This research investigates how the production and distribution of nationally produced television programmes, films and other audiovisual content can be promoted by regulation. The study identifies current regulatory tools to promote national content and differences in policy approaches. It also identifies new issues resulting from the substantial transformation the media environment has undergone in recent years. The audiovisual sector today is characterised by an abundance of television channels and telecommunication services and by ongoing digital convergence, all impacting on the effectiveness and rationale of content regulation. Focused on the UK, France and Brazil, this comparative research investigates the political, regulatory, socio-cultural, economic, technological and market changes of the communication services in the recent decades and how this has impacted on the provision of national audiovisual content. The starting point of the analysis are the 1980s, when broadcasting started to be gradually liberalised, and it concludes in the 2000s, when information technologies, telecommunications and broadcasting converge into interconnected, complementary and supplementary services. This research offers a three step method of analysis which contributes to a new understanding of the mechanisms and implications involved in the production and distribution of nationally produced content in digital times. In the first step, the various socio-cultural aims of communication services as enacted in legislation are analysed. The second step explores the consequent regulatory tools for the fulfilment of those objectives. The third step provides a market evaluation of the audiovisual industries, which broadcasters and other distribution platforms provide which kind of content, and also looks at audiences‟ viewing preferences to get a better understanding of what type of content should be supported through legislation. As outcomes, this research proposes to academics, policymakers and regulators a new definition for national content and a series of regulatory actions for fostering national audiovisual industries in times of digital convergence.

passagens culturalmente marcadas na tradução brasileira de Là où les tigres sont chez eux (2008), de Jean-Marie Blas de Roblès, realizada por Maria de Fátima Oliva do Coutto e Mauro Pinheiro, publicada no Brasil em 2011. Em virtude das especificidades da relação entre Là où les tigres sont chez eux, um romance francês com tramas ambientadas no Brasil, e Lá onde os tigres se sentem em casa, a sua tradução brasileira, inversões no tradicional dilema do estrangeiro (BERMAN, 1984) são produzidas no/pelo texto traduzido. De modo similar, os marcadores culturais (AUBERT, 2006) também se comportam de maneira peculiar, tanto no original como na tradução. Partindo de dois percursos teóricos, um voltado para situar o dilema do estrangeiro, tal como pensado por Antoine Berman (1984) e por Paul Ricoeur (2004), e outro com o objetivo de precisar as noções de cultura, marcadores culturais e tradução cultural, buscou-se desenvolver análises que contemplassem as discussões realizadas e nas quais se pudesse identificar a relação entre os dois eixos que norteiam este trabalho: o dilema do estrangeiro e as transferências culturais, identificadas com o auxílio dos marcadores culturais. No que concerne às problematizações envolvendo cultura e traduções culturais, recorreu-se a regimes de conhecimento de ordem antropológica para refletir acerca da noção de cultura (CARNEIRO DA CUNHA, 2017) e para apresentar, ainda que brevemente, modelos alternativos de tradução, que vão além da aproximação entre tradução e cultura. Com isso, busca-se contribuir para ampliar a discussão acerca do dilema do estrangeiro na tradução e para, a partir do diálogo com regimes de conhecimento antropológicos, expandir a noção de marcadores culturais no campo da tradutologia. Essas discussões, por sua vez, em consonância com as análises, estão voltadas para um objetivo maior, qual seja, o de observar e expor as potências da tradução; de perceber a sua força e a sua capacidade de expandir o original, de ressignificá-lo e, assim, contribuir para a sobrevida de uma obra. / The present thesis focuses on identifying and analyzing the dilemma of the foreignfamiliar and the culturally marked passages in Jean-Marie Blas de Roblès\'s Là où les tigres sont chez eux (2008), as translated by Maria de Fátima Oliva do Coutto and Mauro Pinheiro, and published in Brazil in 2011. Due to the specificities of the relationship between Là où les tigres sont chez eux, a French novel whose plot is set in Brazil, and Lá onde os tigres se sentem em casa, its Brazilian translation, inversions in the traditional dilemma of the foreign (BERMAN, 1984) are produced in/by the translated text. Similarly, cultural markers (AUBERT, 2006) also behave in a peculiar way, both in the original and in the translation. Setting out from two theoretical paths, one aimed at locating the dilemma of the foreigner as theorized by Antoine Berman (1984) and by Paul Ricoeur (2004), and another with the objective of specifying the notions of culture, cultural markers and cultural translation, we tried to develop analyzes that contemplated the discussions and in which one could identify the relation between the two axes that guide this study: the dilemma of the foreign and the cultural transfers, identified with the aid of cultural markers. Concerning the problematization involving culture and cultural translations, anthropological knowledge regimes were used in order to reflect on the notion of culture (CARNEIRO DA CUNHA, 2017) and to present, albeit briefly, alternative models of translation, which go beyond the approximation between translation and culture. The aim is to contribute to a broadening of the discussion about the dilemma of the foreign in translation and to expand the notion of cultural markers in the field of Translatology through dialogue with anthropological knowledge regimes. These discussions, in turn, in consonance with the analyzes, are directed towards a greater objective, which is observing and exposing the powers of translation; to perceive its strength and its capacity to expand the original, to resignify it and, thus, to contribute to the survival of a work.

