L'esclavage constitue le chronotope de "Tituba" de M. Condé et de "Beloved" de T. Morrison. Il est un héritage paradigmatique dans les autres œuvres de ces auteures, ainsi que chez Alice Walker et Gisèle Pineau, déterminant les rapports raciaux contemporains. La fragmentation du corps esclave convoque le motif de la couture, entre tissage conteur, re-membrement du corps social, et reconfiguration d'une tâche traditionnellement féminine. La mise en exergue du pouvoir performatif des mots des maîtres rappelle l’historicité et la dimension politique de l'invention du racisme dans le régime plantocratique. L'exemple de la beauté féminine et de sa racialisation illustre l'intrication complexe de la construction du genre et de la race. Mais le récit du passé esclavagiste, s'il peut éclairer et expliquer le présent, n'est fait qu'au prix d'un combat douloureux contre divers processus de refoulements, individuels et collectifs. Si "Beloved" et "La couleur Pourpre" rappellent le rôle essentiel de la réminiscence, "Paradis", "Morne Câpresse" et "Heremakhonon" mettent en scène des hypertrophies mémorielles problématiques ou drolatiques. La critique de la prétention historienne à l'objectivité y participe d'une remise en cause globale de la scientificité et de l'héritage des Lumières. Les ambivalences de la postmémoire s'opposent à la sacralisation contemporaine de la littérature mémorielle ou testimoniale, et la hantise postcoloniale se donne à voir sous un jour nouveau, ironique. L'analyse des maternités dialectiques dans "Beloved", "Tituba" ou "Rosie Carpe" permet de réfléchir le lien entre narration de la nation, racialisation de la maternité et contrôle du corps des femmes. Une lecture des œuvres du corpus à l'aune du concept d'intersectionnalité permet d'envisager une déconstruction globale de la féminité libérée de l'injonction à la sexualité reproductive. Au croisement du pouvoir de donner la vie et de son refus, le personnage de la sage-femme est récurrent. Souvent accusée de sorcellerie, elle nourrit une mythologie féminine qui peut retourner le stigmate magique. Fruit de rivalités dans les champs médicaux et religieux, la figure de la sorcière chez Toni Morrison, Maryse Condé ou Marie NDiaye est une invention interculturelle dont la force performative et parodique ébranle les catégories littéraires. Issus du traumatisme de l'esclavage, les romans étudiés esquissent les contours d'utopies concrètes. Leur dimension totalitaire et séparatiste cependant se révèle dans le visage grimaçant de l'espérance eschatologie contemporaine : la secte. Si la projection dans le futur semble ainsi dérisoire, le retour en un espace premier, refuge utérin et remontée dans le temps, s'abîme dans l'impossibilité du retour en Afrique. La Négritude césairienne est ainsi mise à distance, tandis que les espoirs de la Créolité semblent battus en brèche par une littérature récusant l'utopie post-raciale. Les migrations contemporaines et les douleurs de la condition exilique sont narrées sans idéalisation de la mobilité, tandis que les stratégies narratives des auteures diffèrent, tout en se retrouvant dans un désir de révéler en même temps que de dépasser la ligne de couleur. / Slavery is the chronotope of "Tituba" by M. Condé and "Beloved" by T. Morrison. Slavery is a paradigmatic heritage in other novels by these authors, as well as in Alice Walker's and Gisèle Pineau's art ; it determines the contemporary racial relationships. The splitting up of the slave's body calls to mind the pattern of sewing, narrative weaving, re-membering of the social body, and reinventing a traditionally feminine work. The highlighting of performative power of the master's words reminds us the historicity and the politic aspect of the invention of racism in the plantation system. The example of women's beauty and its racialization illustrates the complicated co-construction of gender and race. The writing of past history of slavery points out and explains the present time, but it requires a painful fight against various processes of individual and collective repression. "Beloved" and "The Color Purple" remind us of the importance of rememory, while "Paradise", "Morne Câpresse" and "Heremakhonon" tell about memory in excess. The criticism of historian claim for objectivity belongs to a global questioning of science on the one hand, and of the heritage of Enlightenment on the other. The ambivalences of postmemory confront the contemporary sacralization of memorial and testimonial literature. Postcolonial haunting is seen in a nex light, quite ironic. The analysis of dialectic motherhood in "Beloved", "Tituba" or "Rosie Carpe" allows us to conceptualise the link between national storytelling, racialization of motherhood and