Inserido na linha de pesquisa que se dispõe a examinar os processos discursivos (estruturas retóricas e tópicas) da música religiosa no período colonial, desenvolvida pelo Laboratório de Musicologia do Departamento de Música da FFCLRP, sob a coordenação do Prof. Dr. Diósnio Machado Neto, e como consequência natural de minhas atividades acadêmicas, das quais, em 2008, sob os auspícios da Pró Reitoria de Graduação da Universidade de São Paulo, realizei Iniciação Científica sob o título: \"Retórica Musical na Obra de André da Silva Gomes\", este trabalho visa contribuir com o conjunto de pesquisas que tratam de estudos recentes acerca da retórica musical, inserida no campo da musicologia e análise, dando continuidade às pesquisas já realizadas, procurando, entretanto, aprofundar e solidificar as teorias sobre o uso da retórica na obra do compositor luso-brasileiro através de uma maior sistematização analítica em sua obra. Para tanto, buscar-se-á observar modus operandi de Silva Gomes acerca da relação Música e Sintaxe em sua obra através do esquadrinhamento de figuras e elementos discursivos relacionados entre texto e música, na obra do quarto Mestre de Capela da Sé de São Paulo. O corpus deste trabalho é constituído pela obra sacra do compositor, sobretudo os seus Ofertórios, que se insere dentro de da linha de pesquisa desenvolvida pelo LAMUS - DM/FFCLRP, sob a coordenação do Prof. Dr. Diósnio Machado Neto. Além disso, serão consultados tratados e artigos sobre o período em questão, bem como novos referenciais teóricos, fundamentados na cognição musical, teoria das tópicas, dentro outras, no sentido de aprofundar nas teorias acerca da retórica musical do compositor luso-brasileiro. / Inserted into the line of research that is willing to examine the discursive processes (rhetorical and topical structures) of religious music in the colonial period, developed by Musicology Laboratory of the Department of Music (LAMSU- DM/FFCLRP), under the direction of Prof. Dr. Diósnio Machado Neto, and as a natural consequence of my academic activities, which, in 2008, under the auspices of Pro Dean of Graduate University of São Paulo, accomplished Scientific Initiation under the title, \"Musical Rhetoric in Andrew\'s Society of Silva Gomes \", this work aims to contribute to the body of research dealing with recent studies of musical rhetoric, inserted in musicology and analysis, continuing the research already carried out, looking for, however, deepen and solidify theories about the use the rhetoric in the work of the Luso-Brazilian composer through greater analytical systematic in his work. To this end, we will seek to observe modus operandi of Silva Gomes on the relationship Music and syntax in their work by scrutinizing figures and discursive elements related between text and music in the work of the Master bedroom Chapel of the Cathedral of São Paulo. The corpus of this work is constituted by the sacred work of the composer, especially their Offertories, which falls within the line of research developed by LAMUS - DM / FFCLRP, under the coordination of Prof. Dr. Diósnio Machado Neto. There will also be consulted treaties and articles on the period in question as well as new theoretical framework, based on music cognition, theory of point, in others, to deepen the theories of musical rhetoric of the Luso-Brazilian composer.

