Esta pesquisa pretendeu compreender o processo de constituição, criação e desenvolvimento do Lycée Français ao Colégio Franco Brasileiro no recorte temporal que se inicia no ano de 1915 e termina no seu cinqüentenário, no ano de 1965, utilizando como fonte um repertório diversificado de documentos localizados em arquivos franceses e brasileiros. A construção deste repertório apontou que nosso objeto deveria ser focalizado sob três temporalidades distintas: Lycée Français, Liceu Franco- Brasileiro, e Colégio Franco-Brasileiro a partir de uma história institucional que se apresentou articulada em torno de três personagens centrais: Claude Alexandre Brigole, Georges Dumas e Renato Almeida, associados a cada um desses momentos. Procuramos entender a existência da instituição escolar situada nos contextos franceses e brasileiros ao longo do período analisado, acionando uma perspectiva meso de análise, que indicou olhar para o processo no movimento de escala macro e micro das relações entre educação e história franco-brasileira. / It is an object of this research to understand the process of constitution, creation and development of French Lyceum to Colégio Franco-Brasileiro in the time frame that starts in 1915 and ends in its 50th anniversary, in 1965, using a diverse repertoire of periodicals and archives Frenchs and Brazilians as information source. The elaboration of this compilation showed that our object should be focuses on three distinct temporalities: Lycée Français, Liceu Franco-Brasileiro and Colégio Franco-Brasileiro, starting from the institutions history focused on three major characters: Claude Alexandre Brigole, Georges Dumas and Renato Almeida, associated with each of these moments. This research seeks to understand the existence of the school located in the French and Brazilian contexts in the long time frame analyzed from a meso perspective, showing that the transition process in macro and micro scales of the relationship between education and French-Brazilian history must be observed.

Esta dissertação traz uma abordagem das questões sócio-históricas e culturais que nortearam a formação de inúmeras conceituações acerca da cultura brasileira durante as décadas de 1960 e 1970, e tem como objeto de pesquisa a vida e a obra do poeta Solano Trindade, suas atividades intelectuais, poéticas e teatrais. No aporte teórico do trabalho, as manifestações da cultura popular e as suas relações com as práticas culturais autenticadas pelos meios de comunicação de massa foram investigadas, com o intuito de trazer à luz as conseqüências desse encontro, os debates sobre as políticas culturais que surgiram na tentativa de controlar tais expressões, os focos de resistências e a configuração social pautada pela modernidade capitalista. A idéia de contribuir para uma noção de cultura, e como ela perpassou inúmeras definições na sociedade brasileira, atravessou a maioria das indagações durante as leituras e análise de dados que guiaram a redação. Revisar um período conturbado em termos de novos horizontes sociais e políticos no Brasil, nos permitiu avaliar uma realidade nem sempre clara para a maioria dos grupos sociais. / This dissertation brings socio-historical and cultural issues that guided the formation of many conceptualizations about the Brazilian culture during the 1960s and 1970s in Brazil, and aims to research the poet Solano Trindade\'s life and work, his intellectual, poetic and theatrical activies. In support of theoretical work, the popular culture manifestations and its relations with the cultural practices certified by the mass media were investigated in order to bring to light for the consequences of this meeting, the discussions about the cultural politics that have emerged in attempt to control such expression, the focus of resistance and social configuration lined by capitalist modernity. The idea of contributing to a sense of culture, and how it permeates many settings in Brazilian society, it crossed most of the inquiries during the readings and data analysis that guided the writing. To review a confused period in terms of new social and political horizons in Brazil allowed us to evaluate a fact not always clear to most social groups.

