du bâtiment ont fait usage des clichés de Durandelle pour servir leurs intérêts économiques et professionnels aussi bien lors de la conception architecturale qu’au cours du chantier de construction ou pour promouvoir leur réalisation une fois l’édifice achevé. / In the second half of the 19th century, the improvement of photographic techniques offers new tools to architects and the world of construction or restoration of buildings. Some photographers then specialize in architecture and construction photography and develop this new market. In this context, Louis Emile Durandelle, active in Paris between 1860 and 1890, illustrates this adaptation of some photographers at the request of architects whose use of architectural images is then in transition between the legacy of the previous century when the engravings were mainly disseminated in specialized publications and new practices of wider dissemination of architectural photographs. The architectural representation itself underwent an important transition, shattered notably by the speed of execution of the photographs. Having produced more than ten thousand photographs of reproductions of works of art and architecture and a number difficult to evaluate portraits-cards, Durandelle plays by the abundance of its production and its presence on major parisian sites an important role in the evolution of the uses of photography by the world of construction. He took many photographs providing valuable information about the works of the Opéra Garnier, the Sacré-Cœur of Montmartre, the Mont-Saint-Michel, the Comptoir d'Escompte of Paris, Lazare, the Hôtel-Dieu of Paris, the Eiffel Tower, the Louvre palace and the Amiens Museum of Fine Arts. Our study presents his biography, his activity as a photographer of construction sites, finished buildings and monumental decorations, from his realization of the photographs to their varied uses made by his customers. It places the photographer's activity amongst his peers, at a time when the profession of photographer of architecture requires an important technical knowledge in particular to avoid parallax and the distortions of the perspective. Our study analyzes the way in which architects, administrations or building contractors have used Durandelle's photographs to serve their economic and professional interests both during the architectural design and during the construction or to promote their realization once the building is completed.

La thèse examine les relations franco-suisses au début du XVIIIe siècle en s’interrogeant sur les pratiques et les canaux de négociation d’un côté, et celles du statut des acteurs de l’autre. Elle s’inscrit dans le cadre d’une histoire diplomatique renouvelée s’appuyant sur les acquis de l’histoire culturelle et sociale. Une première partie traite des relations entre les souverains : les autorités suisses et le roi de France. Face à l’asymétrie entre le roi et les cantons, leurs relations peuvent non seulement être décrites selon un modèle de relation entre souverains (inégaux), mais aussi selon un modèle patron-client. Une deuxième partie analyse les relations personnelles de l’ambassadeur français en Suisse. Il y est démontré comment les pratiques de communication entre l’ambassadeur et ses interlocuteurs suisses étaient façonnées par la culture politique différente des cantons qui n’acceptaient pas tous dans la même mesure les relations personnelles entre magistrats et diplomates étrangers. La troisième partie examine les canaux de communication et de négociation entre la Cour de France et les autorités suisses. Grâce à la présence de nombreux diplomates accrédités en Suisse et en s’appuyant sur leurs sujets séjournant aux cours étrangères en tant qu’officiers ou diplomates au service d’un prince étranger, les cantons pouvaient pratiquer une « diplomatie sans diplomates » qui ne coûtait presque rien. En dernier lieu, l’analyse des négociations du renouvellement d’alliance entre le roi de France et le canton de Berne soulève le problème des négociations avec une république aux temps modernes. / The thesis examines the Franco-Swiss relations in the early 18th century and probes into both the practices and channels of negotiation as well as the status of the actors. As a contribution to the flourishing ‘new diplomatic history’, it draws on the methods and innovations of cultural and social history. The first part discusses the relations between two unequal sovereigns: the Swiss authorities and the French king. Given the asymmetry between the king and the cantons, their relations can not only be described as relations between (unequal) sovereigns but also as patron-client ties. The second part examines the personal relations of the French ambassador in Switzerland and shows how the different political cultures of the cantons shaped the communicative practices between the ambassador and his Swiss interlocutors. In the third part, the channels of communication and negotiation between the French court and the Swiss authorities are analysed. Thanks to the presence of numerous foreign diplomats accredited in Switzerland and relying on the services of Swiss subjects staying at foreign courts as officers and diplomats serving a foreign prince, the Swiss republics were able to practice “diplomacy without diplomats”, thus economizing on the expenses associated with maintaining a formal diplomatic body. In the final part, the analysis of the negotiations for the renewal of the alliance between the French king and the Republic of Berne provides a case study of what it meant to negotiate with a polyarchy in the early modern period.

