Cette thèse étudie la phase d’évaluation de la créativité, ses antécédents et ses effets. Dans le premier article, j’étudie l’impact de la culture sur le processus d’évaluation de la créativité, posant la question de la manière dont la créativité est évaluée dans différentes cultures. L’étude inductive des versions française et américaine de Top Chef, un concours destiné aux cuisiniers professionnels, révèle des différences culturelles frappantes à la fois dans les processus d'évaluation et dans la fréquence et la valence des critères. Dans le deuxième chapitre de cette thèse, je tente d'expliquer le mécanisme derrière l'un des prismes majeurs par lequel les évaluateurs forment leur jugement concernant la créativité, à savoir le statut du créateur. Je soutiens que l’effet du statut du créateur sur l’évaluation de sa créativité diffère en fonction de son identité de spécialiste ou de généraliste. J’émets l'hypothèse et obtiens confirmation par une étude empirique longitudinale du contexte de la haute cuisine américaine que le statut du créateur n'est bénéfique à son évaluation de la créativité que lorsque le créateur a une identité de spécialiste. Enfin, dans la troisième partie de cette thèse, je me focalise sur la créativité en équipe et développe un modèle théorique où le processus d'évaluation explique pourquoi les équipes ne sont pas toujours un terrain propice à la créativité. Je propose de distinguer conceptuellement les différents processus d'évaluation et d'étudier leur impact respectif sur la capacité de l'équipe à sélectionner son idée la plus créative en vue de son application. / The objective of the present dissertation is to gain a better understanding of how people assess creativity, and of the antecedents and outcomes of this creativity assessment process. In the first essay, I address the question of how people in different cultures assess creativity. In an inductive study of the French and US versions of Top Chef, a professional chefs’ competition, striking cultural differences emerge both in the moves used at each step of the assessment process and in the frequency and valence of the criteria. In the second part of this dissertation, I focus on the cues upon which evaluators rely to assess creativity. In particular, I disentangle the mechanism underlying the relationship between the creator’s status and the evaluation of his or her creativity. I develop the role of a specialist identity and argue for a complementary effect with the creator’s status. I hypothesize and find evidence that the creator’s status is only beneficial for his creativity evaluation when he has a specialist identity. Finally, in the third part of the dissertation, I focus on team creativity and develop a theoretical model where the assessment process provides an explanation as for why teams are not always the breeding ground for creativity. I propose to conceptually distinguish between different team assessment processes and to explore their respective impact on team’s ability to select its most creative idea for further implementation.

University of Macau / Faculty of Social Sciences and Humanities / Department of Government and Public Administration

中國自2000年以來，確立發展文化產業的國家戰略，而政策的推動是中國文化產業發展的關鍵。相較於以往中國將文化作為意識形態統治工具，中國文化產業政策具有經濟、文化和社會服務等綜合屬性。因此，本文以北京798藝術區為個案焦點，闡述中國文化產業政策的出台與落實，並以新國家主義理論中「國家能力」與「國家自主性」的概念，探討國家角色在中國文化產業發展過程中的作為與作用。 在北京798藝術區個案中，本文梳理出中國文化產業園區市場化的趨勢，及文化產業園區政府與企業集團的合作管理模式。本文認為文化產業園區的發展，除因全球文化產業風潮催生，也受到國家、企業集團與藝術家各自的意志選擇、能力展現、利益取向和三者互動所影響。 本文透過個案分析，進行對新國家主義的再詮釋，發現國家自主性在文化產業發展中，受制於國際、社會及藝術家壓力，國家能力的實現是利益權衡下的妥協。本文亦認為國家內部存在相異的利益取向，透過政府不同層次的互動，型塑著中國文化產業政策的發展。 / Since 2000, China’s national strategies for the development of the cultural industries have been established, and the key to the development of the cultural industries in China is policy promotion. In the past, culture had been used by China as a tool for the governance with ideology. In comparison, China’s cultural industry policies reflect a comprehensive feature of economics, culture, and social services. Thus, this study focused on the case of the Beijing 798 Art Zone to elaborate the development and implementation of China’s policies regarding the cultural industries, and explore the achievements and influences of the role the country has been playing in the development process of the cultural industries in China based on the concept of “State Capacity” and “State Autonomy” in the Neo-Statism Theory. 　　This study summarized the trend of marketization of cultural industry parks in China and the cultural industry park management model based on the cooperation between the government and enterprise groups and the of through the case of the Beijing 798 Art Zone. This study believed that the development of cultural industry parks is under the influence of not only the wave of cultural industries around the world, but also the interactions among the individual free-will choices, performances of capability, and profit orientations of the country, enterprise groups, and artists. 　　Through the case analyses, this study re-interpreted the Neo-Statism and found that, in the development of the cultural industries, state autonomy is restrained by the pressure from the world, the society, and artists, and the realization of state capability is a compromise of the profit trade-off. This study also believed that the different profit orientations in the country have shaped the development of China’s cultural industry policies through the governments’ interactions of different levels.