Cette thèse a pour but principal de renouveler l’étude de la question du rapport entre l’esthétique et l’idéologique dans l’oeuvre de Flannery O’Connor. Contrairement aux études antérieures menées sur cette question, elle sera abordée ici dans le cadre d’une théorie du discours littéraire, c’est-à-dire d’une théorie qui prend en compte les dimensions à la fois performatives et réflexives propres aux textes littéraires. Ce postulat théorique a des conséquences importantes pour l’étude du rapport entre les textes littéraires et les contextes sociaux, politiques, historiques et littéraires de leur mise en circulation et de leur réception. Il implique, notamment, que les ouvrages littéraires inscrivent et négocient dans leur texture même les conditions de leur mise en circulation et de leur réception, et ainsi, que la question de leur contexte doit être abordée en premier par l’étude de cette inscription et de cette négociation textuelles. Pour autant qu’elle tient pleinement compte de la logique médiate de cette inscription et de cette négociation—et notamment des effets médiateurs des figures du lecteur et de l’auteur, ainsi que du genre et du champ littéraire—l’approche pragmatique adoptée dans cette thèse permet non seulement de mener à bien cette étude, mais également de montrer sous un nouveau jour la complexité et la singularité de la signature littéraire de Flannery O’Connor. / The principal aim of this dissertation is to provide a fresh approach to the vexed question of the relationship between the aesthetic and the ideological in the work of Flannery O’Connor. Unlike existing studies of this question in the critical literature, the approach adopted in this dissertation is based on the premise that it can best be treated in the context of a theory of literary discourse, one, in particular, that takes full consideration of the reflexive and performative dimensions of literary works. This theoretical assumption has considerable consequences for the study of the relationship between literary texts and the social, political, historical and literary contexts of their reception and circulation. In particular, it suggests that literary texts inscribe and negotiate the social and historical conditions of their circulation and reception, and that the question of their context should be approached first and foremost through the study of this textual inscription and negotiation. Insofar as it takes full consideration of the mediatory logic that such textual negotiation entails—in particular the mediating presence and effect of the figures of the reader and the author, the genre of the work, and the literary field—literary pragmatics will be seen to provide an approach which not only enables this study, but also reveals in a new light both the complexity and the singularity of Flannery O’Connor’s literary signature.

This thesis examines the responses of non-indigenous pastoralists in Central Australian rangelands to two social movements that profoundly challenge their occupancy, use and management of land. Contemporary environmentalism and Aboriginal land rights have both challenged the status of pastoralists as valued primary producers and bearers of a worthy pioneer heritage. Instead, pastoralists have become associated with land degradation, biodiversity loss, and Aboriginal dispossession. Such pressure has intensified in the 1990s in the wake of the native Title debate, and various conservation campaigns in the arid and semi-arid rangelands. The pressure on pastoralists occur in the context of wider reassessment of the social and economic values or rangelands in which pastoralism is seen as having declined in value compared to ???post-production??? land uses. Reassessments of rangelands in turn are part of the global changes in the status of rural areas, and of the growing flexibility in the very meaning of ???rural???. Through ethnographic fieldwork among largely non-indigenous pastoralists in Central Australia, this thesis investigates the nature and foundations of pastoralists??? responses to these changes and critiques. Through memory, history, labour and experience of land, non-indigenous pastoralists construct a narrative of land, themselves and others in which the presence of pastoralism in Central Australia is naturalised, and Central Australia is narrated as an inherently pastoral landscape. Particular types of environmental knowledge and experience, based in actual environmental events and processes form the foundation for a discourse of pastoral property rights. Pastoralists accommodate environmental concerns, through advocating environmental stewardship. They do this in such a way that Central Australia is maintained as a singularly pastoral landscape, and one in which a European, or ???white???, frame of reference continues to dominate. In this way the domesticated pastoral landscapes of colonialism and nationalism are reproduced. The thesis also examines Aboriginal pastoralism as a distinctive form of pastoralism, which fulfils distinctly Aboriginal land use and cultural aspirations, and undermines the conventional meaning of ???pastoralism??? itself. The thesis ends by suggesting that improved dialogue over rangelands futures depends on greater understanding of the details and complexities of local relationships between groups of people, and between people and land.