political control of women's bodies. Reading and analysing the novels with the concept of intersectionality shows a global deconstruction of womanhood, freed from the stress of reproductive sexuality. At the crossroad of women's power to give birth and death, the midwife is a recurring character. The midwife is often accused of being a witch, and she belongs to a feminine mythology that can turn the stigma around. The witch is born from rivalry in both religious and medical fields. In Toni Morrison's, Maryse Condé's or Marie Ndiaye's novels, the witch is an intercultural invention ; her parodic and performative strength undermines literary categories. Born from the trauma of slavery, the novels outline the pattern of concrete utopias. The totalitarian and separatist aspect of these utopias appears in the grinning face of the contemporary eschatological hope: the sect. Therefore any hope of a better future seems to be ridiculous ; when the return to a primary space, turning back in time, is dying in the impossible way back to Africa. The "Négritude" of Aimé Césaire is dismissed, and so are the hopes of "Créolité", by a literature that rejects post-racial utopia. There is not any idealization of movement in these novels, which tell contemporary migrations and pains of exile condition. Although the narrative strategies are different, they all intend to expose and overcome the color line.

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A travers l’analyse des déplacements des souverains hellénistiques et des imperatores romains en Orient, ce travail entend éclairer le concept moderne de voyage officiel et démontrer la validité de cette catégorie pour caractériser les voyages de ces personnalités politiques antiques. Au-delà du critère du statut du voyageur, les sources mettent en lumière le rôle discriminant de l’infrastructure du voyage, ainsi que l’importance des procédures d’accueil public dans la reconnaissance collective de l’officiel. L’enquête conduit à souligner la dimension à la fois protocolaire et populaire de ce type de déplacement dont le caractère spectaculaire contribuait à assurer le retentissement exceptionnel pour en faire un [événement] local de grande ampleur. Manifestation de souveraineté, le voyage officiel s’inscrivait dans un processus de légitimation du pouvoir et constituait le cadre privilégié de la mise en scène de la personnalité politique : l’apparat et la théâtralisation du voyage autant que ses enjeux politiques majeurs peuvent être considérés comme des caractéristiques déterminantes du déplacement officiel. Cette réflexion pose également le problème de la pertinence de la dichotomie public/privé. Celle-ci n’est opératoire qu’à Rome où le concept de voyage fonctionnel est attesté, mais où l’on peut néanmoins observer une confusion entre la sphère de l’officium et celle de l’otium dans le cadre des déplacements des imperatores qui étaient l’occasion de démarches touristiques, culturelles ou religieuses révélatrices de la curiosité intellectuelle de ces personnages dont les séjours d’études puis les voyages officiels en Orient permettaient de satisfaire le philhellénisme. / Through the analysis of the travels of the hellenistic kings and the roman imperatores in the East, this work intends to throw light on the modern concept of official trip and to demonstrate the validity of this category to characterize the travels of these ancient political personalities. Beyond the criterion of the status of the traveller, sources bring to light the discriminating role of the infrastructure of the trip, as well as the importance of public reception in the collective recognition of the official. The inquiry leads to underline the formal and the popular dimension of this kind of trip whose spectacular character contributed to ensure his exceptional impact and turn it into a large-scale local event. As a demonstration of [sovereignty], the official trip was part of a process of legitimization of power and provided the privileged framework for the staging of the political personality : the pageantry and dramatization of the journey as much as [its] major political stakes can be considered as distinctive characteristics of the official trip. This study also raises the problem of the relevance of the public/private dichotomy. The latter is only effective in Rome where the concept of functional trip is attested, but where a confusion of the sphere of the officium and the otium can nevertheless be observed within the travels of the imperatores which were the opportunity of touristic, cultural and religious initiatives revealing the intellectual curiosity of these characters whose study tours and official trips in the East made it possible to satisfy their philhellenism.