Comment les formes et les figures d’un catalogue d’exposition numérique ou d’un récit de fiction enrichi pour tablette, cadrées dans des pages-écrans et ancrées dans un dispositif numérique, modélisent-elles des lecteurs et des pratiques de réception ? Comment les concepteurs imaginent-ils ces modélisations de pratiques et comment celles-ci s’actualisent-elles de diverses manières dans une situation de réception précise en fonction des attentes des lecteurs ? Il n’existe pas encore de travaux sur le livre numérique enrichi confrontant les pratiques réelles ou imaginées de communautés de producteurs et de récepteurs aux pratiques modélisées par l’artefact, ses formes graphiques, ses signes alphabétiques et ses relations rhétoriques entre pages-écrans. Cette thèse retrace la genèse d’une méthodologie d’analyse socio-sémiotique, alliant en profondeur l’étude empirique des contextes de production et de réception du livre numérique enrichi avec l’analyse des stratégies sémiotiques et rhétoriques de ses interfaces. Souhaitant favoriser l’émergence d’une culture critique du design numérique, la méthodologie propose d’identifier les rapports de pouvoir qui traversent les pratiques en conception pour se loger dans la matérialité des artefacts. À travers un croisement expérimental d’approches sémiotique, sociologique et économique, nous faisons émerger un vocabulaire original des « figures de la lecture » du livre numérique enrichi. Indexé sur les pratiques des concepteurs, celui-ci met en avant le rôle des représentations, habitudes et normes sociales dans la sémiose. Il est enrichi par une étude en réception sur l’un des artefacts du corpus. / How will an exhibition catalog or a fictional story, enhanced for digital tablets, translate the visitor’s reading habits and expectations into pages-screens? How do the e-books’ designers understand and conceive these reading practices? How will concrete readers’ expectations meet the implicit reader of the text? This thesis is based on a social semiotic methodology, deeply intertwining the empirical study of the current e-books creative and consumption practices with a methodical analysis of the semiotic and rhetorical strategies of their editorial interfaces. Empirically merging semiotic, sociological and economical research, we bring to light a new original vocabulary of “reading features” of enhanced e-books. Combining it with the designers’ practices, this vocabulary exhibits the role played by usages and social standards in semiosis. It is also enriched with a reception study on a specific artifact.