O trabalho visa abordar as transformações espaciais ocorridas na cidade de Santo André situada na região metropolitana de São Paulo, ao longo dos últimos vinte anos tendo como base a caracterização dos meios geográficos proposta por Milton Santos. Para isto, nos remeteremos em alguns momentos a tempos pretéritos vividos na cidade, sobretudo por volta da década de 1960, em que presenciamos o advento de um meio técnicocientífico, materializado através da consolidação de indústrias do ramo metalúrgico, automobilístico e de auto-peças. Não pretendemos tecer uma abordagem do município andreense em dois períodos, porém, fez-se necessário, em alguns momentos da pesquisa, considerar as formas espaciais e atividades econômicas gestadas nas décadas de 60 e 70, para chegarmos à emergência do meio técnio-científico-informacional, na segunda metade da década de 1980, foco da análise desta dissertação. No período atual, constatamos, a partir da pesquisa realizada, as seguintes transformações: a) remodelação dos processos produtivos de muitas empresas, através da utilização de novas técnicas e do uso intensivo de capitais; b) desconcentração industrial relativa no município perante à novas áreas que se industrializaram no território brasileiro a partir do final do século XX, em função da emergência de novas possibilidades técnicas que propiciaram uma expansão para além dos tradicionais pólos industriais, como a região do ABC paulista, constituindo assim, neste período, uma nova divisão territorial do trabalho no Brasil; c) substituição na ocupação de áreas ligadas a ramos de atividade industrial pelo setor de serviços, que refletiram mudanças significativas na vida social e na constituição urbana e econômica da cidade; d) intervenções urbanísticas através de ações consorciadas entre agentes públicos e privados, visando assegurar novas formas de inserção do espaço público municipal por meio do planejamento urbano; e) ação política do poder público municipal através da intervenção dos agentes municipais na melhoria das infra-estruturas urbanas, almejando a viabilização de demandas por rápida circulação e fluidez, características do meio técnico científicoinformacional. Em face destas transformações, constatamos que o espaço local foi reconstituído para atender a estes imperativos que sobretudo as grandes empresas, passaram a requerer no contexto da globalização. / The present work aims to understand the spatial changes in the city of Santo André- SP, during the last twenty years, through the support of the environment periodization proposed by Milton Santos. With this objective, we will consider, in a few moments, the living past time of the city, mainly around the 60\'s, when we observe the advent of a technical scientific informational environment, materialized by the consolidation of the metallurgic, automotive and auto parts industries. We do not mean to make a view of the city in two periods; meanwhile it was necessary to consider, in a few moments of the research, the spatial forms and economic activities conceived in the 60\'s and 70\'s, to get to the technical-scientific-informational period, structured in the 80\'s second half in the city, which is the focus of the present analysis. In this period we found out through our research the following changes: a) Rearrangement of some enterprises\' productive processes by the use of new techniques and intense capital use; b) Relative industrial desconcentration in face of the new industrialized areas in Brazilian territory from the late 20th century on, because of the emerging of new technical possibilities which allowed an expansion for beyond the traditional industrial poles, as the São Paulo ABC region; c) Replacement of the areas used in indutrial activities by the services sector, which made considerable changes in the social life and in the urban and economical structure of the city; d) Urban interventions through the common actions between public and private agents, with the objective of establish new insertion ways of the municipal public by means of urban planning; e) Political action of the municipal State through the city agents\' intervention in the improvement of the urban infrastructure, aiming to make a quick circulation and fluidity possible, typical of the technical scientific informational environment. In face of these changes, we evidenced that the local space has been rebuilt to attend the capital imperatives in the context of the globalization.

O amor pela cidade e o interesse em conhecer a história de seus trabalhadores e de suas casas foi o que me motivou a fazer esta pesquisa. A formação dos bairros e a própria expansão urbana de Santo André têm fortes laços com o processo de migração de operários que vieram, principalmente, do interior de São Paulo e estados vizinhos, os quais buscavam aqui emprego e traziam consigo os costumes do campo para se adaptarem à nova vida na cidade. Assim, este trabalho se propõe a estudar as moradias urbanas de Santo André da primeira metade do século XX, enfocando a casa do trabalhador industrial, buscando traçar um panorama que permeia desde a produção da habitação e o espaço urbano ao seu entorno até os aspectos formais e funcionais da moradia, bem como sua organização e disposição interna. O trabalho também apresenta o resultado de uma pesquisa inédita feita em um material que se encontra arquivado no Museu de Santo André onde, através da análise de documentos e de processos de aprovação de residências entre os anos de 1929 e 1939, são estudados projetos arquitetônicos e memoriais descritivos originais de construções de residências, o que nos deu base para expor o que chamamos aqui de arquitetura popular que se configurou em toda a cidade, dentro e fora do espaço da casa. / The love by city and interest about knowing the history of its workers and their houses has motivated me to do this research. The neighborhoods formation and Santo André urban expansion itself have strong links with the migration of workers who came especially from São Paulo country side and neighbor states, witch looked for job and brought with them costumes from the country side to adapt to the new city life. So, this work proposes to study Santo André urban houses from the beginning of the twentieth century, focusing in the industrial worker house, trying to trace a panorama that ranges since the habitation production and surrounding urban space until its formal aspects, organization and interior disposal as well. This work also presents the result of an unedited research done with a material kept in Santo André Museum in which, trough documents and houses approval process between 1929 and 1939, architecture projects and original descriptive memorials of houses constructions are studied, what gave us base to expose what we call popular architecture, that has been configured in entire city, inside and outside the house space.

