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Thesis (MA)-- Stellenbosch University, 2012. / ENGLISH ABSTRACT: The establishment of literary festivals as a type of event that is presented both nationally and internationally has expanded tremendously in recent years, but it has not as yet received the necessary attention to fully understand its impact on and sociocultural function in a host community. This thesis attempts to formulate a working definition for the phenomenon, in order to gain more insight in its sociocultural function and impact in a host community and thus to contribute towards a more substantial discourse on the subject. The hypothesis is firstly that literary festivals come into existence due to specific needs in the host society and secondly that the strategic application of rhetorical strategies have a positive sociocultural impact. It is argumented that literary festivals function according to the principles of Aristotle’s rhetoric, by convincing festival visitors that books, reading, writing, debating and freedom of speech are of great aesthetic, moral and educational value. The eventual aim is to cause festival visitors to show greater appreciation for literary texts, as illustrated by their increased participation in reading, writing and other literary activities. The following theories serve as points of departure: the system theory as expounded by Itamar Even-Zohar, Gerard Hauser’s application of rhetorics to the public sphere, the ritual theories of Victor Turner and Jeremy Boissevain, as well as festival theories by Mikhail Bakhtin, Donald Getz, Henri Schoenmakers, Paul Kaptein, William Sauter, Don Handelman, Temple Hauptfleisch and Michael Kamp. The programmes, festival contents and other relevant texts that form part of two selected literary festivals, i.e. the Stellenbosch University’s (SU) Wordfest (Woordfees) and the Amsterdam Weerwoordfestival, are scrutinised in order to prove that these festivals are strategically constructed to have a persuasive effect on festivalgoers. A festival’s survival and sustainability is determinated by its establishment of a strong own character; good management (also in times of crisis); effective networks; and the persuasion of both target groups and interest groups that supporting the festival is to their own advantage. / AFRIKAANSE OPSOMMING: Die literêre fees, as tipe gebeurtenis wat toenemend nasionaal én internasionaal aangebied word, het tot dusver min aandag van navorsers geniet. Ten einde die sosio-kulturele funksie en krag daarvan in ’n gasheergemeenskap te probeer vasstel en te omskryf, asook om by te dra tot ’n meer omvangryke diskoers oor hierdie fenomeen, word bestaande teorieë oor feeste in die algemeen dus in hierdie studie as vertrekpunt gebruik en aangepas by literêre feeste. Die hipotese is eerstens dat literêre feeste ontstaan in reaksie op behoeftes in die gasheergemeenskap en tweedens dat die aanwending van retoriese strategieë in literêre feeste ’n positiewe sosio-kulturele impak tot gevolg kan hê. Na aanleiding van Aristoteles se uitgangspunte oor die retorika word voorgestel dat die funksie en werking van literêre feeste retories van aard is: Die organiseerders wil feesdeelnemers oorreed dat lees, skryf, debattering en vrye meningswisseling esteties, opvoedkundig en moreel waardevol is, om sodoende ’n groter belangstelling in en deelname aan literêre aktiwiteite te probeer bewerkstellig. Die volgende teoretici se uitgangspunte word veral gebruik: dié van Itamar Even-Zohar oor die sisteemteorie, Gerard Hauser se toepassing van die retorika op ’n openbare sfeer, ritueelteorieë deur Victor Turner en Jeremy Boissevain, sowel as feesteorieë van Mikhail Bakhtin, Donald Getz, Henri Schoenmakers, Paul Kaptein, William Sauter, Don Handelman, Temple Hauptfleisch en Michael Kamp. Deur ’n vergelykende studie van die ruimer konteks, feesprogramme en ander relevante tekste wat deel uitmaak van twee literêre feeste, naamlik die Universiteit Stellenbosch Woordfees en die Amsterdamse Weerwoordfestival, word nagegaan hoe hierdie feeste strategies en oorredend funksioneer deurdat beide literêre én nie-literêre elemente geselekteer (inventio) en gekombineer (dispositio) is om ’n sterker positiewe eventiserende betekenis oor te dra as in die alledaagse lewe. Die gevolgtrekking is dat effektiewe retoriese strategieë sterk afhanklik is van die konteks waarbinne feeste plaasvind. Die voortbestaan en volhoubaarbaarheid van literêre feeste word veral bepaal deur die vestiging van ’n sterk eie identiteit; goeie bestuur (ook in krisisse); doeltreffende netwerke, asook deur die oorreding van beide teikengroepe én belanghebbers dat hulle wen deur die fees te ondersteun.