Cette thèse analyse les représentations de l’Indien dans les débuts de la construction nationale péruvienne. La période comprise entre 1821 et 1879 a jusqu’ici été très peu étudiée, alors même qu’il s’agit d’une charnière fondamentale entre la fin du gouvernement espagnol et ce que l’on considère habituellement comme la naissance de l’indigénisme. Comment pense-t-on l’Indien au moment où s’invente une nouvelle communauté ? Nous examinons, à partir de discours extrêmement variés (législation, presse, littérature, historiographie, arts visuels, etc.), la façon dont se forgent des paradoxes identitaires. La première partie de notre travail concerne les représentations de l’Indien « du passé » : si les Incas sont érigés en ancêtres de la nation, cela ne signifie pas que les Indiens du XIXe siècle apparaissent comme leurs dignes descendants. Cela nous conduit à nous intéresser à la population indienne dans la nouvelle République péruvienne. La deuxième partie illustre la façon dont se construit une représentation de l’Indien comme un individu bientôt semblable aux créoles, grâce à sa future assimilation politique, sociale et économique : c’est ce que nous appelons « l’Indien projeté », qui est un Indien « désindianisé ». Dans la troisième partie, nous montrons comment l’Indien reste finalement toujours « présent » : son statut officiel est plus ambigu qu’il n’y paraît, les lois intégratrices de la République étant par ailleurs constamment remises en cause, et l’altérité de l’Indien étant renforcée par la permanence de stéréotypes. De ces diverses contradictions surgit la conscience d’un problème : la quatrième partie montre l’émergence de l’Indien comme une « question nationale ». / This dissertation looks at the representations of the Indian at the beginning of Peruvian national construction. The period between 1821 and 1879 has been given little consideration so far, even though it is a pivotal moment between the end of Spanish rule and what is generally regarded as the beginning of Indigenism. How is the Indian conceived at a time when a new community is being invented? By looking at an extremely diversified array of discourses (legal texts, newspapers, literature, historiography, visual arts, and so on) this dissertation shall investigate the way paradoxes of identity are built. Its first part deals with the representations of the “Indian of the past”: although the Incas were established as the ancestors of the Nation, the Indians of the Nineteenth Century were not necessarily perceived as their rightful descendants. This leads to an investigation of the Indian population in the New Republic of Peru. The second part of this dissertation scrutinizes the construction of a representation of the Indian as an individual on the verge of becoming similar to the Creole population, thanks to his upcoming political, social and economic assimilation: this is what we term “the projected Indian”, who is a “de-Indianized” Indian. The third part of this study will show how after all, the Indian always remains “present”: his official status is more ambiguous than it seems, since the integrative laws of the Republic are constantly questioned and the Indian’s otherness is constantly reinforced by the continued presence of stereotypes. These diverse contradictions give rise to an awareness of a significant issue: the fourth part illustrates the emergence of the Indian as a “national question”.

