De la conquête de Cyrus II en 547 av. J.-C. à celle d'Alexandre le Grand en 334 av. J.-C., l'Asie Mineure occidentale a fait partie de l'empire achéménide. Les Grecs d'Asie ont donc vécu pendant plus de deux siècles en contact avec des populations perses, qu'il s'agisse des satrapes ou des membres de la diaspora impériale venus s'installer dans les régions conquises. Cette proximité géographique a donné lieu à de très nombreux échanges institutionnels, culturels et personnels. Cette thèse s’intéresse à la diversité des relations ayant existé entre les membres des deux communautés. Elle s'efforce de montrer de quelle manière deux peuples souvent présentés comme des ennemis héréditaires ont vécu dans un même espace géographique. / Western Asia Minor was part of the Achaemenid Empire from the conquest of Cyrus II (547 B.C.) to that of Alexander the Great (334 B.C.). Thus, during more than two centuries, Asian Greeks have lived in touch with Persians, either satraps or members of the imperial diaspora who settled in the conquered regions. This geographical closeness gave rise to a number of institutional, cultural and personal exchanges. This thesis explores the variety of relationships having existed between members of the two communities. It seeks to show how two peoples traditionally presented as enemies actually cohabited in the same geographical space.

Plus connu sous le pseudonyme de Jean de La Hire, l’écrivain, éditeur et homme politique français Adolphe d’Espie (1878-1956) a aujourd’hui disparu de la plupart des mémoires. Ses œuvres ont pourtant marqué nombre de lecteurs de son époque, comme le jeune Jean Paul-Sartre qui se délectait de ses romans. Son parcours ne peut par ailleurs manquer d’interpeller. Romancier résolument élitiste, le jeune d’Espie fréquente Pierre Louÿs, José-Maria de Heredia, Colette et Willy, et se rêve en nouveau Balzac. Pourtant, c’est dans le roman populaire qu’il se rendra célèbre, et qu’il publiera la majorité de sa très vaste production. Il en couvrira tous les genres : roman sentimental, policier, d’aventures, de cape et d’épée, et de science-fiction. Son itinéraire politique étonne également. Longtemps engagé auprès des républicains-socialistes, il devient maire de Banyuls-sur-Mer sous cette étiquette, et rédacteur en chef d’une revue politique parrainée par Léon Bourgeois et Ferdinand Buisson. D’Espie bascule cependant dès 1940 du côté de la collaboration. Il prend alors la tête des Éditions Ferenczi qu’il aryanise et met au service de la propagande nazie, propagande à laquelle il contribue aussi de sa plume. Ambitieux et opportuniste, d’Espie a choisi en politique comme dans les lettres, les chemins qui menaient le plus vite au succès, au mépris d’idéaux vite oubliés, et d’une postérité qui ne pourra lui pardonner ses errements. / Mostly known under the pseudonym Jean de La Hire, the French writer, editor and politician Adolphe d’Espie (1878-1956) might not be on many people’s minds nowadays. Yet, his works were very popular in his time, delighting a vast audience including young Jean-Paul Sartre, who names him as one of his favorite authors. And his baffling itinerary raises many questions. Beginning his literary career as a very elitist novelist, young d’Espie befriends figures such as Pierre Louÿs, José-Maria de Heredia, Colette and Willy, and dreams to become the new Balzac. He still ended up owing his fame to popular literature. His prolific production in the field covers many genre: romance novel, crime novel, adventure novels, and even science fiction. The paths he followed in politics puzzle as well. A long standing supporter of the “radical” movement, and elected mayor under this label, d’Espie became editor in chief of a political review sponsored by future Nobel Peace Prize-winning Léon Bourgeois and Ferdinand Buisson. In 1940, d’Espie however sides with the German occupying forces. He takes the helm of a publishing house confiscated to Jewish owners, and writes and publishes propaganda in favor of the Nazis. Ambition and opportunism seem in both cases the reason accounting for these flip-flops – d’Espie always going for the quickest way to success, disregarding both his ideals and a posterity that will not be able to forgive his mistakes.