Les industries culturelles et créatives sont au cœur de nombreuses stratégies de développement territorial notamment des stratégies de cluster. Pour comprendre le fonctionnement d’un cluster, il convient d’étudier finement les relations de coopérations qui se nouent entre les acteurs. Selon le concept de la proximité, chaque situation coopérative est composée d’un ensemble de proximités qui s’articulent et évoluent avec le temps. Notre recherche a pour objectif d’identifier les combinaisons de proximités propices au développement des coopérations inter-entreprises et leurs impacts sur la nature et la fréquence des coopérations. Pour répondre à cet objectif, nous avons retenu les définitions des proximités proposées par Boschma (2005) que nous avons complétées par une proximité de normes et une proximité de valeurs. La proximité de valeurs a fait l’objet d’une association théorique avec les théories de la grandeur (Bolstanski, Thévenot, 1991 ; Boltanski, Chiapello, 1999). Un barème d’évaluation de chaque proximité (cognitive, sociale, organisationnelle, de normes, de valeurs) a ensuite été créé et testé auprès des entreprises membres du cluster de jeu vidéo Atlangames. A travers une méthode qualitative, nous avons suivi la structuration et l’évolution du cluster de 2010 à 2014. L’étude nous révèle l’importance de la proximité cognitive dans l’émergence de la dynamique collective et le caractère déterminant de la proximité de valeurs dans la pérennité des coopérations marchandes. / Cultural and creative industries are at the heart of many territorial development strategies especially cluster strategies. In order to understand the function of a cluster, it is necessary to study in detail the cooperative relationships that are forged between players. According to the concept of proximity, each cooperative situation is composed of a set of proximities that revolve and evolve over time. The aim of our research is to indentify the combinations of proximities favorable for the development of intercompany cooperations and their impacts on the nature and frequency of the cooperations. To meet this goal, we used the definitions of proximities proposed by Boschma (2005), which we complemented by a proximity of norms and values. The proximity of values has been a theoretical association with the economies of worth (Bolstanski, Thevenot, 1991; Boltanski, Chiapello, 1999). A rating scale for each site (cognitive, social, organizational norms, values) was then created and tested on the members of the cluster Atlangames video game. Through a qualitative method, we followed the structure and evolution of the cluster 2010 to 2014. The study reveals the importance of cognitive proximity in the emergence of collective dynamics and the criticality of the proximity of values in the sustainability of commercial cooperation.

Made available in DSpace on 2016-04-25T20:21:23Z (GMT). No. of bitstreams: 1 Silvana Mello Furtado.pdf: 4572264 bytes, checksum: f83f332855446c59076da2b790b8ad84 (MD5) Previous issue date: 2015-03-25 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The objective of the research was to analyze the Festival of Culture and Gastronomy of Tiradentes, in the state of Minas Gerais, Brazil, and correlate it to the National Gastronomy Festival of Santarém, Portugal, and the Conventual Sweets Festival of Alcobaça, also in Portugal; and also insert it in the context of the debate on creative industries, with emphasis on cuisine - here conceived in their economic, cultural and creative dimensions. The work is the result of a scholarship at the University of Coimbra, in Portugal, sponsored by CAPES (Higher Education & Personnel Training Coordination), to account for the relations between the Portuguese cuisine and the gastronomic production of Brazil; for this, the above festivals on Portuguese gastronomy were analyzed. The adopted methodological procedures were constituted of a secondary research carried out through bibliographic survey, and an exploratory-qualitative primary research, involving collection of information and an analysis of the field under study, together with an ethnographic observation through the application of twenty-two interviews with residents and owners of restaurants and hotels, in the town of Tiradentes, plus the information collected in interviews and festivals of Santarém and Alcobaça, Portugal; a case study of qualitative fragment was also part, in which the social unit and the social event were both investigated, with their respective demonstrations and agents. Pierre Bourdieu and Michel de Certeau were fundamental authors for the understanding of gastronomy and the arts of cooking. The Portuguese influence and its representation in the gastronomic culture of Brazil are very present in the dialogue with authors like Gilberto Freyre, Câmara Cascudo, Ricardo Miranda, Claudia Maria Lima e Ivonne Hamilton. To elaborate on "creative industries" all the research conducted by the United Nations Conference on Trade and Development (UNCTAD) and the Federation of Industries of the State of Rio de Janeiro (FIRJAN) for the classification of creative segments, with emphasis on gastronomy and the role of the creative and cultural economy in the socioeconomic development of cities, were of basic importance; as well as the report with recommendations by the United Nations Organization (UNO) / O objetivo da pesquisa foi analisar o Festival de Cultura e Gastronomia de Tiradentes/Minas Gerais/Brasil e correlacioná-lo ao Festival Nacional de