Ce travail de recherche met en lumière l’itinéraire de Patricio Guzmán, documentariste chilien actif depuis les années 1960. À l’aide d’une approche pluridisciplinaire expérimentale, nous interrogeons les rapports dynamiques entre cinéma documentaire, histoire et mémoires par le biais de la biographie d’un artiste qui devient, progressivement, un médiateur transnational entre le Chili et le monde. Le plan chronologique débute par l’étude de l’adolescence artistique du réalisateur chilien, entre les années 1950 et la fin de l’année 1972, cœur de l’époque de l’Unité Populaire de Salvador Allende. Ensuite, nous nous intéressons aux années 1970, lorsque Patricio Guzmán part en exil après l’arrivée au pouvoir de la dictature de Pinochet. Il crée patiemment la trilogie de La batalla de Chile au sein de la Cuba révolutionnaire, alors que le drame chilien suscite des solidarités multiples à l’échelle internationale. Dans un troisième temps, nous retraçons l’itinéraire de l’exilé chilien dans les années 1980 et 1990, entre Espagne et voyages/aventures créatives, principalement en collaboration avec la Télévision nationale espagnole. L’obstination chilienne demeure, malgré l’éloignement : elle est nourrie par l’expérience d’autres horizons. Enfin, nous consacrons la dernière partie au cinéma documentaire de Patricio Guzmán post-dictature, marqué par des engagements mémoriels exigeants, ainsi que des bouleversements de sa méthode de création. Le réalisateur confirme son statut de référence du documentaire mondial, ainsi que la puissance de ses réseaux transnationaux. Ce travail conjugue contextualisations historiques et analyses des films (et de leurs possibilités d’existence).Les approches historiques et esthétiques permettent d’analyser tous les volets de l’existence d’une œuvre d’art, en nourrissant les sciences humaines d’une analyse macro qui interroge les échelles spatiales et historiques (du local au global). En utilisant également l’analyse esthétique comme révélateur du langage artistique pour discerner l’engagement d’un dépositaire de la création, on cherche à comprendre les chemins d’une œuvre d’art, à travers le temps et l’espace, avec une attention particulière portée aux diffusions et réceptions des films, au Chili comme ailleurs. Ce travail de thèse s’intéresse aux interactions dynamiques entre différentes thématiques qui façonne l’existence du cinéaste chilien (qui a cela en commun avec d’autres artistes à l’existence transnationale) : l’art et ses rapports au monde (engagements, mémoires, exil), la complexité du langage audiovisuel (toujours en mouvement, renouvelé par les transformations socioculturelles ainsi que l’évolution des techniques et supports), l’attrait pour un didactisme, une pédagogie guidée par le désir de partager, de se faire le témoin de l’histoire (passée et présente), etc. / This research work brings to light the itinerary of Patricio Guzmán, Chilean documentary filmmaker active since the sixties. With the help of an experimental and multidisciplinary approach, we are questioning the dynamic relationships between cinema, history and memories through the biography of an artist who becomes, gradually, a transnational mediator between Chile and the world. The chronological plan starts by studying the Chilean director’s artistic adolescence, between the fifties and the end of 1972, heart of the time of Salvador Allende’s Popular Unity. Then, we are interested in the seventies, when Patricio Guzmán leaves in exile after the coming of Pinochet’s dictatorship to power. Patiently, he creates The battle of Chile’s trilogy, in the revolutionary Cuba, while the Chilean tragedy generates multiples kinds of solidarities at the international level. In a third step, we retrace the Chilean exile’s itinerary in the eighties and nineties, between Spain and adventures of creative travels, mainly in collaboration with the Spanish National Television. The Chilean obstinacy stays, despites geographical distance : she’s nurtured by others horizon’s experiences. Lastly, we spend the last part of this research focusing on the post-dictatorship’s Patricio Guzmán’s cinema, marked by discerning memorialization’s commitments, as well as turmoil of his creation method. The director confirms his status of documentary’s global reference, as well as the power of his transnationals networks. This research work combines historical contextualization and movie’s analysis (besides of their existence’s possibilities). / Esta investigación se enfoca sobre el itinerario de Patricio Guzmán, documentalista chileno activo desde los años 1960. Con ayuda de un método pluridisciplinario