This study focuses on the novels of Quicksand by Nella Larsen and Invisible Man by Ralph Ellison to explore the phenomenon of poqéakh (פֹּקֵחַ) through the fictionalized lived experiences of their protagonists, Helga Crane and invisible man. Each novelist’s representation of poqéakh offers a portrait of the protagonists’ psyches. The narratives reveal an unsettling truth for the protagonists, who are members of a population often targeted, stigmatized, and fashioned or re-fashioned by Americans and various environs in American society, that they must assimilate—not only their bodies, but their psyches too to fit the “white man’s pattern” (Larsen 4). Their realities inform them that non-conformity and/or developing or utilizing their intellect is disadvantageous—perceiving is unfavorable. Each protagonist learns that she and he will not only be limited by their imaginations or abilities, but also by persons and constructs within American society keeping them witless and amenable. The environs presented in forms such as schools, jobs, even people who prepare each protagonist to accept all and any disparity (inequality and inequity), they are made to be persistently and surreptitiously instructive. As such, these environs are always educating (or training), always molding the psyches of the protagonists to live within a frame—the construct (American society). These ever informing boundaries thoroughly acquaint each protagonist on “how to scale down [their] desires and dreams so that they will come within reach of possibility” (Thurman 115). Poqéakh leads Helga Crane to perceive the boundaries while it prevents the invisible man from returning to unblissful ignorance, thus, for him, providing momentary periods of lucidity. This study utilizes a qualitative research design and method, and relies on phenomenological theory to successfully analyze the novels and explicate on the representations of poqéakh. As this study will illustrate, Larsen and Ellison offer as representative via their novels two narratives of the diasporic psyche (mind), wherein their protagonists’ experiences of poqéakh lead to some unmitigated facts and disturbing truths about their reality.

Made available in DSpace on 2016-04-28T19:33:38Z (GMT). No. of bitstreams: 1 Christianne de Menezes Gally.pdf: 1552116 bytes, checksum: 25b08f075e45ba503421feaffb45b42d (MD5) Previous issue date: 2013-05-10 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Considering grammar as a cultural object object built by man for socially and culturally constructed this investigation, after proposing criteria for analysis, from the point of view of the new Cultural history (or history of linguistic ideas), uses the concepts of ownership and representation, whose goal is to understand, through the Tratado da Língua Vernácula, written by Brício Cardoso, the relations established between the text, the object which supports specific practices that produced conceptual and cultural settings and entered in his time. With this analysis, It is intended to assert that the grammars produced are all important cultural artifacts of their time and, because of that, historical source that presents evidence of unique experiences. In other words, a grammar is built with a specific goal to meet a specific public, required for a particular school, almost always written by eminent teachers in their social environment that if other apropriavam selected models as their cultural baggage, your mental utensilagem / Considerando a gramática como um bem cultural objeto construído pelo homem com finalidades social e culturalmente construídas, esta investigação, depois de propor critérios de análise, sob o ponto de vista da Nova História Cultural (ou história das ideias linguísticas), que usa os conceitos de apropriação e representação, tem como objetivo compreender, por meio da gramática Tratado da Língua Vernácula, escrita por Brício Cardoso, as relações estabelecidas entre o texto, o objeto que lhe serve de suporte, as práticas específicas que o produziu e as configurações culturais e conceituais inscritas em seu tempo. Com essa análise, pretende-se afirmar que as gramáticas produzidas são todas elas importantes artefatos culturais de seu tempo e, por isso, fonte histórica que apresenta indícios de experiências singulares. Em outras palavras, uma gramática é construída com um determinado objetivo para atender a um determinado público; exigida por uma determinada escola, quase sempre escrita por professores eminentes em seu meio social que se apropriavam de outros modelos selecionados, conforme sua bagagem cultural, sua utensilagem mental