Gastronomia de Santarém/Portugal e ao Festival de Doçaria Conventual de Alcobaça/Portugal; e inseri-lo no contexto do debate sobre indústrias criativas, com ênfase para a gastronomia aqui concebidas em suas dimensões econômica, cultural e criativa. O trabalho resulta de uma bolsa sanduíche em Portugal (Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES), na Universidade de Coimbra, efetivada com o objetivo de responder pelas relações entre a culinária portuguesa e a produção gastronômica no Brasil; para tanto, foram analisados os festivais da gastronomia portugueses acima referidos. Os procedimentos metodológicos adotados estão assim constituídos: pesquisa secundária efetivada por meio de levantamento bibliográfico; pesquisa primária e de caráter exploratório-qualitativo, envolvendo o levantamento de informações, por meio da análise do campo em estudo, da observação etnográfica e aplicação de vinte e duas entrevistas com moradores e proprietários de restaurantes e pousadas da cidade de Tiradentes, além de informações colhidas nas entrevistas e festivais de Santarém e Alcobaça/Portugal; realização de estudo de caso, de recorte qualitativo, em que se investigou a unidade social e o acontecimento social, com seus agentes e manifestações. Pierre Bourdieu e Michel de Certeau foram autores basilares para a compreensão da gastronomia e das artes de cozinhar. A influência portuguesa e sua representatividade na cultura gastronômica do Brasil encontram-se presentes no diálogo com autores como Gilberto Freyre, Câmara Cascudo, Ricardo Miranda, Claudia Maria Lima e Ivonne Hamilton. Para a reflexão sobre indústrias criativas foram fundamentais as pesquisas realizadas pela Conferência das Nações Unidas para o Comércio e Desenvolvimento (UNCTAD) e Federação das Indústrias do Estado do Rio de Janeiro (FIRJAN) em relação a classificação dos segmentos criativos, com ênfase à gastronomia e o papel da economia criativa e cultural no desenvolvimento socioeconômico das cidades; assim como relatório com as recomendações da Organização das Nações Unidas (ONU)

Le studio de la Tôei Dôga, fondé en 1956, est dans le Japon d’après-guerre tout à la fois le creuset d’une certaine conception de l’animation, le cœur de la formation d’une grande partie des techniciens qui vont soutenir l’industrie, mais aussi le lieu d’émergence, d’intégration et de réinvention de l’animation japonaise. En effet, si Hiroshi Ôkawa, qui dirige le studio jusqu’à sa mort en 1971, cherche à définir la structure comme le « Disney de l’Orient », le modèle américain, avidement recopié, a aussi été rapidement mis de côté, pour donner lieu à de nombreuses réinventions, appropriations et innovations technologiques. Etudiées d’un point de vue esthétique et technique, grâce à la conjonction de l’analyse formelle des films et de la prise en compte systématique des témoignages et des documents de production, ces innovations donnent à voir un processus de réappropriation du médium qui touche de près à l’histoire des techniques. Un enjeu important, dans le cadre de ce travail, consiste également à replacer aussi précisément que possible la production animée dans l’environnement économique et culturel de son époque. Ceci ne prend cependant pas nécessairement la forme d’une approche purement culturelle, mais cherche plutôt à conjuguer, grâce à des outils empruntés à l’histoire de l’art et à l’histoire culturelle, la matière filmique et la mise en question de son « contexte ». Si l’enjeu central de cette thèse aura été de définir, sur un plan esthétique et technique, une histoire de la production animée raisonnée et fondée sur une étude précise des documents disponibles, il apparaît que ses conclusions mettent en jeu les différents modèles de production traversés successivement par la Tôei, comme autant de propositions artistique, politique et stratégique, de ce que peut être le cinéma d’animation. / The Tôei Doga studio, founded in 1956, is the place in post-war Japan where was developped a new conception of animation, trained a large part of the technicians who will support the industry in the next decades, but also the place of emergence, integration and reinvention of Japanese animation. Indeed, if Hiroshi Okawa, who will run the studio until his death in 1971, seeks to define the structure as the "Disney of the East", the American model, eagerly copied, was also quickly set aside by Tôei, a process originating many technological innovations. Studied from an aesthetic and technical point of view, through a combination of a formal analysis of Tôei Dôga’s production from 1956 to 1971 and the systematic consideration of the animators’ testimonies and production documents, these innovations make a process of appropriation of the medium visible, questionning the history of technology. A crucial issue in the context of this dissertation also includes replacing as accurately as possible Tôei Dôga’s production in the vibrant economic and cultural environment of its time. This however does not necessarily involve an approach similar to that of cultural studies, but is rather seeking to combine, with tools borrowed from art history and cultural history, film material with the questioning of its "context." If the central issue here has been to implement, on an aesthetic and technical level, a history of the animation production process based on a careful study of available records, it appears that Tôei’s successive production models involve many artistic, political and strategic suggestions of what animation may be.