A pesquisa discute o fenômeno da segregação socioespacial na Macrozona Urbana de Santo André, SP, no período de 2000 e 2010, a partir da mensuração do Índice de Qualidade de Vida Urbana (IQVU), composto por índices vinculados às dimensões saneamento ambiental, educação e nível socioeconômico. Os dados consultados integram os Censos do IBGE (Resultados do Universo por setor censitário) e foram sistematizados e analisados por meio da estatística descritiva e o mapeamento temático e sintético. Como resultado central, os mapas de qualidade de vida definem uma classificação espacial e temporal dos setores censitários amostrais. De forma geral, registrou-se o aumento do IQVU na área de estudo entre 2000 e 2010, refletindo a melhoria na conjuntura econômica do país e no âmbito regional. Com relação ao espaço intraurbano, os setores com IQVU mais alto concentraram-se na região central da cidade, ao contrário das áreas periféricas da cidade. Essa situação reflete-se na manutenção dos processos de segregação socioespacial no município, ou mesmo na intensificação em alguns setores. Neste contexto, o método aplicado na pesquisa traz subsídios às políticas públicas de planejamento territorial urbano no município que busquem minimizar os processos estruturadores da desigualdade e da segregação socioespacial, especialmente nas áreas mais críticas. / This work discusses the socio-spatial segregation in the urban macrozone of Santo André, SP, Brazil, between 2000 and 2010, by measuring the Urban Life Quality Index (ULQI), which is composed of the indexes of environmental sanitation, education, and socio-economic condition. The data used for consultation are part of the Census of the IBGE (The Brazilian Institute of Geography and Statistics), and were systematically analyzed by using descriptive statistics, as well as thematic mapping and synthetic mapping. As a central result, quality of life maps define a spatial and temporal classification of sample census tracts. In general, an increase in the ULQI was observed for the study area between 2000 and 2010, reflecting a regional improvement and an improvement in the countrys economic condition. In relation to the intra-urban space, the tracts with the highest ULQIs are concentrated in the downtown area, unlike the peripheral areas of the city. This situation is reflected in the maintenance of socio-spatial segregation processes in the city, or even in their aggravation in certain tracts. In this context, the research method provides subsidies to public policies of urban land planning in the city, so as to minimize the structuring processes of inequality and segregation, especially in the most critical areas.

À la fin du XIXe siècle, les pionniers du théâtre populaire cherchent à s'évader du dispositif dit "à l’italienne" et à se rapprocher physiquement des spectateurs, pensant ainsi démocratiser la rencontre théâtrale. Dans cette perspective, ils utilisent des dispositifs non frontaux, bouleversant une longue tradition. La thèse, qui examine ce phénomène, rappelle que ces artistes se sont inspirés d’anciennes pratiques et ont restauré des formes antiques, élisabéthaines et médiévales, en particulier l’arène, la scène ouverte et le théâtre en rond. L’étude s’arrête sur ce dernier dispositif, observe son succès dans l’imaginaire théâtral moderne et constate sa rapide et paradoxale disparition. L’exemple privilégié est celui du Théâtre en Rond de Paris, créé par André Villiers en 1954 et animé par lui entre 1954 et 1984. Pour comprendre à la fois l’attraction et le déclin de la scène centrale contemporaine, qui n’a connu qu’un développement mineur et a quasiment disparu dans les années 1980, la prise en compte de la dimension mythologique du cercle est importante, comme l’est aussi l’utopie sphérique. La thèse apporte enfin quelques éléments de réponse quant aux raisons qui poussent certains artistes, en ce début du XXIe siècle, à choisir à nouveau ce dispositif et à en inventer des variantes. / During the late 19th century, pioneers of popular theater sought to escape the "Italian- style" stage to become closer to the spectators with the aim of democratizing theatrical entertainment. For this purpose, they used non-frontal stages, and thus radically altered a long tradition. The present thesis, which examines this phenomenon, recalls that these artists were in fact inspired by ancient popular practices and reintroduced antique and medieval forms, such as the Elizabethan open stage and the Theater in the Round, before considering the success of the latter in the modern theatrical imagination and its rapid demise. The example chosen is The Theater in the Round of Paris, created by André Villiers in1954 and managed by him until 1984. In order to understand both the attraction and decline of the contemporary Arena stage—which saw only minor developments and almost completely disappeared in the 1980s—reflection of the mythological dimensions of the circle, and the utopic ideology linked to the sphere, is imperative. Finally, this thesis proposes new ideas and elements for questioning why certain artists at the beginning of the 21st century still use some variants of this particular stage.