O objetivo deste trabalho é analisar os elementos contraditórios - ou seja, tanto as características aristocráticas quanto as modernizantes - próprios do período de transição em que a sociedade francesa se encontrava na virada do século XVIII para o XIX, presentes nos escritos de Dominique-Vivant Denon (1747-1825), Directeur Général des Musées durante o Consulado e o Império. Buscaremos compreender como uma figura oriunda da nobreza provinciana francesa conseguiu se equilibrar no jogo de forças políticas que se desenrolou na França com o advento da Revolução e como se tornou uma personagem fundamental na constituição de um dos grandes projetos políticos e culturais do período: a reformulação do Museu do Louvre. Em uma perspectiva mais ampla, pretenderemos investigar, através da produção de Vivant Denon, o fenômeno de reapropriação e ressignificação de uma tradição cultural associada ao Antigo Regime na construção do Império Napoleônico. / The object of this research is to study the contradictory elements - both aristocratic features as the modernizing ones - in the transition period from the eighteenth century to the nineteenth, present in the writings of Dominique-Vivant Denon (1747-1825), Directeur Général des Musées during the Consulate and the Empire. We seek to understand how a figure derived from the French provincial nobility managed to balance the game of political forces that unfolded in France with the Revolution and how he became a fundamental character in the consolidation of a major cultural and political projects of the period: the reformulation of Louvre Museum. In a broader perspective, the present study seeks to understand and investigate, through the writings of Vivant Denon, the phenomenon of reinterpretation of a cultural tradition associated with the Old Regime in the construction of the Napoleonic Empire.

Cette thèse traite des rapports noués entre le livre et la photographie en France au cours du dernier tiers du XIXe siècle. Elle dégage les enjeux recouverts par cette association pour les acteurs collaborant à sa réalisation, à la croisée desquels a été progressivement inventé un objet inédit : un livre dont le discours s’élabore à partir de la combinaison de textes et de photographies entre ses plats de couverture au moins, mais aussi sur ses pages si l’envie ou le besoin le commande. Pour cela, elle circonscrit les contours et les tendances de la production moyenne entre 1867 et 1897, en construisant un corpus qui en reflète l’étendue et les ambitions. De type systémique, son analyse démontre que le livre n’a été ni le berceau, ni le foyer, non plus que le vecteur de diffusion principal des images photographiques en France au XIXe siècle. En révélant l’extrême diversité de la production, elle prouve par contre que le livre a constitué un laboratoire d’expérimentations des modalités de l’association des textes et des images photographiques, dans le but de formaliser un discours pour le pérenniser. Par ce biais, les auteurs et les éditeurs ont progressivement défini les spécificités de la photographie dans le champ des moyens disponibles pour l’illustration. Permettant notamment aux imprimeurs-éditeurs de réaffirmer leur position dominante sur un monde de l’édition en mutation, les processus de cette appropriation se distinguent toutefois par la très faible implication de la communauté photographique. Dès lors, cette thèse propose une périodisation des liens des photographes au livre, lorsque celui-ci est utilisé comme un levier dans leurs réclamations statutaires. / This thesis is about the relationship between books and photography in France during the last three decades of the 19th century. It reveals what was at stake in this specific association for the diverse actors involved in its creation. Articulating multiple issues, a new object was gradually invented: the photographically illustrated book, that is a book discursively produced through combining texts and photographic images between its covers, if not on the very pages themselves. To this end, the thesis charts the boundaries and tendencies of the average production of photographically illustrated books between 1867 and 1897, building a corpus that reflects its extent and its ambitions. Through a systemic analysis, it demonstrates that books were neither the breeding grounds nor the main sites nor the main vehicles for the dissemination of photographic images in 19th century France. By showing the extreme diversity of the production, it argues that books have constituted an experimental ground where modalities of texts’ and photographic images’ associations were tested. Through this process, authors and editors progressively defined what would become the specific characteristics of photographic images as means available for illustration. Allowing publishers and printers to reaffirm their dominant position in the world of publishing, the processes of this appropriation is particular because of the very low involvement of the photographic community itself. Therefore, the thesis proposes a periodization of the links of photographers to the book, analysing its role in the statutory claims they made through time.