This thesis examines the responses of non-indigenous pastoralists in Central Australian rangelands to two social movements that profoundly challenge their occupancy, use and management of land. Contemporary environmentalism and Aboriginal land rights have both challenged the status of pastoralists as valued primary producers and bearers of a worthy pioneer heritage. Instead, pastoralists have become associated with land degradation, biodiversity loss, and Aboriginal dispossession. Such pressure has intensified in the 1990s in the wake of the native Title debate, and various conservation campaigns in the arid and semi-arid rangelands. The pressure on pastoralists occur in the context of wider reassessment of the social and economic values or rangelands in which pastoralism is seen as having declined in value compared to ???post-production??? land uses. Reassessments of rangelands in turn are part of the global changes in the status of rural areas, and of the growing flexibility in the very meaning of ???rural???. Through ethnographic fieldwork among largely non-indigenous pastoralists in Central Australia, this thesis investigates the nature and foundations of pastoralists??? responses to these changes and critiques. Through memory, history, labour and experience of land, non-indigenous pastoralists construct a narrative of land, themselves and others in which the presence of pastoralism in Central Australia is naturalised, and Central Australia is narrated as an inherently pastoral landscape. Particular types of environmental knowledge and experience, based in actual environmental events and processes form the foundation for a discourse of pastoral property rights. Pastoralists accommodate environmental concerns, through advocating environmental stewardship. They do this in such a way that Central Australia is maintained as a singularly pastoral landscape, and one in which a European, or ???white???, frame of reference continues to dominate. In this way the domesticated pastoral landscapes of colonialism and nationalism are reproduced. The thesis also examines Aboriginal pastoralism as a distinctive form of pastoralism, which fulfils distinctly Aboriginal land use and cultural aspirations, and undermines the conventional meaning of ???pastoralism??? itself. The thesis ends by suggesting that improved dialogue over rangelands futures depends on greater understanding of the details and complexities of local relationships between groups of people, and between people and land.

No description available.

Issue d’une volonté démocratique d’émancipation du citoyen et d’élaboration d’une société nouvelle, l’institution théâtrale publique, en France comme en Italie, apparaît à nouveau, depuis le tournant des années 2000, comme en proie à une triple crise (politique, structurelle et artistique) qui permet d’interroger les rapports politiques et symboliques qui se jouent entre l’art et la société à l’intérieur d’un cadre institutionnel aiguillé par une mission de service public. À travers les exemples du Théâtre National de Strasbourg, du Théâtre National Populaire et du Piccolo Teatro de Milan, il s’agit donc d’envisager l’institution théâtrale publique dans l’ensemble de ses acteurs et de ses composantes (esthétiques, politiques, économiques, symboliques, architecturales et sociales) via le prisme des processus et stratégies de justification de leurs directeurs respectifs afin de déterminer et d’interpréter l’évolution des institutions et la transformation des fonctions qu’elles revendiquent et mettent en œuvre. En distinguant les différentes stratégies élaborées par les directeurs, se dessinent les postures adoptées par les artistes et les pouvoirs publics vis-à-vis de la société néo-libérale et des enjeux institutionnels, postures qui s’articulent et répondent à une contamination de la sphère culturelle par la sphère économique. Elles révèlent une scission, accentuée par le rôle donné au spectateur, entre les institutions qui cherchent à compenser cette contamination par la recherche d’interactions et d’expérimentations avec la société et celles qui la déplorent et y répondent par une mise à distance du réel et une concentration sur leur conception de l’art théâtral. / Stemmed from a democratic will of emancipation of the citizen and of working out of a new society, the public Theater, in France as well as in Italy, seems again to be a prey to a triple crisis (political, structural and artistic), since the turning point of 2000. This allows to question the political and symbolic connections which are at stake between art and society within institutional limits led by a public service mission. Through the examples of the “Théâtre National de Strasbourg” (TNS), Villeurbanne’s “Théâtre National Populaire” (TNP) and Milano’s “Piccolo Teatro”, the point is to consider the public Theater with the whole of its participants and constituents (esthetic, political, economic, symbolic, architectural and social) via the prism of their respective managers’ process and strategies of justification, in order to determine and explain the evolution of the institutions and the transformation of the duties they assume and implement. By distinguishing between the various strategies elaborated by the managers, we can give shape to the positions, held by the artists and the authorities towards the neo-liberal society and the institutional issues. These positions are linked and answer a contamination of the cultural sphere by the economic sphere. They reveal a division, increased by the role given to the audience, between the institutions, which try to compensate this contamination by ways of interactions and experimentations with the society, and those, which deplore this situation and answer it by standing aloof from reality and focusing on their conception of dramatic art.