La thèse étudie le rapport « musique-média » dans une perspective communicationnelle. Par une recherche centrée sur la musicalisation médiatisée, il s’agit d’analyser les intégrations musicales à la télévision entre 1949 et 2015. Construite sur un héritage intermédiatique et intergénérique, la mise en musique des programmes de télévision français témoigne depuis les années 1980 de l’industrialisation croissante de la production de deux filières des industries culturelles : la filière de l’audiovisuel et la filière de la musique enregistrée. Pour appréhender les enjeux sous-jacents à ces questionnements, une méthodologie inter-dimensionnelle a été mise en place : enquête sur l’activité professionnelle des monteurs (historiographie et entretiens semi-directifs) et analyses de corpus (analyse statistique et analyse de contenu thématique). Majoritairement focalisée sur la télévision de flux (magazine, télé-réalité, journaux télévisés, etc.), l’enquête s’est aussi ouverte à des productions fictionnelles (longs métrages et séries télévisées). Il ressort de ces analyses que dans un contexte de création rationalisée, les intégrations attestent de la prise en considération des valeurs symboliques de la musique dans des stratégies de captations des publics. Visibles au sein même des contenus, les changements remarqués entraînent ainsi une augmentation et une circulation accrue des images musicalisées, ce qui révèle une participation des médias à une culture industrialisée. / This doctoral thesis questions the relationship between music and the media from a communicational perspective. Relying upon the notion of mediatized musicalization, this research work offers an analysis of musical integrations featured on French television from 1949 to 2015. Building upon intermedia and integeneric foundations, the musical setting of French television programs bears witness to the ever increasing industrialization of two sectors of the cultural industries since the 1980’s: the audiovisual sector and the recorded music sector. In order to fully appreciate the issues at stake here, a composite methodology has been adopted mixing investigative research on the work of video editors (historiographical readings, semi-directive interviews) and corpus analyses (statistical analyses and thematically-oriented content analyses). One of the conclusions that can be drawn from these analyses is that, in a context of rationalized creation, musical integrations indicate that the symbolic value of music is taken into consideration as part of a wider strategy aimed at grabbing the attention of the public. These changes, noticeable in the contents, have led to the multiplication and to the growing circulation of musicalized images, thus reveal the involvement of the media in our industrialized culture.