Made available in DSpace on 2016-04-27T16:33:41Z (GMT). No. of bitstreams: 1 Orlando Jose de Almeida Filho.pdf: 7850359 bytes, checksum: 77be54ece86b8c2b0e11594353483e74 (MD5) Previous issue date: 2008-08-21 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The inquiry of this work turned toward the collections Curso de Psicologia e Pedagogia, Curso de Filosofia e Ciências and the volumes published in the collections Atualidades Pedagógicas and Iniciação Científica by professor Theobaldo Miranda Santos. The period between 1945 and 1971 corresponds to the time of publications of those collections. The author was also the publisher of two of the collections: Curso de Psicologia e Pedagogia and Curso de Filosofia e Ciências. He also published some volumes in the collections Atualidades Pedagógicas and Iniciação Científica directed initially by Fernando de Azevedo up to 1946 and later, by Damasco Penna. Inserted in the perspective of Cultural History, the research intends to operate with the study of the collections in its materiality in view of the strategies of the production, circulation, appropriation and imposition of the catholic model as an educational political project. The production and the edition of the collections were inserted in a context of disputes for the domain of the educational field, especially between pioneers and catholics. From the edition, production and circulation of these materials, in which the plot and disputes for the conquest of the educative place are perceived, it is also possible to understand how the knowledge propagated in the collections has constructed and prescribed pedagogical practices based on the catholic pedagogical model. From this problematic, the work searches to understand, through the material analysis of the collections, which had been the publishing and catholics strategies to conquer the market in a process of modulation of a pedagogy that brought in its volumes prescriptions of knowledge toward the formation of the professor. The collections had been part of a major project of the catholics for intervening in the culture, shaping the knowledge in the catholic perspective / A investigação desse trabalho voltou-se para as coleções Curso de Psicologia e Pedagogia, Curso de Filosofia e Ciências e os volumes publicados nas coleções Atualidades Pedagógicas e Iniciação Científica de autoria do professor Theobaldo Miranda Santos. O período compreendido entre 1945 e 1971 corresponde ao tempo de vida das publicações em coleções. O autor foi também o editor de duas das coleções: Curso de Psicologia e Pedagogia e Curso Filosofia e Ciências. Ainda publicou alguns volumes nas coleções Atualidades Pedagógicas e Iniciação Científica dirigidas inicialmente por Fernando de Azevedo até 1946 e, posteriormente, por Damasco Penna. Inserida na perspectiva da História Cultural, a pesquisa pretende operar com o estudo das coleções em sua materialidade tendo em vista as estratégias da produção, circulação, apropriação e imposição do modelo católico como projeto político educacional. A produção e edição das coleções estavam inseridas em um contexto de disputas pelo domínio do campo educacional, sobretudo entre os pioneiros e católicos. A partir da edição, produção e circulação desses materiais, nas quais se percebem as tramas e disputas pela conquista do lugar educativo, também é possível compreender como os saberes veiculados pelas coleções construíram e prescreveram práticas pedagógicas fundamentadas no modelo pedagógico católico. A partir dessa problemática, o trabalho busca compreender, por meio da análise material das coleções, quais foram as estratégias editoriais e católicas utilizadas para conquistar o mercado em um processo de modelização de uma pedagogia que trazia em seus volumes prescrições norteadoras de saberes voltados para a formação do professor. As coleções fizeram parte de um projeto amplo por parte dos católicos de intervir na cultura, modelando saberes na perspectiva católica