experimental, interrogamos las relaciones dinámicas que unen cine, historia y memorias, por medio de la biografía de un artista que llega a ser, poco a poco, un mediador transnacional entre Chile y el mundo. El plan cronológico empieza por el estudio de su adolescencia artística, entre los años cincuenta y el fin de 1972, corazón del periodo de la Unidad Popular de Salvador Allende. Luego, nos enfocamos sobre los años 1970, cuando Patricio Guzmán entra en el exilio, después de la llegada al poder de la dictadura militar de Pinochet. Él crea, con paciencia, la trilogía de La batalla de Chile, dentro de la Cuba revolucionaria, mientras que el drama chileno genere múltiples solidaridades al nivel internacional. En un tercer momento, volvemos sobre el itinerario del exiliado chileno durante los años 1980 y 90, entre España y viajes/aventuras creativas, principalmente en colaboración con la Televisión Nacional Española. La obstinación chilena se queda, a pesar del alejamiento : es alimentada por la experiencia de otros horizontes. Finalmente, dedicamos la última parte al cine pos-dictadura de Patricio Guzmán, caracterizado por compromisos memoriales exigentes, así como algunos trastornos en su método de creación. El cineasta confirma así su estatuto de referencia del cine documental mundial, así como la potencia de sus redes transnacionales. Este trabajo de investigación combina contextualizaciones históricas y análisis de las películas (y sus posibilidades de existencia).

Gabriel Bounoure (1886-1969) a été durant plus de trente ans un acteur important de la vie littéraire française, collaborateur régulier de nombreuses revues prestigieuses. Il fut même, selon d’excellents juges, l’un des plus grands critiques littéraires de son temps. Il fut par ailleurs diplomate. Il vécut ainsi près de 30 ans à Beyrouth (1923-1952) avant de s’installer au Caire puis à Rabat. Au cours de sa carrière diplomatique, il a assumé de hautes responsabilités dans les domaines de la culture et de l’éducation. Gabriel Bounoure, garda, dans son exil oriental, des relations étroites avec la France. Par ses fonctions diplomatiques mais également par ses critiques qui, loin de s’attacher exclusivement aux écrivains les plus en vue de l’époque (Claudel, Gide) ou aux figures littéraires marquantes du XIXe siècle (Rimbaud, Nerval) ont contribué à faire découvrir des poètes alors jeunes comme Henri Michaux. Parallèlement, il éprouvait pour l’Orient une attirance et une affinité profondes. Il révéla ainsi au public français de jeunes auteurs francophones arabes comme Georges Schéhadé.Les liens entre Bounoure et l’espace méditerranéen sont complexes. La Méditerranée était alors le lieu de changements historiques décisifs. Quel rôle politique Bounoure a-t-il joué ? Quel acteur de la vie littéraire française fut-il à cette même époque ? De quelle façon ces deux facettes de sa personnalité, poétique et politique, ont-elles évolué ? Enfin, dans quelle mesure la réflexion politique et la réflexion critique se sont articulées ? Cette thèse rassemble ses articles critiques éparpillés dans les revues, donne à lire des témoignages et exploite de nombreuses archives inédites. / For more than thirty years, Gabriel Bounoure (1886-1969) played a major role in the French literary life, a regular contributor to many prestigious journals. According to excellent judges, he was even one of the greatest literary critics of his time. He was also a diplomat. He lived for nearly 30 years in Beirut (1923-1952) before moving to Cairo and Rabat. During his diplomatic career, he held positions of high responsibility in culture and education. During his eastern exile, Gabriel Bounoure remained closely linked with France, as a diplomat but as a critic as well, who did not focus exclusively on the writers most popular at the time (Claudel, Gide) or on prominent literary figures of the nineteenth century (Rimbaud, Nerval). He helped to discover young poets like Henri Michaux. Meanwhile, he felt an attraction for and a deep affinity with the East. He thus introduced to the French audience young Arab francophone writers like Georges Schéhadé.The links between Bounoure and the Mediterranean area are complex. The Mediterranean was then the place of decisive historical changes. What political role did Bounoure play? What was his role in the French literary life at the time? How did these two facets of his personality, poetic and political, evolved? Finally, to what extent did his thoughts and views both as a diplomat and a critic meet?This thesis gathers his critical articles scattered in journals, offers testimonials and uses numerous unpublished archives.