La présente étude porte sur le regard réflexif que les Romains ont porté sur l’évolution de la pratique oratoire et sur les constructions historiographiques qu’ils ont pu élaborer pour en rendre compte. A travers le Brutus de Cicéron ainsi que Les Controverses et suasoires de Sénèque le père, nous étudions la constitution d’un objet historiographique singulier. Nous cherchons à mettre en évidence l’existence de plusieurs formes possibles d’écriture pour la construction d’une histoire de l’éloquence romaine. Le motif de la décadence constitue l’autre grand axe de notre travail. Nous abordons avant tout le thème du déclin en tant que révélateur des mentalités. Le rapport entre histoire de l’éloquence et politique constitue enfin le fil conducteur de notre travail. La construction d’une histoire de l’éloquence apparaît, en effet, liée de manière indissociable aux transformations politiques. Nous voulons donc mettre en évidence l’évolution historique du topos de la rhétorique décadente, qui revêt des formes diverses selon les auteurs. Le modèle d’interprétation politique ne s’impose définitivement que dans le Dialogue des orateurs de Tacite. La dégénérescence de l’art oratoire apparaît donc comme un domaine d’étude privilégié pour explorer la manière dont l’événement politique peut se traduire dans le champ culturel et voir comment l’histoire de l’éloquence intègre la notion de rupture. / This dissertation deals with the Roman’s reflexive look upon the evolution of rhetorical practice and on the historiographical constructions they devised to account for it. Throughout Cicero’s Brutus as well as Seneca the Elder’s Controversiae and Suasoriae, I study how a peculiar historiographical object was formed. I intend to demonstrate that there were several possible ways to write a history of Roman rhetoric. The motif of decadence is my other main point. I primarily address the topic of decline as an indicator of mindsets. The relationship between politics and the history of rhetoric is the guiding thread of my thesis, for the construction of a history of rhetoric is inextricably mingled with political changes. I thus intend to evidence the historical evolution of the topos of decadent rhetoric, which takes on various shapes depending on the author. The political interpretation model only prevailed starting with Tacitus’Dialogus de Oratoribus. Degeneration of rhetoric therefore appears to be a major area of study to explore how political events translate into the cultural realm and how the history of rhetoric incorporates the concept of historic breaks.

Made available in DSpace on 2016-08-10T10:35:10Z (GMT). No. of bitstreams: 1 NUBIO VICENTE DA SILVA PARTE 1.pdf: 14539839 bytes, checksum: 4790d54eb1ea64df13e58b0de9bf6238 (MD5) Previous issue date: 2011-06-28 / This research seeks to inform readers of how the multicultural space of prospector works , the way of life, rites, beliefs and symbols that are part of this context in the gold mining region of the Vale do Araguaia, Aragarças municipality, state of Goiás, in the 1990s. It will be applyed the concepts of culture, myths, representations and imagery as a way to address a social reality narrated in part by chronic based on the sources of oral history with an emphasis and highlights the advent of the new Cultural History, with its strands oriented studies and appreciation of cultural minorities, this is one in which, before overlooked by traditional historians. This research meets its aim within its bounds whose categorization will be an applied, descriptive and explanatory form. And the approach to the problem involves the qualitative method because it seeks to interpret the phenomena from the understanding of their inter-relationships and examines the cultural coexistence within the mining. Techniques and procedures will be used for both the research literature, the research participant with the oral interviews by data collection applied to miners and former miners. The data will be also collected through research in archives of public bodies of the municipality. Include participant observation and non-participant, using a questionnaire with open questions using the form to be completed by the researcher before the informant. Therefore, the fruit of this production aims to contribute socially informative and enlightening as a tool that helps in the pursuit of scientific knowledge and demystifies the world of mining to romance, common sense and