Cette thèse explore et analyse l’œuvre théâtrale d’André Engel, metteur en scène français atypique. Depuis 1972, il travaille avec une équipe de création constituée des dramaturges Bernard Pautrat puis Dominique Muller, du décorateur Nicky Rieti et de l’éclairagiste André Diot. André Engel a d’abord créé ses spectacles dans des lieux inédits : haras, usine désaffectée, ancienne mairie, hangar, donnant naissance à des « Objets Théâtraux Non Identifiés » qui marquèrent le théâtre des années soixante-dix et quatre-vingt ; formes que la nécessité de travailler dans les salles fit évoluer. Attaché à la question du spectateur, André Engel a, tout au long de son œuvre, proposé un renouvellement de son statut. De la création « hors les murs » au théâtre en salle, du « détour » par l’opéra à la tentation du cinéma, l’œuvre d’André Engel, constituée en cycles, est une véritable aventure théâtrale, une machine au rhizome complexe qui sort des repères connus. Nourri de philosophie allemande, d’influences deleuziennes et de lectures situationnistes, André Engel est venu au théâtre pour changer le monde. Il crée des événements, des expérimentations, des situations, proposant de nouveaux espaces-temps dans un acte de résistance et de reconquête du monde qui s’associe à une poésie de l’errance, du voyage et de la dérive. Machine de guerre contre « la société du spectacle », le théâtre est, pour André Engel, le lieu et le moyen d’un combat contre le monde aliéné, pour la reconquête de l’authenticité du réel. / This thesis explores and analyzes the theatrical work of André Engel, an unconventional French stage director, working since 1972 with a team composed of dramatists Bernard Pautrat followed by Dominique Muller, designer Nicky Rieti and lighting designer André Diot, as a creative ensemble. André Engel staged his first performances in unusual places : a stud farm, a disused factory, a former town hall, a warehouse, giving birth to « Objets Théâtraux Non Identifiés » : landmarks in the theatre scene of the 70s and 80s. The need to work in conventional theatre brought with it in an evolution of his art. Throughout his work, André Engel proposes a new vision of the status of spectator. From « hors les murs » to more traditional venues, from incursions into opera to the temptations of cinema, these cycles in André Engel’s work are a true adventure in theatre, a machine with a complex rhizome which does not tread well-beaten paths. Nurtured by German philosophy, by the thought of Gilles Deleuze and influenced by readings of the Situationists, André Engel came to theatre in order to change the world. He creates events, experiments, situations, offering as an act of resistance, new dimensions in space and time : re-conquests of a world associated with the poetics of wandering, travelling, being adrift. As a machine for war against « la société du spectacle » as Guy Debord calls it, theatre for André Engel provides the perfect place and means for fighting against a world of alienation, for re-conquering the authenticity of the real.