Cette thèse prend comme problématique de départ l’étude du cinéma au Maroc, son évolution économique et sociale marquée par la colonisation et la post-colonisation et une série de faiblesses et d’atouts qui rendent son étude une tâche intéressante. En effet, tandis que les infrastructures liées à ce secteur ont été mises en service dès les années 20 du siècle dernier, ce n’est qu’en 1958 que le premier long métrage marocain a vu le jour. Il s’agit du film Le fils maudit de Mohamed Ousfour. Ainsi, cette thèse a procédé à un état des lieux des différentes composantes de la filière cinématographique au Maroc par le schéma élémentaire : production distribution-exploitation, en optant pour une histoire socio-économique du cinéma marocain. L’approche adoptée est purement empirique. Cette thèse part d’une série de questions qui interrogent le parcourt mitigé du cinéma au Maroc, où de grosses productions mondiales sont annuellement tournées, des festivals sont organisés, une implication de l’État est permanente, mais sans pour autant aboutir à créer les bases d’une réelle industrie cinématographique.En conclusion de cette thèse une crise structurelle dont souffre le cinéma au Maroc a été évoquée, sans pour autant nier les quelques aspects évolutifs qu’il a connus. En effet, le cinéma marocain est toujours à la recherche d’un développement prenant en considération la dualité qui le caractérise en tant qu’art et industrie. La filière cinématographique souffre d’une grande fragilité et d’un manque de cohérence dans le développement que connaît chacune de ses composantes. En plus, le cinéma au Maroc est assez souvent assimilé par le pouvoir comme un vecteur de promotion touristique et de propagande politique, plutôt qu’une industrie culturelle. La production cinématographique, de sa part, dépend du soutien de l’État, ce qui facilite la censure et impose la vision du pouvoir du développement de ce domaine. / This thesis tackles as an initial issue the study of cinema in Morocco, its economic and social evolution markedby colonization, post colonization, and a series of weaknesses and assets that make its study an interesting task.Indeed, since infrastructures linked to this industry were put into service starting from 20s of the formercentury, it was not until 1958 that the first Moroccan long-length film came into being. It is about the movie of“Le fils de maudit” by Mohamed Ousfour. Accordingly, this thesis conducts a study of the different componentsof cinematographic industry in Morocco through this basic paradigm: production-distribution-exploitation,opting for a socio-economic history of the Moroccan cinema. The adopted approach is purely empirical.This thesis part of a series of questions that interrogate the mitigated path of cinema in Morocco, where hugeworld productions are currently shot, festivals organized, and a state’s implication that is deemed relevant, butwithout however leading to the creation of bases of a real cinematographic industry.In conclusion of this thesis a structural crisis of which suffers cinema in Morocco was triggered, withouthowever denying some evolutionary aspects that it has seen. Indeed, Moroccan cinema is still on the lookoutfor development taking into account the duality which characterizes it as an art and industry. Thecinematographic sector suffers from a profound fragility and from a lack of coherence in the development thateach of its components experiences. Furthermore, cinema in Morocco is often understood by the government asa medium of tourism promotion and political propaganda, rather than cultural industry. The cinematographicindustry, on its part, depends on the state’s support, which facilitates censorship and imposes the state’s visionof the development of this field.

Cette thèse s’inscrit dans une volonté de comprendre le cinéma mobile, fait avec un dispositif mobile, dans le paysage contemporain de la « culture mobile », entendue comme l’ensemble des usages sociaux associés aux appareils mobiles connectés à l’internet produisant et exploitant des textes et des images, l’organisation en réseaux, etc. Nous l’analysons en tant que phénomène artistique mais aussi comportemental et social, à travers les usages et les enjeux qui lui sont associés, en particulier ceux liés à l’innovation. Nous avons pour cela réalisé une série d’entretiens avec des professionnels en lien avec le cinéma de poche. Le cinéma de poche apparaît comme un mode d’expression cinématographique accessible à tout individu muni d’un dispositif mobile. Ce cinéma a bénéficié de nouveaux moyens de diffusion via Internet et s’est intégré à une tendance contemporaine de l’économie créative. Nous analysons la diffusion des films de poche sur les plateformes de vidéos sur le web et dans les festivals consacrés aux images mobiles entre 2005 et 2015. Les images mobiles se sont multipliées (selfies, vidéos), une grande partie exposant la sphère de l’intime. Nous réfléchissons sur la prolifération des images mobiles, la créativité, la pratique amateur et la position du cinéma de poche face au cinéma traditionnel. Avec la culture de la participation et de la collaboration, les médias traditionnels ont absorbé les images mobiles publiées sur les réseaux sociaux, nouvelle matière à collaboration journalistique. Finalement, la culture mobile évolue rapidement et suscite de nombreuses questions notamment sur la réalité virtuelle et l’usage de l’image comme langage de communication. / This thesis is part of a desire (intends) to understand mobile cinema, made with a mobile device, in the contemporary landscape of the "mobile culture", understood as the set of social uses associated with mobile devices connected to the Internet producing and exploring texts, images, social media publications, etc. We analyzed it as an artistic but also behavioral and social phenomenon, through the uses and the interests (betting, implications) associated with it, especially to those related to innovation. We have done a series of interviews with professionals connected with the pocket cinema. Pocket cinema appears as a cinematographic mode of expression accessible to any individual with a mobile device, who has widely used new resources of dissemination via the Internet and has become part of a contemporary trend of the creative economy. We analyze the distribution of pocket films on video platforms on the web and in festivals dedicated to mobile images between 2005 and 2015. Mobile images have multiplied (selfies, videos), exposing even in a more intimate context. We reflected on the proliferation of mobile images, creativity, amateur practice and the position of the pocket cinema in the face of traditional cinema. With the culture of participation and collaboration, mainstream media have absorbed mobile images published on social media, a new way of collaboration focused on journalism. Finally, the mobile culture evolves rapidly and raises many questions, in particular about virtual reality and the use of the image as a language of communication.