prejudices formed on top of gold mining activity and mining man, who turn, the social scene is fading due to bans these activities in Brazil, leading multinational mining companies. Why there was a concern to record these historical facts to perpetuate the importance that the mines were in the process of economic and social growth of the country and that this story comes to the attention of future generations. / Esta pesquisa procura levar ao conhecimento dos leitores como funciona o espaço multicultural do homem garimpeiro, o modo de viver, os ritos, as crenças e as simbologias que integram esse contexto na região garimpeira do vale do Araguaia, município de Aragarças, estado de Goiás, na década de 1990. Aplicar-se-á os conceitos de cultura, mitos, representações e imaginário como forma de abordar uma realidade social narrada em parte por crônicas fundamentadas nas fontes da história oral e destaca com ênfase o advento da História Cultural com suas novas vertentes voltadas aos estudos e valorização das minorias culturais, no qual essa é uma, antes menosprezadas pelos historiadores tradicionais. Pesquisa essa, que cumpre o objetivo dentro dos seus limites cuja classificação será de forma aplicada, descritiva e explicativa. E a abordagem do problema envolve o método qualitativo, pois busca a interpretação dos fenômenos a partir da compreensão de suas inter-relações e analisa a convivência cultural dentro do garimpo. Como técnicas e procedimentos serão utilizados tanto a pesquisa bibliográfica, quanto a pesquisa participante com a realização de entrevistas orais por meio de coleta de dados aplicada a garimpeiros e ex-garimpeiros. Os dados serão também coletados por meio de pesquisas em arquivos de órgãos públicos do município. A observação incluirá participante e não participante, aplicando um questionário de perguntas abertas com a utilização do formulário que será preenchido pelo pesquisador diante do informante. Portanto, o fruto dessa produção visa contribuir socialmente como instrumento informativo e esclarecedor, que ajuda na busca do conhecimento científico e desmitifica o mundo do garimpo quanto ao romantismo, o senso comum e os preconceitos formados em cima da atividade garimpeira e do homem mineiro, que por sua vez, esta desaparecendo do cenário social devido às proibições dessas atividades no Brasil, dando lugar as mineradoras multinacionais. Razão pela qual, houve a preocupação de se registrar esses fatos históricos para perpetuar a importância que os garimpos tiveram no processo de crescimento econômico e social do País e que essa história chegue ao conhecimento das futuras gerações.

Na bibliografia brasileira, Jean-Luc Godard aparece com destaque em pesquisas sobre o cinema brasileiro moderno e sobre a história da censura cinematográfica no país. O realizador franco-suíço é descrito como uma referência fundamental para alguns cineastas brasileiros modernos, como um norteador dos debates travados em nossa crítica e como um objeto de atenção especial por parte dos censores da ditadura militar. Partindo desse lugar privilegiado conferido a Godard, esta pesquisa investigou historicamente a recepção e a interdição dos filmes do cineasta no Brasil no período entre 1961 e 1970. Em um primeiro momento (capítulos 1 a 3), analisamos os debates estéticos e políticos suscitados na crítica pelos filmes de Godard em três jornais de grande veiculação do período (Correio da manhã, Jornal do Brasil e O Estado de S. Paulo); em seguida (capítulo 4), identificamos as apropriações que os críticos-cineastas Glauber Rocha e Rogério Sganzerla realizaram da obra godardiana em seus escritos; e, por fim (capítulo 5), abordamos a documentação censória relativa aos filmes do realizador. Dessa maneira, constatamos o importante papel que Godard desempenhou na conformação do cinema brasileiro moderno, bem como o impacto que sua obra exerceu, cultural e politicamente, no país. Conforme evidenciaremos, naquele momento havia uma conjuntura sociocultural modernista, de esquerda e jovem que favoreceu a recepção do cineasta no Brasil. Ao mesmo tempo em que foi lida à luz de tal conjuntura, a obra godardiana atuou enquanto seu catalisador, estimulando novos projetos e debates em seu interior. O cineasta foi instrumentalizado por projetos de vanguarda no cinema e em ouras artes, estimulou a politização de esquerda e dialogou com os anseios de uma cultura jovem e libertária em expansão. Paralelamente, confirmamos a