Made available in DSpace on 2016-04-29T14:27:28Z (GMT). No. of bitstreams: 1 Antonio Carlos Ferreira.pdf: 2962525 bytes, checksum: 115434630234989a8886f14a518bbb6d (MD5) Previous issue date: 2016-02-24 / The purpose of this thesis is to perform a narrative reading of Mark 4.35-41, focusing on the character of the individuals in order to understand their behavior when facing a dangerous situation in the storm at sea they ask Jesus, Master, do you not care that we are perishing? When facing danger, the prevalent emotions are fear, despair and anxiety. Therefore, the exegetical study will be conducted using psychology, a science that studies human behavior and mental processes. Based on the theoretical principles of Bible study as literature, the goal of the present study is to perform an exegetical analysis of the biblical narrative in Mark. The miracle description includes all issues related found in manuals and biblical commentaries with their multivisions. It also includes a parenetic, coeval analysis of the text based on the sciences of human behavior aimed at updating and application in modern life. Therefore, the text exegesis sheds light on the history, the validity of the pericope and update for modern life based on psychology. It applies to the study in question the historical-critical method over the structuralist and fundamentalist / Esta tese busca realizar uma leitura da narrativa em Marcos 4,35-41. Postula centrar-se no caráter dos personagens querendo entender o comportamento dos mesmos diante da situação de perigo na tempestade no mar expressa na inquirição dirigida a Jesus: ―Mestre, não te importa que pereçamos?‖ Diante de um perigo, as emoções sobressalentes no humano são medo, ansiedade e desespero. Por isso, o estudo exegético será realizado em diálogo com a psicologia, ciência que estuda o comportamento humano e os processos mentais. Tendo como base os pressupostos teóricos de estudo da Bíblia, enquanto literatura, este trabalho realiza análise exegética da narrativa bíblica em Marcos. Reúne em torno da narrativa de milagre todas as questões relativas ao tema que se encontram em manuais e comentários bíblicos com suas multivisões. Realiza ação parenética coeva do texto em diálogo com as ciências do comportamento humano visando atualização e aplicação na vida hodierna. Deste modo, a exegese do texto em questão, lança luz sobre a historicidade, a validade da perícope e atualização para a vida hodierna com corte psicológico. Aplicou-se ao estudo em questão o método histórico-crítico em detrimento ao estruturalista e ao fundamentalista

O presente trabalho de mestrado propôs identificar as narrativas que se estabeleceram no projeto que buscou modernizar o Museu Nacional da Colômbia, na administração de Emma Araújo de Vallejo entre 1975 e 1982, a partir da confluência de três campos, a História Cultural, a História da Educação e a Museologia. Pode-se estabelecer que a proposta abrangeu dois aspectos: a reorganização administrativa do museu e a readequação das salas de exposição, que incluiu uma intervenção arquitetônica ao edifício. Metodologicamente o trabalho vincula-se ao conceito de Morales Moreno de interferência museográfica e ao referido por Zita Possamai e Marília Xavier Cury sobre o processo de musealização, para o tratamento dos documentos textuais: manuscritos, registros das comissões estruturadas (de Arquitetura, de História e da Arte), contratos, estudos arquitetônicos, propostas e relatórios, como para os de caráter mais visual: catálogos, fotografias, planos, desenhos, entre outros, entendendo que a narrativa histórica de um museu é por sua natureza diferente à encontrada no documento escrito. As discussões teóricas são determinadas em dois âmbitos, o que se refere a entender o museu como lugar da memória e as suas implicações; e o refletir sobre o que faz que um museu seja nacional. Para isto, autores como Myrian Sepúlveda dos Santos, Regina Abreu, Luis Gerardo Morales Moreno, Beatriz González, Ana Claudia Fonseca Brefe, Camilo de Mello Vasconcelos e Cecília Oliveira contribuem para a discussão, entendendo o museu como um lugar de reelaboração da memória e as narrativas como representações, o que converte este espaço em local de disputas. O trabalho salienta que o objetivo central deste projeto é duplo: tornar o museu um grande livro de história e fazer uma atualização face as novas correntes da Museologia. Deste modo, o Museu Nacional alcançava a qualificação constante do pessoal, a diversificação de serviços para o público, a criação do Departamento Educativo e uma gestão consciente das suas coleções. Sobre a exposição de longa duração é observado que o segundo andar, que corresponde às salas de história, não rompe a periodização tradicional e, além disso, se salienta a origem da nação nas figuras de Bolívar e Santander como pessoas eminentes da Independência. No