L’œuvre d’André Frénaud (1907-1993) se ressent profondément des convulsions de l’histoire contemporaine – essor des régimes totalitaires en Europe, Seconde Guerre mondiale, découverte des camps de la mort –, qui paraissent remettre en cause la possibilité même d’une signification de l’histoire et de l’action humaine. La pensée anthropologique exprimée dans les poèmes défend la capacité de l’homme à discerner et à faire le bien, sans rien ignorer de ses pulsions mauvaises ni de son manque à être. Les poèmes déploient une pensée du sujet originale, nourrie de philosophie heideggérienne, de mystique et surtout de l’analyse avec André Green et de la lecture de Dostoïevski : les tréfonds du moi abritent un grouillement de pulsions antagonistes. Frénaud, après Kojève, place l’homme et l’Histoire sous le signe de la négativité. L’éthique frénaldienne maintient conjointement la conscience de « notre inhabileté fatale » et la nécessité d’agir. L’existence de Frénaud atteste la même exigence : ainsi s’expliquent le ton des poèmes engagés, qui causa de vifs débats avec Aragon et Guillevic, et son attitude dans la cité, mêlée d’engagement et de retrait, comme au Comité national des écrivains (CNE) ou à la Comunità Europea degli scrittori (COMES), aux côtés de Sartre, Ponge et Tardieu. Enfin, les poèmes mettent en question les frontières et l’unité de la condition humaine. Un anthropomorphisme généralisé et une veine épique et mythique originale assurent l’unité du questionnement. Mais la condition humaine n’a pas la cohérence du concept : elle s’offre à la méditation du lecteur sous la forme d’une multitude de figures singulières qui invitent à un véritable exercice spirituel. / André Frénaud’s anthropology is profoundly impregnated with the upheavals of modern history, from the rise of totalitarian régimes throughout Europe to WWII and the discovery of death camps, all of which seem to question the remote possiblity of giving any meaning to History and human action. The anthropological thought expressed in his poems defends man’s ability to identify what is good and act accordingly, without ever overlooking any of his bad drives or his failure to truly be. His poems display an original conception of the self, inspired by Heidegger’s philosophy, mysticism, and above all by psychoanalysis with André Green and the reading of Dostoyevsky. Indeed, the depths of the self are teeming with antagonistic drives. After Kojeve, Frénaud places mankind and History under the sign of negativity. Frénaud’s ethics support both the awareness of « our fatal inability » and the need to act. Frénaud’s life proves the same dedication, and the tone of his committed poems – which caused heated debates with Aragon and Guillevic – can thus be explained, as well as his public presence, a mix of commitment and reserve, e.g. at the Comité national des Écrivains (CNE) or at Comunità Europea degli scrittori (COMES) with Sartre, Ponge, and Tardieu. Finally, his poems question the limits and unity of the human condition, while a pervasive anthropomorphism and an original streak, both epic and mythical, hold the questioning together. The human condition, however, is not as coherent as the concept. It becomes available to the reader’s meditation in the form of a multitude of characters which lead one to a spiritual exercise.

Cette thèse de doctorat a pour objet d'étude la chanson d'auteur italienne de 1958 à l'orée du XXI° siècle. Une période si étendue correspond à la volonté de ne pas enfermer le sujet, ni dans des bornes chronologiques étroites, ni dans une définition close de la chanson d'auteur. Cette étude s'intéresse également aux liens entre la chanson italienne et le contexte sociétal et politique. La 1° partie analyse les principaux phénomènes artistiques justifiant, à la fin des années 50, l'affirmation d'un tournant « d'auteur » dans la chanson italienne, jusque-là figée dans un mélisme hérité de l'opéra, tout en tenant compte des éléments conjoncturels et des hasards de l'Histoire. La 2° partie est vouée à l'étude de la langue, de la poétique et de l'esthétique de cette chanson. Une large part est faite à la question dialectale, démontrant que cette question ne se réduit pas au folklore. La 3° partie étudie la chanson par le prisme de l'Histoire : de façon rétrospective mais aussi comme un