Introduction This master ́s thesis focuses on the financial situation in a number of museums located in Stockholm, Sweden. In particular the study focuses on external financing and sponsorship and which means that are given to meet the conditions surrounding financial support. The aim of the study is to increase the knowledge of how the financial situation for museums looks like and how the interaction between cultural and economic capital shows. Theory The theoretical framework for the study is based on the theory of cultural economics and Pierre Bourdieu's theory of cultural / economic capital and his concept of space. The study used Bruno Freys terms Superstar Museumsand thetotal experience. Method The main method for the study was a comparative method, but a mixture of quantitative and qualitative methods were also applied in the study. Interviews were conducted with informants from a number of the museums and data from all the selected museums was collected and compared. The material also consisted of a variety of written material, mostly annual reports, but also news articles, reports and official documents. Analysis & Results The material shows a wide range of factors defining the economic situation of museums in Stockholm. A large part of the income comes from public fundings for the public museums. The private museums are more dependent on incomes from admission fees and external financing. For many of the public museums the market based rents for the building is an issue that causes economic distress. Conclusions Many museums work with sponsorships and have a positive view on external collaborations, at the same time the majority of the museums report a low revenue from sponsorships. The legal framework makes it more difficult for public museums to work with external financing and the taxation system aggravates sponsoring in museums. The free admission reform was both criticized and applauded and divided the private and public museums.

This thesis constitutes the first comparative study of the phenomenon of alternative art galleries functioning during the 1970s in two neighbouring state socialist regimes, namely, the German Democratic Republic and the People's Republic of Poland. Firmly contextualised in the cultural-political climate of Honecker's and Gierek's quasi-liberalisation, it examines the socio-cultural function of non-conformist exhibition spaces and focuses, specifically, on two case studies: Galerie Arkade in East Berlin and Galeria/Repassage in Warsaw. By looking at a wide variety of practices produced in those spaces, this thesis investigates the commonalities and differences in how the galleries operated and how they related to the divergent post-Stalinist conditions. For instance, due to more repressive cultural-politics in the GDR, it proved more difficult to accommodate experimental practices in Arkade, since even exhibiting abstract art was problematic for the East German officials. Conversely, in Poland Gierek's liberalisation resulted in the state's limited acceptance of radical artistic practices such as performance and conceptual art but only in the marginal spaces of artist-run galleries. Despite their alternative status, the galleries were, to a certain degree, dependent administratively and financially on these socialist institutions and were at the same time exposed to surveillance by the state security services. These aspects of galleries' activities are often neglected and so to remedy this lack this thesis offers new perspectives on and insights into various aspects of the functioning of alternative culture in this region. The originality of this research lies also in its references to new archival material which has not been published, nor interpreted before. The interpretation of these rich primary sources makes use of a new theoretical framework that combines Michel Foucault's theory of heterotopia in a macro-level analysis and Henri Lefebvre's ideas on the social production of space in a micro-level analysis. In particular, the galleries' histories are seen in this thesis as intertwined with the advancing process of disintegration of state socialism in the Eastern Bloc as this was perceptible to varying degree in different socialist states. Accordingly, it argues that the galleries were symptomatic of and, simultaneously, contributed through various practices to the 'post-socialist condition'.