terceiro andar, nas salas de belas artes, não só se encontram os artistas que tradicionalmente eram expostos, mas também foi incluída a vanguarda conformada pelos “novos”. As influências que o museu recebe são de Ulrich Löber, no período assessor internacional, de Pierre Francastel e Marta Traba, por intermédio da diretora, e da Colcultura e da ACOM, os quais instauraram os debates sobre museus na Colômbia. Conclui-se que a consciência do poder que possui o museu para incluir e excluir, através das suas narrativas, poderia ser o grande ensino desta administração, em um momento onde todos pedem o seu espaço de representação. / This master´s thesis proposes to identify the narratives that were established in the project that tried to modernize the National Museum of Colombia, under Emma Araújo's management between 1975 and 1982, from three fields, the Cultural History, the History of the Education and the Museology. It was possible to define that the offer contained two aspects: the administrative reorganization of the museum and the re adequacy of the exhibition, which included an architectural intervention to the building. Methodologically, adheres to the proposed for Morales about the concept of “interferencia museográfica” and which was said by Possamai and Cury about of the “procesos de musealización”, for the treatment so much for the textual documents: scripts, the acts of the commissions (of Architecture, History and Art), contracts, architectural studies, offers and reports, since of the visual ones: catalogues, photography’s, planes, drawings, among others, understanding that the historical own narrative of a museum is for his nature different from the contained one in the written document. The theoretical discussions are given in two areas: the museum as place of memory and his implications, and the reflections about what does that a museum a national one. For this, authors like Maria Sepúlveda dos Santos, Regina Abreu, Luis Morales, Beatriz Gonzalez, Ana Maria Brefe, Camilo de Mello Vasconcelos, and Cecilia Olivieira open the discussion understanding the museum as a place of reproduction of the memory and considerate the narratives as representations, which turns this space place of disputes. The work highlights that the central aim of this project was double: the museum turns a great book of history, and putting to the currents ideas about museology. From this, the National Museum achieves a constant training of the staff, the diversification of services for the public, the creation of the Educational Department, and a conscious management of collections. As for the exhibition is observed that the second floor, which they correspond to the rooms of history, does not break with the habitual periodization, and highlights the origin of the nation in the figures of Bolivar and Santander as leaders of the Independence. In the third floor, the rooms of arts, they show not only the artists who traditionally had been there, but they included the vanguard of the new ones. The influences that this new museum receives are from Ulrich Löber, as international adviser, of Pierre Francastel and Marta Traba, across his director, and of Colcultura and ACOM, who implant the debates on museums in Colombia. It concludes that the conscience of the power that possesses the museum to include and to exclude across his narratives might be the great education of this administration, in a moment where they all ask for his space of representation. / Este trabajo de maestría se propone identificar las narrativas que se establecieron en el proyecto que pretendió modernizar el Museo Nacional de Colombia, bajo la gestión de Emma Araújo de Vallejo entre 1975 y 1982, desde tres campos, la Historia Cultural, la Historia de la Educación y la Museología. Se pudo definir que la propuesta contuvo dos aspectos: la reorganización administrativa del museo y la readecuación del montaje, que incluyó una intervención arquitectónica al edificio. Metodológicamente se adhiere a lo propuesto por Morales sobre la interferencia museográfica y lo dicho por Possamai y Cury sobre los procesos de musealización, para el tratamiento tanto de los documentos textuales: guiones, las actas de las comisiones conformadas (de Arquitectura, de Historia y de Arte), contratos, estudios arquitectónicos, propuestas e informes, como de los visuales: catálogos, fotografías, planos, dibujos, entre otros, entendiendo