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2017-12-20T08:45:48Z No. of bitstreams: 1 Urbano Nobre Nojosa.pdf: 1951292 bytes, checksum: 0a99785b2a9ee0dbf9938df2b23ea625 (MD5) / Made available in DSpace on 2017-12-20T08:45:48Z (GMT). No. of bitstreams: 1 Urbano Nobre Nojosa.pdf: 1951292 bytes, checksum: 0a99785b2a9ee0dbf9938df2b23ea625 (MD5) Previous issue date: 2017-12-13 / The thesis Capitalism: from paper press to cloud heralds the relationship between capitalism and social communication because the 2008 economic and financial crisis revealed the plot among the advertising industry, journalistic media outlets and social networks in the web as elements that constitute capital super production and turnover of higher organic composition. It is expressed by international financial capital, which transforms global economy and wealth through securitization into speculative and volatile bonds. This economic and political crisis displays a gambling logical construction, permeated by drug trafficking money, corruption and fraud by corporations. Journalism became the area for capitalist doxa legitimation, playing the role of public doxa that generates consensus. That is, the articulation between good sense and common sense that guides the individual in order to follow the social programming and regularity, to forge total life control, to order daily life according to the social rder values. These fill in tasks, behaviours and rules previously orchestrated by the domination power of capitalism. Modern lifestyle leverages the production and consumption of goods liturgy, which are exposed and worshiped by the media activity. The media undertakes a religious character of expanding and connecting the world, individuals and God in a common movement. Media takes on the role of creating consensus mediation, which results in a pacified unity between discourse standardization and politics. Endoxa is this consensus, the will of the majority, a general will that results in the ideas of subject, consciousness and identity. Therefore, the modern national state project forwarded by the encyclopaedists and the bourgeois revolution slides into a philosophy of the media that involves a philosophical questioning of the writing culture tradition, confronted with digital narrative experiences in the internet, big data use, machine learning and business intelligence. Modern press has become the catalyst of a unique cultural, political and communication process in human history. Press has reshaped the lives of millions of workers and peasants that legitimated the French bourgeoisie actions confronting the previous political regime. The political world is moving again with the Arab Spring in the Middle East and North Africa, Occupy Wall St in the US and Los Indignados in Spain. These protests are identified as the first street demonstrations organized using social networking, mediated by Facebook. These are demonstrations of millions of workers and young people facing the globalization of late capitalism and international crisis. Let’s move forward! / A tese Capitalismo editorial: do papel à nuvem anuncia a relação entre capitalismo e comunicação social, pois a crise econômica e financeira mundial de 2008 revelou a trama da indústria da propaganda e publicidade, mídia jornalística, redes socais na WEB como elementos constituintes da superprodução e rotação do capital de composição orgânica superior, expresso pelo capital financeiro internacional, que através da securitização transforma a economia mundial e sua riqueza em títulos especulativos e voláteis. Essa crise econômica e política demonstra a lógica de cassino, mesclada por moedas do narcotráfico, corrupção e fraudes das corporações. O jornalismo tornou-se o espaço de legitimação da doxa capitalista, assumindo o papel de ser a doxa pública que gera consenso, isto é, articulação de bom senso e senso comum, orientando o indivíduo a seguir programação e regularidade social, forjar controle total da vida, ordenamento do fazer cotidiano em harmonia com os valores da ordem social, que preenchem afazeres, condutas e regras previamente orquestrada pelo poder de dominação capitalista. A forma de vida moderna potencializa essa liturgia para o consumo e produção de mercadorias, que são expostas e cultuadas pelo exercício da mídia. A mídia assume esse caráter religioso de conectar e ampliar num mesmo movimento indivíduos, mundo e Deus. A mídia assume o papel de criar a mediação do consenso, que resulta numa unidade apaziguadora de normatização do discurso e da política. A endoxa é esse consenso, a vontade da maioria, uma vontade geral que resulta numa idéia de sujeito, consciência e identidade. Por isso, o projeto moderno dos enciclopedistas e da revolução burguesa do estado nacional resvala numa filosofia da mídia. em que envolve o questionamento filosófico sobre a tradição da cultura escrita, frente às experiências de narrativas digitais na internet, com uso de big data, machine learning e BI — business intelligence (negócios inteligentes) A imprensa moderna tornou-se o estopim de um processo cultural, político e de comunicação impar na história da humanidade. A imprensa reconfigurou a vida milhões de trabalhadores e camponeses que legitimaram a ação da burguesia francesa frente ao antigo regime político. O mundo político está em movimento novamente com a Primavera Árabe, nos países árabes, Occupy Wall St, nos Estados Unidos, e Los Indignados, na Espanha. Esses protestos são identificados como as primeiras manifestações de ruas organizadas nas redes sociais, mediadas pelo Facebook. Elas são manifestações de milhões de trabalhadores e da juventude frente à globalização do capitalismo tardio e a crise internacional. Avante!