Thesis (doctoral)--Uppsala University, 2003. / Includes bibliographical references (p. 237-[247]).

Habilitationsschrift--Universität des Saarlandes, Saarbrücken. / Includes indexes. Includes bibliographical references (p. 298-313).

Habilitationsschrift--Universität des Saarlandes, Saarbrücken. / Includes indexes. Includes bibliographical references (p. 298-313).

Les Journées Cinématographiques de Carthage (JCC) est un festival arabo-africain du cinéma créé en 1966, le plus vieux du continent africain et asiatique. Ces dernières décennies, il a connu de nombreux dysfonctionnements au niveau de l'organisation et des choix esthétiques des films sélectionnés pour la compétition, réservée exclusivement aux films arabes et africains. Mais, d'autres sections parallèles projettent hors compétition des films venant du monde entier. Dans cette thèse nous nous basons sur des entretiens que nous avons réalisés avec différents protagonistes, liés directement ou indirectement à la réalisation de ce festival depuis sa création jusqu'à ce jour. A partir de ces documents nous avons étudié l'organisation et la gestion du festival, et considéré l'esthétique qui se dégage du choix des films, étant donné qu'ils ont une portée militante, autour de thèmes évoqués qui relèvent de la dénonciation sociale politique et culturelle. Cette recherche est une tentative d'offrir un travail universitaire et un nouvel outil pour approcher le cinéma arabe et africain grâce au festival de Carthage, jusqu'ici peu étudié. / The JCC (« Carthagian days of cinematography ») is an Arab-African film festival established in 1966, the oldest on the continent. Over the last decade, the festival has seen number of challenges on the organizational level as well as in its film selection; the competition remained exclusively reserved to African and Asian films. In parallel sections not being part of the competition films were shown from around the world. The present thesis is based on interview conducted with a wide range of protagonists directly or indirectly responsible for managing the festival ever since its creation. Based on these primary sources, the organization and the management of the festival were analyzed as well as the aesthetic concept that could be derived through the selection of films especially through from their political or cultural content. This research is an academic accomplishment and an attempt to offer a new working tool to ease research on Arabic and African cinematography through the festival of Carthage that until now remains a festival hardly studied.

La thèse propose d’analyser les résidences et les festivals « arts-sciences » dans une perspective communicationnelle. Depuis les années 2000, ces événements sont organisés par les institutions artistiques et scientifiques, mais aussi par les associations de culture scientifique et technique. Ils bénéficient d’un soutien des administrations publiques, depuis les collectivités locales jusqu’aux instances internationales. La recherche interroge l’action des stratégies des acteurs politiques et sociaux sur la construction des pratiques « arts-sciences » et la communication de leurs productions. L’émergence des projets « arts-sciences » s’inscrit dans des enjeux concernant le développement territorial, la communication scientifique, l’innovation technologique, le renouvellement de la vulgarisation et l’avant-gardisme artistique. La communication des productions est partagée notamment entre la diffusion d’œuvres d’art, la transmission de la culture scientifique et la promotion de technologies. / The thesis proposes to analyze the “arts-sciences” residences and the festivals in a communicational perspective. Since 2000’s, those events are organized by artistic and scientist institutions, but also by associations of scientific culture. They receive public assistance, from local authorities to international organizations. The research questions the action of strategies of political and social actors on the construction of “arts-sciences” practice and the communication of their products. The emergence of the “arts-sciences” projects is linked to issues concerning territorial development, scientific communication, technological innovation, renewal of scientific popularization and artistic avant-gardism. The communication of the products is torn between the distribution of works of art, the transfer of scientific culture and the promotion of technologies.