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This work, resulting from the doctoral research carried out within the Graduate Program of Sociology at the Federal University of Sergipe, investigated the urban and cultural politics and the construction of the consumption image of the city of Salvador, Bahia, during the preparation period and realization of the FIFA World Cup in Brazil (2009-2014). From the application until hosting such mega event and the time of its achievements, it was observed how the imagery references of Salvador were built by the articulation of urban entrepreneurs of government (municipal, state and federal level), certain local private sectors, as well as parastatal organizations such as FIFA. In this sense, the city that in the last decades of the twentieth century has its official consumption image designed for the tourist market, now has over time sporting mega events the historical condition to hold the fraying of the urban cultural commodification logic through city marketing strategies that articulated a supposed past glory with the controversial new urban management techniques. Through rhetoric configuration of an exceptional context of "unique opportunity" for local socio-economic development, was forged a sort of city of exception, under which officially sought to legitimize designed and implemented interventions. The argument put forward here understands that these urban-cultural policies contributed to the reinvention of Salvador consumption image by a general process of city spectacularization, characterized by upside down politics, disguised as local cultural value, but actually based on the dynamics of its reification, through a sort of beauty of the dead. Therefore, the strategic appropriation of local cultural practices are articulated with the production of consumption spaces, able to enunciate out spectacularly for the financial market and tourist consumption, the pastiche of idea of the city's difference. Nevertheless, in the face of appropriation, certain local cultural reappropriations also forged, while a diverse set of resistances that claim, in different levels and features, a range of rights denied by urban entrepreneurs. However, although to some extent, these reappropriations challenge the managerial functioning of the spectacle, its antinormative form did not appear able to subvert and remove the productive logic of the spectacularization. / Este trabalho, resultante da pesquisa doutoral desenvolvida no âmbito do Programa de Pós-Graduação e Sociologia da Universidade Federal de Sergipe, investigou as políticas urbano/culturais e a construção da imagem de consumo da cidade de Salvador-BA durante o período de preparação e realização das Copas da FIFA no Brasil (2009-2014). Da candidatura a sede dos referidos megaeventos até o momento de suas realizações, observou-se como as referências imagéticas da capital baiana foram construídas pela articulação de empreendedores urbanos do poder público (em nível municipal, estadual e federal), de determinados setores privados locais, além de organizações paraestatais, como a FIFA. Nesse sentido, a cidade que desde as últimas décadas do século XX possui sua imagem de consumo oficial projetada para o mercado turístico, passou a ter, com o tempo de megaeventos esportivos, a condição histórica de realizar o esgarçamento da lógica de mercantilização urbano/cultural, através de estratégias de city marketing que articularam um suposto passado de glória com as discutíveis novas técnicas de gestão urbana. Mediante a configuração retórica de um contexto excepcional de “oportunidade única” para o desenvolvimento socioeconômico local, forjou-se uma espécie de cidade de exceção, sob a qual oficialmente buscou-se legitimar as intervenções projetadas e implementadas. O argumento defendido aqui entende que essas políticas urbano/culturais contribuíram na reinvenção da imagem de consumo de Salvador, através de um processo geral de espetacularização da cidade, caracterizado pela política às avessas, dissimulada enquanto valorização cultural local, mas efetivamente fundamentada na dinâmica de sua reificação, mediante uma espécie de beleza do morto. Para tanto, as apropriações estratégicas das práticas culturais locais se articularam com a produção de espaços de consumo capazes de enunciar espetacularmente, para o mercado financeiro e consumo turístico, o pastiche da ideia de cidade da diferença. Não obstante, em face dessas apropriações, determinadas reapropriações culturais locais também se forjaram enquanto um conjunto diverso de resistências que reclamam, em níveis e características distintas, uma gama de direitos negados pelos empreendedores urbanos. Contudo, apesar de, em alguma medida, essas reapropriações contestarem o funcionamento gerencial do espetáculo, sua forma antinormativa não se apresentou capaz de subverter e destituir a lógica produtiva da espetacularização.