Made available in DSpace on 2016-04-26T14:55:17Z (GMT). No. of bitstreams: 1 Silvana Mello Furtado.pdf: 4572264 bytes, checksum: f83f332855446c59076da2b790b8ad84 (MD5) Previous issue date: 2015-03-25 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The objective of the research was to analyze the Festival of Culture and Gastronomy of Tiradentes, in the state of Minas Gerais, Brazil, and correlate it to the National Gastronomy Festival of Santarém, Portugal, and the Conventual Sweets Festival of Alcobaça, also in Portugal; and also insert it in the context of the debate on creative industries, with emphasis on cuisine - here conceived in their economic, cultural and creative dimensions. The work is the result of a scholarship at the University of Coimbra, in Portugal, sponsored by CAPES (Higher Education & Personnel Training Coordination), to account for the relations between the Portuguese cuisine and the gastronomic production of Brazil; for this, the above festivals on Portuguese gastronomy were analyzed. The adopted methodological procedures were constituted of a secondary research carried out through bibliographic survey, and an exploratory-qualitative primary research, involving collection of information and an analysis of the field under study, together with an ethnographic observation through the application of twenty-two interviews with residents and owners of restaurants and hotels, in the town of Tiradentes, plus the information collected in interviews and festivals of Santarém and Alcobaça, Portugal; a case study of qualitative fragment was also part, in which the social unit and the social event were both investigated, with their respective demonstrations and agents. Pierre Bourdieu and Michel de Certeau were fundamental authors for the understanding of gastronomy and the arts of cooking. The Portuguese influence and its representation in the gastronomic culture of Brazil are very present in the dialogue with authors like Gilberto Freyre, Câmara Cascudo, Ricardo Miranda, Claudia Maria Lima e Ivonne Hamilton. To elaborate on "creative industries" all the research conducted by the United Nations Conference on Trade and Development (UNCTAD) and the Federation of Industries of the State of Rio de Janeiro (FIRJAN) for the classification of creative segments, with emphasis on gastronomy and the role of the creative and cultural economy in the socioeconomic development of cities, were of basic importance; as well as the report with recommendations by the United Nations Organization (UNO) / O objetivo da pesquisa foi analisar o Festival de Cultura e Gastronomia de Tiradentes/Minas Gerais/Brasil e correlacioná-lo ao Festival Nacional de Gastronomia de Santarém/Portugal e ao Festival de Doçaria Conventual de Alcobaça/Portugal; e inseri-lo no contexto do debate sobre indústrias criativas, com ênfase para a gastronomia aqui concebidas em suas dimensões econômica, cultural e criativa. O trabalho resulta de uma bolsa sanduíche em Portugal (Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES), na Universidade de Coimbra, efetivada com o objetivo de responder pelas relações entre a culinária portuguesa e a produção gastronômica no Brasil; para tanto, foram analisados os festivais da gastronomia portugueses acima referidos. Os procedimentos metodológicos adotados estão assim constituídos: pesquisa secundária efetivada por meio de levantamento bibliográfico; pesquisa primária e de caráter exploratório-qualitativo, envolvendo o levantamento de informações, por meio da análise do campo em estudo, da observação etnográfica e aplicação de vinte e duas entrevistas com moradores e proprietários de restaurantes e pousadas da cidade de Tiradentes, além de informações colhidas nas entrevistas e festivais de Santarém e Alcobaça/Portugal; realização de estudo de caso, de recorte qualitativo, em que se investigou a unidade social e o acontecimento social, com seus agentes e manifestações. Pierre Bourdieu e Michel de Certeau foram autores basilares para a compreensão da gastronomia e das artes de cozinhar. A influência portuguesa e sua representatividade na cultura gastronômica do Brasil encontram-se presentes no diálogo com autores como Gilberto Freyre, Câmara Cascudo, Ricardo Miranda, Claudia Maria Lima e Ivonne Hamilton. Para a reflexão sobre indústrias criativas foram fundamentais as pesquisas realizadas pela Conferência das Nações Unidas para o Comércio e Desenvolvimento (UNCTAD) e Federação das Indústrias do Estado do Rio de Janeiro (FIRJAN) em relação a classificação dos segmentos criativos, com ênfase à gastronomia e o papel da economia criativa e cultural no desenvolvimento socioeconômico das cidades; assim como relatório com as recomendações da Organização das Nações Unidas (ONU)