Submitted by Alane dos Santos Viana (alane.viana@ucsal.br) on 2016-09-27T14:10:40Z No. of bitstreams: 1 Dissertação - Raimundo Pinheiro - versão final.pdf: 8532066 bytes, checksum: 3799c8503a37e1106816c656c2a2d66b (MD5) / Approved for entry into archive by Maria Emília Carvalho Ribeiro (maria.ribeiro@ucsal.br) on 2016-09-30T19:57:08Z (GMT) No. of bitstreams: 1 Dissertação - Raimundo Pinheiro - versão final.pdf: 8532066 bytes, checksum: 3799c8503a37e1106816c656c2a2d66b (MD5) / Made available in DSpace on 2016-09-30T19:57:08Z (GMT). No. of bitstreams: 1 Dissertação - Raimundo Pinheiro - versão final.pdf: 8532066 bytes, checksum: 3799c8503a37e1106816c656c2a2d66b (MD5) Previous issue date: 2014-12-05 / O catolicismo popular, manifestado nas práticas de romarias, procissões e veneração a santos, teve uma importância significativa no surgimento e transformação de muitas cidades no Brasil. Monte Santo é uma cidade de pequeno porte, localizada na Região Nordeste da Bahia, sertão do semi-árido, da microrregião econômica de Euclides da Cunha. Abriga, entre outros templos, o Santuário da Santa Cruz, que transforma a cidade em centro de peregrinações periódicas e que atrai visitantes, tanto do Estado da Bahia, como de outros lugares mais longínquos. Leituras e pesquisas de campo permitem verificar que a religião católica e o deslocamento de pessoas ocupam e mudam, temporariamente, os espaços públicos de Monte Santo. O objetivo deste trabalho é analisar a religiosidade sob a ótica das tradições, que consagraram os lugares sagrados locais que, por sua vez, provocam uma nova dinâmica e funcionalidade na cidade nos períodos de fluxo intenso de fiéis. Busca-se, também, fazer compreender a decadência dessas tradições e a expansão de práticas profanas, por meio de festas leigas. Usou-se a metodologia mais recorrente de análise e síntese, utilizando técnicas de procedimento, como consultas bibliográficas, documentais, coadjuvadas por pesquisa de campo, - com uso de entrevistas abertas e observações pessoais -, durante as datas de peregrinações religiosas locais. As manifestações ocorrem duas vezes ao ano, coincidindo uma com a Semana Santa e a outra realizada na véspera do dia de Todos os Santos, 31 de outubro. Avaliam-se, também, as políticas públicas locais, que propõem melhorias para a cidade, com base na exploração do turismo religioso. Conclui-se que as romarias, levadas pela fé do povo brasileiro, independem do poder local que, ao promover as festas leigas, continua a dividir a população e visitantes entre eventos religiosos tradicionais e as festas com cantores populares mais recentes. / The popular Catholicism, manifested in the practice of pilgrimages, processions and worship of saints, had a significant importance in the emergence and transformation of many cities in Brazil. Monte Santo is a small town located in the northeastern region of Bahia, the semi-arid backlands, the micro-economic Euclides da Cunha. It houses, among other temples, the Sanctuary of Santa Cruz, which transforms the city center in periodic pilgrimages and attracts visitors from both the State of Bahia, as other more distant places. Readings and field research verifying that the Catholic religion and the displacement of people occupy and change temporarily the public spaces of Monte Santo. The objective of this work is to analyze religiosity from the perspective of the traditions, which enshrined the local sacred places which, in turn, lead to a new dynamic functionality and in the city during periods of intense flow of faithful. Seeks to also do understand the decay of these traditions and the expansion of secular practice through secular parties. It used the most recurrent methodology for analysis and synthesis using techniques procedure, as documentary bibliographic consultations, complemented with field research - using open interviews and personal observations - during the dates of local religious pilgrimages. Demonstrations occur twice a year, one coinciding with Holy Week and the other held on the eve of All Saints Day, October 31. If also assess local public policies that propose improvements to the city, based on the exploitation of religious tourism. We conclude that the pilgrimages, carried by the faith of the Brazilian people, independent of local government that by promoting the lay parties, continues to divide the population and visitors between traditional religious events and festivals with newer popular singers.