reflet des temps en prise directe. La 4° et dernière partie aborde notre contemporanéité et la chanson d'auteur sous des formes nouvelles : rock, nouvelle école cantautoriale, rap.Ce cheminement nous mène à toute une série de pistes de réflexions : la réécriture, l'aspect performatif, la légitimité culturelle d'un genre artistique et, à l'ère d'internet, les nouvelles formes et modalités de réception de l'art mais également la révolution que le web provoque dans la création. La chanson compte une place importante dans la société et dans la culture des XXème et XXIème siècles. Elle a donc besoin d'être envisagée plus que jamais, et peut nous aider à comprendre à quelle époque on vit. / This doctoral thesis explores the Italian art song genre from 1958 until the dawn of the twenty-first century; the broad scope of investigation was chosen so that the subject would not be overly circumscribed either temporally or notionally. The thesis also examines the relationship between the Italian art song and its social and political contexts. The first part, taking into account those influences as well as the effect of the random events of History, analyses the main artistic phenomena at the end of the '50 that led to an "artistic" turning point for the Italian popular song, hitherto locked into an opera derived melismatic mode. The second part investigates the language, the poetics and the aesthetics of the art song genre addressing at length dialect, demonstrating that this question cannot be explained merely in terms of folklore. The third part develops the art song seen through the lens of History, both retrospectively and as a reflexion of the current events of the day. The fourth and last part discusses the new forms of art song that have developed within a contemporary context: rock, the new cantautoriale school and rap. The rewriting, the performance act itself are discussed; the cultural legitimacy of an artistic genre and new forms and ways of experiencing art, as well as revolutionary modes of creation with the advent of the Internet are explored. The song was granted an important place in the society and culture of the second half of the twentieth century and the beginning of the twenty-first; today, imbued with the troubles of a new period, it invites our questions and research more than ever to help us understand the age we live in.

Durant les dernières années d’une vie consacrée aux voyages et à la géographie, André Thevet (1516-1592) entreprit la réalisation d’un ouvrage de grande ampleur, le Grand Insulaire et Pilotage, véritable tableau cartographique et descriptif du monde, notamment du Nouveau Monde, riche d’indications pour la navigation, qui resta incomplet. Les troubles politiques et religieux qui avaient lieu alors en France et leurs conséquences dans le domaine éditorial ont souvent été avancés pour expliquer l’échec de ce projet. Mais l’inachèvement du Grand Insulaire est également tributaire de la méthode même de travail de Thevet, comme des procédés de composition retenus. L’étude critique des témoins manuscrits conservés du point de vue codicologique et linguistique, ainsi que l’analyse de ses sources permet de vérifier cette hypothèse et de saisir toute la singularité d’une œuvre si importante pour la connaissance des Indiens Tupi du Brésil au xvie siècle. / During the last years of his life dedicated to traveling and Geography, André Thevet (1516-1592) engaged himself into the making of an extensive work named Le Grand Insulaire et Pilotage, which is a genuine cartographic description of the world, specially the New World. This document, which is considerably rich in useful indications for the navigation, would remain unfinished. The reason for this is often laid upon the political and religious disturbances which then took place in France and their consequences on the publishing field. However, the fact that Thevet has not finished Grand Insulaire is also due to his work method, as we can verify in his composition procedures; The critical study of the preserved manuscripts as well as the analysis of his sources, based on a codicological and linguistic point of view, allow us to verifiy this hypothesis and to understand all the singularity of such an important work for the knowledge of the Tupi Indians of Brazil in the sixteenth century.