Esta tese propõe analisar a trajetória de exílio do casal de intelectuais Lídia Besouchet e Newton Freitas, militantes de esquerda forçados a deixar o Brasil durante a ditadura do Estado Novo. Depois de atravessarem a fronteira com o Uruguai, após uma curta temporada em Montevidéu, o casal se estabeleceu em Buenos Aires, permanecendo ali por mais de uma década. Durante os doze anos em que Lídia e Newton viveram na capital portenha, desenvolveram uma intensa atividade cultural ao redor de distintos projetos e em aliança com uma complexa rede de intelectuais. Em grande parte, seus interesses estiveram vinculados a maior divulgação da cultura brasileira na Argentina. Envolvidos nesta tarefa, publicaram dezenas de livros e artigos, realizaram conferências e exposições, participaram de empreendimentos editoriais e de trabalhos de tradução e promoveram um ativo intercâmbio entre artistas e escritores dos dois países. Compreender a participação de Lídia e Newton no cenário intelectual rioplatense da década de 1940, por intermédio de suas atuações como produtores e mediadores de cultura, é o objetivo deste trabalho, que também trata de pensar a problemática de aproximação cultural do Brasil da tão distante América Hispânica. Para tanto, a pesquisa trabalhou com três eixos documentais: o acervo pessoal do casal composto por cartas, postais, fotografias e manuscritos; a documentação da polícia política, seus prontuários e relatórios; e o conjunto de publicações na imprensa durante os anos em que viveram no exílio. / This dissertation intends to analyze the exile of Lidia Besouchet and Newton Freitas, Brazilian leftists militants forced to leave Brazil during the Estado Novo due to political persecution. After crossing Uruguay border, and a short layover in Montevideo, the couple set up a house in Buenos Aires for a dozen years, in which time they grew an intense cultural life based on a strong connection to a rich web of intellectuals. They were mostly concerned with propagating Brazilian culture in Argentina. In order to do so, they have published dozens of books and articles, promoted conferences and exhibitions, taken part in publishing entrepreneurship and translations, fomenting, in that way, the interchange of artists and writers of the two countries. This research aims to understand the importance of their role in the Rio de la Plata during the 1940s, and also to think about the general complex scenario of the not-so-close relations between Brazil and Hispanic America. This research made use of three different kinds of historical documents: personal archives composed by letters, post cards and manuscripts; the political police files; and the set of publications of the couple during the time they lived in exile.

Este trabalho se debruça sobre a poesia do exílio republicano espanhol de 1939. A pesquisa procura demonstrar que o tempo de duração do exílio é fator preponderante para a leitura de uma produção poética ampla e dispersa. Desse modo, seu enfoque central trata de investigar como essa poética exilada assimilou e ressignificou as três décadas de exílio, reconstruindo a identidade de seus autores. O corpus é composto por livros de inflexão da obra de três autores: Luis Cernuda (Vivir sin estar viviendo, 1944-1949), Emilio Prados (La piedra escrita, 1959-1961) e Max Aub (Antología traducida, 1963-1971). / The present study examines the 1939 Spanish Republican exile poetry. The investigation aims to demonstrate that the time the exile lasted is a fundamental aspect when reading such a widespread poetic production. Thus, the focus is on analyzing in which way this exiled poetry incorporated and resignified the three decades of exile, reconstructing the authors identity. Critical books in three authors works compose the corpus: Luis Cernuda (Vivir sin estar viviendo, 1944-1949), Emilio Prados (La piedra escrita, 1959- 1961) and Max Aub (Antología traducida, 1963-1971).