atenção especial que Godard recebeu dos censores da ditadura militar brasileira. Afinal, a ditadura se opunha a tal conjuntura e, por isso, viu no cineasta um perigo a ser combatido, uma vez que seus filmes atentavam contra os dois pilares básicos da ideologia que norteava o regime, o anticomunismo e a moral conservadora. Conforme demonstraremos, tal atenção especial se deu sobretudo nos anos 1970, mas teve suas raízes em 1968, quando duas películas de Godard foram interditadas e uma imagem extremamente negativa do realizador foi consolidada no órgão censório. / In the Brazilian literature, Jean-Luc Godard appears prominently in researches on modern Brazilian cinema and on the history of cinematographic censorship in the country. The Franco-Swiss director is described as a fundamental reference for some modern Brazilian filmmakers; as a guiding force on the debates held within our critique; and as an object of special attention by the censors of the military dictatorship. From this privileged place conferred to Godard, this research historically investigated the reception and interdiction of his films, in Brazil, between 1961 and 1970. First (Chapters 1 to 3), we analyze the aesthetic and political debates raised in criticism of Godard\'s films in three major newspapers of the given period (Correio da manhã, Jornal do Brasil and O Estado de S. Paulo). Then (Chapter 4), we identify the appropriations of the Godardian word made by the critical-filmmakers Glauber Rocha and Rogério Sganzerla. Finally (Chapter 5), we approach the censorship documentation relating to the director\'s films. Our findings showed the important role Godard played in the conformation of modern Brazilian cinema, as well as the impact that his work exerted, culturally and politically, in the country. As we will show, the socio-cultural context of the time modernist, leftist and youthful favored the filmmakers reception in Brazil. At the same time as it was read in the light of such a conjuncture, Godard\'s work acted as a catalyst for it, stimulating new projects and debates within. The filmmaker was instrumented by avant-garde projects in the cinema and in other arts, and then stimulated the politicization of the left and dialogued with the yearnings of a young and libertarian culture in expansion. We also found evidence of the special attention that Godard received from the censors of the Brazilian military dictatorship. Opposed to the referred conjuncture, the dictatorship saw in the filmmaker a danger to be fought, since his films were against the two basic pillars of the regime: anticommunism and conservative morality. As we will show, he received such special attention mainly in the 1970s, but it had its roots in 1968 when two of Godard\'s films were banned and an extremely negative image of the filmmaker was consolidated by the censorship.

Submitted by Angela Maria de Oliveira (amolivei@uepg.br) on 2018-10-24T19:19:29Z No. of bitstreams: 2 license_rdf: 811 bytes, checksum: e39d27027a6cc9cb039ad269a5db8e34 (MD5) Isaias Holowate.pdf: 2498475 bytes, checksum: 76d7d2d1024cfefd96d18270baee0438 (MD5) / Made available in DSpace on 2018-10-24T19:19:29Z (GMT). No. of bitstreams: 2 license_rdf: 811 bytes, checksum: e39d27027a6cc9cb039ad269a5db8e34 (MD5) Isaias Holowate.pdf: 2498475 bytes, checksum: 76d7d2d1024cfefd96d18270baee0438 (MD5) Previous issue date: 2018-08-15 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / A presente dissertação investiga a construção e as complexidades das representações sobre a eugenia na sociedade ponta-grossense entre os anos de 1908 e 1916. A eugenia foi um movimento científico e social desenvolvido na segunda metade do século XIX e primeira metade do século XX, a partir das obras do antropólogo inglês Francis Galton. Inicialmente, o discurso eugenista tinha por objetivo defender a possibilidade do aprimoramento da espécie humana. Porém, ao ser apropriado por entusiastas das mais diversas regiões do mundo, a eugenia foi representada de forma a atender às necessidades dos grupos que se utilizavam dela, dando origem a uma diversidade de correntes de representações sobre o tema. Assim, as representações sobre a eugenia construídas em ambientes próprios, embora produzidas em relação ao discurso galtoniano, também apresentavam particularidades e peculiaridades. No Brasil, e especificamente, em Ponta Grossa, os discursos eugênicos foram apropriados e representados de forma a atender as