que la narrativa histórica propia de un museo es por su naturaleza diferente a la contenida en el documento escrito. Las discusiones teóricas se dan en dos ámbitos, el que se refiere al entender al museo como lugar de memoria y sus implicaciones, y el de pensar qué hace que un museo sea nacional. Para esto, autores como María Sepúlveda dos Santos, Regina Abreu, Luis Morales, Beatriz González, Ana Maria Brefe, Camilo de Mello Vasconcelos, y Cecilia Olivieira abren la discusión entendiendo el museo como un lugar de reelaboración de la memoria y entendiendo las narrativas como representaciones, lo cual convierte este espacio en lugar de disputas. El trabajo resalta que el objetivo central de este proyecto fue doble: volver el museo un gran libro de historia, y el de ponerlo al corriente de las actuales corrientes de la museología. De esta forma, el Museo Nacional logra una constante capacitación del personal, la diversificación de servicios para el público, la creación del Departamento Educativo, y una consciente gestión de colecciones. En cuanto al montaje de la exposición de larga duración, se observa que el segundo piso, que corresponden a las salas de historia, no rompe con la periodización habitual, y resalta el origen de la nación en las figuras de Bolívar y Santander como próceres de la Independencia. En el tercer piso, las salas de bellas artes, se reúnen no sólo a los artistas que tradicionalmente habían estado ahí, sino que incluyeron a la vanguardia conformada por los nuevos. Las influencias que recibe este nuevo museo vienen dadas por Ulrich Löber, como asesor internacional, de Pierre Francastel y Marta Traba, a través de su directora, y de Colcultura y ACOM, quienes implantan los debates sobre museos en Colombia. Se concluye que la conciencia del poder que posee el museo para incluir y excluir a través de sus narrativas podría ser la gran enseñanza de esta administración, en un momento donde todos piden su espacio de representación.

L’historiographie de l’avant-garde musicale sous le franquisme a montré à quel point celle-ci s’était développée dans des structures proches du pouvoir. Selon les études produites sur cette question, les compositeurs se seraient emparés des organismes officiels comme d’espaces dépolitisés dans lesquels ils auraient pu mener une activité artistique autonome. Ce sont ainsi les attitudes de prise de distance et de critique face au gouvernement de Franco qui ont majoritairement suscité l’intérêt des chercheurs, laissant de côté la question de la proximité de ces musiciens avec le pouvoir en place. Notre thèse tente de reconstruire et d’analyser dans toute leur complexité les rapports tissés entre le milieu de l’avant-garde musicale espagnole et le régime franquiste. À cet effet, elle s’intéresse aux éléments – conduites, discours, événements, productions – mettant en évidence la proximité de ses protagonistes avec la sphère politique ainsi qu’au soutien que l’État a pu leur apporter. Située au croisement de l’histoire et de la musicologie, cette enquête cherche d’une part à proposer une nouvelle approche de l’histoire culturelle et politique du franquisme et d’autre part à contribuer à une réflexion plus générale sur les interpénétrations entre musique et politique, en particulier sous les dictatures. / As previous research has shown, the Spanish musical avant-garde originated under Franco and then forged long-lasting and close connections with State institutions. According to these studies, composers used official organizations as depoliticized spaces in which they could develop their autonomous artistic activity. Thus, most scholars have focused on critical attitudes towards the regime and ignored issues regarding the proximity of these musicians with Franco’s government. This research aims to reconstruct and analyse the relationship between the Spanish musical avant-garde and the Francoist regime in all its complexity. In order to do so, we will closely examine elements – behaviour, rhetoric, events, productions – which show the proximity of certain composers to the political sphere as well as the support that the State provided for them. Situated at the crossroads between history and musicology, this study offers a new perspective on the cultural and political history of Francoism and, moreover, contributes to a general reflection on the interpenetration of music and politics, particularly under dictatorial regimes.