Made available in DSpace on 2016-04-28T19:59:10Z (GMT). No. of bitstreams: 1 Sandro Roberto Maio.pdf: 340455 bytes, checksum: 143097ed579f6cd063a1516905ecd102 (MD5) Previous issue date: 2008-05-13 / The Essay develops a reflection on the first modernist speech from the figure of the poet-author. It rethinks the role of the workmanship, considered lesser for critics, in the passage from pre modernism and in the poetic of Oswald de Andrade. The theoretical key is the way Walter Benjamin s reading understands Baudelaire, which makes possible the characterization of two central figures in the modern imaginary: the poet-symbol and the poet-allegory. From this point it delineates a central question of this research: What measured, in the Trilogy, the allegorical link on the images of modernity aims a speech of rupture of the symbolic projection of -bourgeois standards of representation. The hypothesis of replying this questioning is what the narrative constructs as style of Baudelaire reading fiction to, by means of allegory put in crisis the representation. When denying the normative speech by means of double, it becomes fictional product of readings and, therefore, it is cited text, fiction of a modernity reading. The Benjamin s concepts of allegory and symbol, in connection with the function of the poet in modernity, had been determinative for the development of the critical reflection on the Trilogy. The analysis methodology will make the approach between the corpus and theoretical fundamental by means of the allegorical key, what makes viable the correspondence between reading and fiction in the constructive process of the Trilogy. The romance ruptures with the analytical linearity of the tradition when incorporating a poetical narrative skipping, in order to materialize the wandering look, used to flanerie, the cheat poet. As conclusion, it highlights the bogus epic of the Trilogy, what transforms the poet in hero, approaching him to the prostitute eyes: to gaze intently the poetic prey to deduce the singular in the middle of merchandise standardization. The Trilogy of the Exile is affirmed, then, as a writing that transits not for symbols, but between symbols, in order to inscribe in its body a decomposed universality. The narrative voice, projects in the other convicted voices splinters of someone disfigured, translated, in the plan of the enunciation, as an experience of disintegration of the aura by means of the experience of the shock / A dissertação desenvolve uma reflexão sobre o primeiro discurso modernista a partir da figura do poeta-autor. Repensa o papel da obra, considerada menor pela crítica, na passagem do pré-modernismo e na própria poética de Oswald de Andrade. Tem como chave teórica a leitura que Walter Benjamin faz de Baudelaire, o que torna possível a caracterização de duas figuras centrais no imaginário moderno: o poeta-símbolo e o poeta-alegoria. A partir daí, delineia-se a questão central desta pesquisa: em que medida, na Trilogia, o elo alegórico sobre as imagens da modernidade visa à projeção de um discurso de ruptura dos padrões simbólico-burgueses de representação. A hipótese de resposta a esse questionamento é a de que a narrativa constrói como estilo a ficção da leitura de Baudelaire para, por meio da alegoria, por em crise a representação. Ao negar o discurso normativo por meio de duplos, torna-se produto ficcional de leituras e, por isso, é texto citado, ficção de uma leitura de modernidade. Os conceitos benjaminianos de alegoria e símbolo, em conexão com a função do poeta na modernidade, foram determinantes para o desenvolvimento da reflexão crítica sobre a Trilogia. A metodologia de análise fará a aproximação entre o corpus e os fundamentos teóricos por meio da chave alegórica, que torna viável a correspondência entre leitura e ficção no processo construtivo da Trilogia. O romance rompe com a linearidade analítica da tradição ao incorporar uma poética narrativa aos saltos, de modo a materializar o olhar andarilho, afeito à flanerie, do poeta trapeiro. Como conclusão, evidencia-se a falsa épica da Trilogia, que faz do poeta o herói, aproximando-o do olhar da prostituta: olhar atento à presa poética para deduzir o singular em meio à uniformização da mercadoria. A Trilogia do Exílio afirma-se, então, como uma escritura que transita não por símbolos, mas entre símbolos, de modo a inscrever em seu corpo uma universalidade decomposta. A voz narrativa, por sua vez, projeta nas demais vozes condenadas os estilhaços de um Eu desfigurado, traduzido, no plano da enunciação, como uma experiência de desintegração da aura por meio da vivência do choque