Garantir tratamento e disposição final adequada para os resíduos sólidos urbanos é um desafio para as administrações municipais, principalmente porque a geração de resíduos tem aumentado à taxa maior do que a de aumento da população e as grandes áreas para construção de aterros sanitários são escassas nas grandes cidades. Assim, desde o final da década de 1980, no Brasil, alguns municípios têm implementado programas de coleta seletiva de resíduos sólidos urbanos em parceria com organizações de catadores, que desviam resíduos da disposição em aterros sanitários, aumentando sua vida útil. Torna-se importante olhar para os programas de coleta seletiva como parte de políticas públicas, enfatizando sua continuidade administrativa e seus objetivos. Nesse sentido, buscou-se estudar o programa de coleta seletiva de Santo André SP, entre os anos de 1998 e 2011. O objetivo é estudar como se deram a elaboração e a implementação do programa de coleta seletiva do município de Santo André, em 1998, e como vem sendo feito seu monitoramento e avaliação nos anos posteriores, até o ano de 2011. Para isso foi utilizada a abordagem de policy cycle, que considera a política pública como um ciclo deliberativo, constituído por vários estágios, formando um processo dinâmico e de aprendizagem. Foi realizada pesquisa bibliográfica e documental, bem como entrevistas qualitativas semi-estruturadas com: representantes do Serviço Municipal de Saneamento Ambiental de Santo André (Semasa); os coordenadores administrativos das duas cooperativas parceiras do programa (Coopcicla e Coop Cidade Limpa) e uma amostra randômica de seis cooperados de cada uma das cooperativas parceiras do programa. Após as entrevistas, houve aplicação de questionários a todos os catadores da Coopcicla e Coop Cidade Limpa, totalizando 79 cooperados. Além disso, foram realizadas visitas técnicas com registros escritos e fotográficos aos equipamentos públicos: estação de coleta, usina de triagem e reciclagem de papel, centrais de triagem de materiais recicláveis, usina de reciclagem de madeira. Foi possível constatar que o programa de coleta seletiva foi elaborado com objetivo de atender toda a população urbana do município; em seguida, foi implementado, colocando-se em prática as ações planejadas, mas até o momento não há ações de monitoramento e avaliação do programa, que poderiam produzir aprendizagem administrativa. Em relação às cooperativas, a parceria com o Semasa é instável, o número de catadores vem diminuindo e não há ações para enfrentar coletas paralelas de materiais recicláveis. Por outro lado, as cooperativas garantem aos catadores renda maior que em suas ocupações anteriores, estabilidade e inclusão. Como conclusão, não pode ser considerado satisfatório que um programa municipal de coleta seletiva que existe há mais de 10 anos, dispõe de coleta porta a porta em 100% de sua área urbana, pontos de entrega voluntária, estações de coleta seletiva consiga desviar menos de 3% dos resíduos sólidos urbanos do aterro sanitário. Nesse sentido, faz-se necessário mudar o paradigma: ter coleta seletiva não significa só oferecer o serviço; é necessário coletar seletivamente, com a participação dos munícipes. / Guaranteeing treatment and appropriate disposal to municipal solid waste is a challenge to municipal administrations, mainly because waste generation has increased more than population and big areas to landfills are few in big cities. Thus, since last 1980, in Brazil, a few cities have implemented municipal programs of selective waste collection in partnership with waste pickers organizations, that remove waste from landfills, increasing your lifetime. It is important to look at programs of selective waste collection as part of policy, emphasizing your administrative continuity and objectives. Therein it was sought to study Santo Andrés program of selective waste collection, between 1998 and 2011. The objective is to study how were formulation and implementation of Santo Andrés program of selective waste collection, in 1998, and how it has been making your monitoring and evaluation in the following years, until 1998. For this reason it was used policy cycle approach, that considers policy as a deliberative cycle, formed by several steps, constituting a dynamic and learning process. It was made bibliographical and documental research, such as qualitative semi-structured interviews with: managers of Serviço Municipal de Saneamento Ambiental de Santo André (Semasa); managers of two partner cooperatives of program (Coopcicla and Coop Cidade Limpa) and a random sample of six members of each cooperative. After the interviews, it was made questionnaire application to all waste pickers of Coopcicla and Coop Cidade Limpa, totalizing 79 members. In addiction, it was made technical visits with written and photographic records to public equipment: collect station, paper selection and recycling plant, recyclables selection centers, wood recycling plant. It was possible to notice that program of selective waste collection was formulated with the objective to cover all urban population; it was implemented, putting planned actions into practice, but there are not monitoring and evaluation, that would produce administrative learning. Concerning cooperatives, the partnership with Semasa is not steady, members of cooperatives number has decreased and there are not actions to face parallels recyclables collects. In the other hand, the cooperatives guarantee to your members bigger income than in former occupations, stability and inclusion. As a conclusion, it is not satisfactory that a municipal program of selective waste collection that exists for more than 10 years, has door to door selective waste collection in 100% of urban area, collect stations is able to remove less than 3% of municipal solid waste from landfill. Therein it is necessary to change the paradigm: selective collection does not mean to offer the service; it is necessary to collect in a selective way, with people participation.