necessidades de explicação de grupos locais e nacionais, especialmente de uma classe média e alta formada por entusiastas e intelectuais médicos, juristas, professores, escritores e comerciantes. Ponta Grossa, no início do século XX, estava passando por um período de intensas transformações sociais e culturais com o desenvolvimento de uma sociedade urbana local. Nessa cidade, assim como a instalação das ferrovias, energia elétrica e urbanização, a fundação do jornal Diário dos Campos era vista como sinal do avanço em direção ao progresso. Nas páginas do impresso, os signos e significados do discurso eugenista foram amalgamados a conceitos presentes na identidade da população e utilizado de forma a responder às necessidades locais próprias. Tais processos de reconstruções discursivas deram origem a construções de sentidos próprias para o discurso eugênico, de forma com que entre as representações sobre a eugenia no meio local, nacional e internacional haviam divergências, convergências e peculiaridades. A pesquisa é conduzida através de um estudo embasado nos princípios da História das Representações e utilizando como fonte as publicações do jornal ponta-grossense Diário dos Campos entre os anos de 1908 e 1916, realizando o levantamento, análise e reflexão das representações sobre a eugenia presentes nos artigos do jornal Diário dos Campos e na busca por sinais, vestígios e indícios nos interstícios dos textos e fontes complementares que auxiliam na compreensão dos debates e construções representativas sobre a eugenia no jornal local. Assim, a partir disso, se tornou possível compreender e apontar os processos que envolveram a produção representativa e os sentidos adquiridos pela eugenia no impresso local ponta-grossense. / The present dissertation investigates the construction and complexities of the eugenics representations in the ponta-grossense society between the years 1908 and 1916. Eugenics was a scientific and social movement developed in the second half of the 19th century and the first half of the 20th century, the from the works of the english anthropologist Francis Galton. Initially, the eugenics discourse had as objective to defend the possibility of the improvement of the human species. However, when eugenics was appropriated by enthusiasts from the most diverse regions of the world, it was received new meanings in order to meet the needs of the groups that used it, giving rise to a diversity of current of representations on the theme. Thus, the representations about eugenics built in their own local culture, although produced in relation to the galtonian discourse, also presented peculiarities. In Brazil, specifically in Ponta Grossa, eugenic discourses were appropriated and represented in order to fit the explanatory needs of local and national groups, especially of a middle and upper class made up of enthusiasts and medical intellectuals, jurists, teachers, writers and merchants. Ponta Grossa, at the beginning of the 20th century, was undergoing a period of intense social and cultural transformation with the development of a local urban society. In this city, as well as the installation of railroads, electric power and urbanization, the foundation of the Diário dos Campos newspaper was seen as a sign of progress toward progress. In the published pages, the signs and meanings of the eugenist discourse were amalgamated with concepts present in the identity of the population and used to respond to their own local needs. These processes gave rise to constructions of meanings for the eugenic discourse, so that among the representations on eugenics in the local, national and international concepts there were divergences, convergences and peculiarities. The research is conducted through a study based on the principles of the History of Representations and using as a source the publications of the newspaper Diário dos Campos between 1908 and 1916, carrying out the survey, analysis and reflection on the representations on eugenics present in the Diário dos Campos newspaper articles and in the search for signs, traces and clues in the interstices of the texts and complementary sources that help in the understanding of the debates and representative constructions on eugenics in the local newspaper. Thus, from this, it became possible to understand and point out the processes that involved the representative production and the senses acquired by eugenics in the ponta-grossense journal.