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2018-08-15T12:19:54Z No. of bitstreams: 1 Maria Alzira da Cruz Colombo.pdf: 3676811 bytes, checksum: 2e0988b9a366cb0a81b226defb5dd00a (MD5) / Made available in DSpace on 2018-08-15T12:19:54Z (GMT). No. of bitstreams: 1 Maria Alzira da Cruz Colombo.pdf: 3676811 bytes, checksum: 2e0988b9a366cb0a81b226defb5dd00a (MD5) Previous issue date: 2018-06-11 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / The purpose of this article is to analyze the link between the political situation in France during the 3rd Republic (1870-1914) and the progressive marginalization that the pedagogical religious congregations have suffered and that eventually led to their emigration to Brazil, from the 19th century on. My intention is to study not only the historical context, but also the sociological, cultural and political background in France in that period, that drove France to secularization, as a result of the Jules Ferry Laws in 1880. It’s also my intention to highlight the dissolution of religious schools in France and, on the other hand, the possibility of emigration, which consequently brought educational and cultural evolution to the feminine youth in Brazil during the Imperial and Republican periods. Finally, I’ve focused my research in the particular case of the congregation Our Lady of Sion as a paradigmatic example of the sister’s congregations that left France during that period and founded colleges in many cities in the southeast region of Brazil. This analysis shows the pioneering spirit of women from those important missionary congregations / Este trabalho tem por objeto o estudo da correlação entre a situação política da França da Terceira República (1870-1914) e a marginalização das congregações religiosas de ensino, como sendo um fator fundamental para a emigração das religiosas francesas para o Brasil, a partir dos meados do século XIX. Trata-se da investigação do contexto sócio-cultural e político desse período na França, da análise das diversas escolhas das religiosas francesas frente à proibição da atividade pedagógica, como decorrência da aplicação das leis de laicização, a partir das Leis Jules Ferry de 1880. Destaca-se então, num segundo nível de análise, a investigação das escolhas entre o fechamento das escolas, da secularização, ou volta à vida civil, ou então da possibilidade do exílio. A questão do exílio foi salientada, na medida em que, essa opção foi responsável pelas conseqüências mais significativas sobre evolução educacional e cultural da juventude feminina no final do Império e início da República no Brasil. Em um terceiro e último nível de análise, o trabalho concentra-se num estudo da Congregação Notre Dame deSion, como sendo representativa dessas congregações religiosas femininas francesas que para cá vieram e em particular na trajetória histórica do Colégio Sion, tanto na França, quanto em várias cidades do sudeste brasileiro, a partir de 1888. Essa análise evidencia o pioneirismo dessas congregações missionárias e o papel pioneiro das mulheres de vida consagrada

A presente dissertação analisa os livros sobre o Museu do Prado, A la pintura (1948) e Noche de guerra en el Museo del Prado (1956), ambos do escritor espanhol Rafael Alberti, escritos na Argentina, durante seu longo exílio. A investigação parte da contextualização de Alberti, que nos leva a uma aproximação ao tema, o Museu do Prado, tratado de maneira diferente nas duas obras. Na sequência, é analisado o livro A la pintura e, em seguida, a peça de teatro Noche de guerra en el Museo del Prado. / This study analyzes the books about the Prado Museum, A la Pintura (1948) and Noche de guerra en el Museo del Prado (1956), both of spanish writer Rafael Alberti, written in Argentina, during his long exile. The investigation parts from the context of Alberti, that leads to an approach to the subject, the Prado Museum, treated differently in the two books. In the sequence is analyzed the book A la pintura and then the piece of theater Noche de guerra en el Museo del Prado.