In the wake of the First World War, reformers across the Western world questioned laissez-faire liberalism, the self-oriented and market-driven ruling doctrine of the nineteenth century. This philosophy was blamed, variously, for the war, for industrialisation and for urbanisation; for a way of life shorn of any meaning beyond getting and keeping; for the too great faith in materialism and in science; and for the loss of a higher, transcendent meaning that gave a unifying altruistic or spiritual purpose to individual existence and to society as a whole. For many, the cure to these ills lay in reforming the liberal social framework in ways that made it more fulfilling to the whole person and that strengthened ties between individuals. Dartington Hall was an outstanding practical example of this impulse to promote holistic, integrated living. It was a well-financed, internationally-minded social and cultural experiment set up on an estate in South Devon in 1925 by American heiress Dorothy Elmhirst (née Whitney) and her second husband, Leonard, son of a Yorkshire squire-parson. The Elmhirsts' project for redressing the effects of laissez-faire liberalism had two components. Instead of being treated as atomised individuals in the capitalist market, participants at Dartington were to achieve full self-realisation through a 'life in its completeness' that incorporated the arts, education and spirituality. In addition, through their active participation in running the community, they were to demonstrate how integrated democracy could bring about the perfection of individuals and the progress of society as a whole. The Elmhirsts hoped that Dartington would provide a globally applicable model for a better way of life. This thesis is a close study of Dartington's interlinked constellation of experiments in education, the arts, agriculture and social organisation - experiments that can only be understood by tracing them back to their shared roots in the idea of 'life in its completeness'. At the same time, it explores how Dartington's philosophy and trajectory illuminate the wider reform landscape. The Elmhirsts' community echoed and cross-pollinated with other schemes for social improvement in Britain, Europe, America and India, as well as feeding into the broad social democratic project in Britain. Dartington's evolution from an independent, elite-led reform project to one split between state-led and communitarian reform matched the trajectory of other such enterprises begun in interwar Britain, making it a bellwether of changes in reformist thinking across the century.

O presente estudo analisa a figura do diabo benfazejo na literatura tradicional portuguesa. O corpus selecionado é composto pela novela exemplar de autoria anônima Obras do Diabinho da Mão Furada, que remete ao século XVII, e por uma seleção de contos populares recolhidos sobretudo durante o século XIX. Partindo das considerações teóricas contemporâneas referentes ao pensamento mitológico, às poéticas da oralidade e a sua preservação pela cultura escrita por meio de variantes textuais, faz-se uma crítica à romantização de tradições populares e aos pressupostos nacionalistas que marcaram o raiar da folclorística europeia para então analisar a contraposição das diferentes representações de tal figura a oficial, de origem bíblica, e outra popular, de natureza mítica e pagã. Nesse sentido explora-se a associação deste bom diabo a bruxas, fadas, pesadelos e à construção de pontes como forma de demonstrar a pertinência do pressuposto que justifica e norteia este estudo: o de que o bom diabo das narrativas populares portuguesas alude às personagens míticas do folclore pagão, diabolizadas com o advento do Cristianismo. A correspondência entre os traços arquetípicos (Levi-Strauss) dos bons diabos ao dos duendes, gnomos, trasgos e outros pequenos seres da mitologia pagã é demonstrada com as análises dos textos de natureza oral que compõem o corpus elencado. As gravuras e outras representações pictóricas concernentes aos eixos temáticos desta investigação corroboram as perspectivas teóricas multidisciplinares em que o presente trabalho se baseia, fronteiriças à etnografia: os estudos culturais e religiosos, a literatura morigerante e a história do livro em seus aspectos filológicos, tipográficos e pictóricos. / The present study analyzes the figure of the beneficent devil in the traditional Portuguese literature. The selected corpus is composed by the exemplary novel of anonymous authorship Obras do Diabinho da Furada, which refers to the seventeenth century, and a selection of folktales collected mainly during the nineteenth century. Starting from the contemporary theoretical considerations referring to mythological thought, poetics of orality and its preservation by written culture through textual variants, that is, from its critique to the romanticizing of popular traditions and the nationalist assumptions that marked the dawn of European folkloristics, it is told about the contrast of the different representations of such a figure an official of biblical origin and a popular one of a mythical and pagan nature. In this sense we explore the association of this good devil with witches, fairies, nightmares and the construction of bridges as a way of demonstrating the pertinence of the presupposition that justifies and guides this study: that the good devil of Portuguese popular narratives alludes to the mythical characters of pagan folklore, diabolized with the advent of Christianity. The correspondence between the archetypal traits (Levi-Strauss) of the good devils to the goblins, gnomes and other little people of pagan mythology is demonstrated by the analysis of the oral texts that make up the listed corpus. The engravings and other pictorial representations concerning the thematic axes of this investigation corroborate the multidisciplinary theoretical perspectives on which the present work is based, bordering on ethnography: cultural and religious studies, moralizing literature and the history of the book in its philological, typographic and pictorial aspects.