O estudo aqui proposto pretende atentar para a natureza da presença francesa na obra de Castro Alves. Trata-se da expansão da dissertação intitulada Projeções do romantismo pelas asas de um condor: a presença hugoana na obra de Castro Alves1, cujo objetivo principal consistiu em analisar, especificamente, a presença de Victor Hugo na produção castroalvina. Nessa nova fase, em decorrência dos variados procedimentos intertextuais encontrados, a investigação será conduzida aos diversos aspectos da presença francesa, e ao variado rol de referências literárias e culturais da obra do escritor. Para tanto, levaremos em conta os procedimentos textuais tais como epígrafes, citações e alusões, presentes em sua prosa e na poesia. Nosso objetivo é, portanto, realizar a leitura intertextual minuciosa dos textos selecionados2 com o fito de investigar qual o sentido das apropriações feitas, o que responde pela tarefa de revelar qual o papel da presença francesa nos textos alvesianos. / The study proposed here intends to look at the nature of the French presence in the work of Castro Alves. It is the expansion of the dissertation entitled Romanticism projections through the wings of a condor: the presence of Victor Hugo in Castro Alves works, whose main objective is to analyse especially the presence of Victor Hugo in the work of Castro Alves. At this new stage, as a consequence of the diverse intertextual procedures found, we have broadened the analysis to the several aspects of the French presence, as well as to the varied list of literary and cultural references which extolled the works of the writer of The Slaves. Therefore, we shall analyse the textual procedures such as epigraphs, quotations and allusions found in prose and poetry. Our objective is thus to accomplish the detailed analysis of the selected texts aiming to investigate the meaning of the appropriations used, what accounts for the task of explaining the role of the French presence in Castro Alves works.

Este trabalho está inserido no rol de estudos que procuraram analisar as relações entre a obra de Sérgio Buarque de Holanda e as literaturas estrangeiras. O objetivo é apresentar uma reflexão sobre a presença francesa nos seus textos de crítica literária publicados de 1920 a 1930, período em que o crítico estabelece intenso diálogo com elementos culturais, literários e críticos franceses. As conclusões apontam para o retrato de um intelectual inserido no grupo radical do Modernismo em sua fase heroica, que compartilhava as inquietudes de sua geração a respeito da nacionalidade e da cultura de seu país e, ao mesmo tempo, aberto ao diálogo entre diversas literaturas e a França desempenha papel de relevo em suas considerações. / This thesis is part of the scholarly literature that aims at analyzing the relationship between Sergio Buarque de Holandas oeuvre and foreign literatures. The goal is to present a discussion on the presence of French literature in his texts on literary criticism published between 1920 and 1930, a period in which the author established an intense dialogue with French cultural, literary and scholarly elements. The conclusion presents a portrait of the scholar as part of the radical Modernist group in its so-called heroic stage, immersed in the disquietude typical of his generation toward his own nationality and national culture but, at the same time, open to dialogue with the various literatures of the world, among which the French one plays an important role in his considerations.

Este trabalho está inserido no rol de estudos que procuraram analisar as relações entre a obra de Sérgio Buarque de Holanda e as literaturas estrangeiras. O objetivo é apresentar uma reflexão sobre a presença francesa nos seus textos de crítica literária publicados de 1920 a 1930, período em que o crítico estabelece intenso diálogo com elementos culturais, literários e críticos franceses. As conclusões apontam para o retrato de um intelectual inserido no grupo radical do Modernismo em sua fase heroica, que compartilhava as inquietudes de sua geração a respeito da nacionalidade e da cultura de seu país e, ao mesmo tempo, aberto ao diálogo entre diversas literaturas e a França desempenha papel de relevo em suas considerações. / This thesis is part of the scholarly literature that aims at analyzing the relationship between Sergio Buarque de Holandas oeuvre and foreign literatures. The goal is to present a discussion on the presence of French literature in his texts on literary criticism published between 1920 and 1930, a period in which the author established an intense dialogue with French cultural, literary and scholarly elements. The conclusion presents a portrait of the scholar as part of the radical Modernist group in its so-called heroic stage, immersed in the disquietude typical of his generation toward his own nationality and national culture but, at the same time, open to dialogue with the various literatures of the world, among which the French one plays an important role in his considerations.

O estudo aqui proposto pretende atentar para a natureza da presença francesa na obra de Castro Alves. Trata-se da expansão da dissertação intitulada Projeções do romantismo pelas asas de um condor: a presença hugoana na obra de Castro Alves1, cujo objetivo principal consistiu em analisar, especificamente, a presença de Victor Hugo na produção castroalvina. Nessa nova fase, em decorrência dos variados procedimentos intertextuais encontrados, a investigação será conduzida aos diversos aspectos da presença francesa, e ao variado rol de referências literárias e culturais da obra do escritor. Para tanto, levaremos em conta os procedimentos textuais tais como epígrafes, citações e alusões, presentes em sua prosa e na poesia. Nosso objetivo é, portanto, realizar a leitura intertextual minuciosa dos textos selecionados2 com o fito de investigar qual o sentido das apropriações feitas, o que responde pela tarefa de revelar qual o papel da presença francesa nos textos alvesianos. / The study proposed here intends to look at the nature of the French presence in the work of Castro Alves. It is the expansion of the dissertation entitled Romanticism projections through the wings of a condor: the presence of Victor Hugo in Castro Alves works, whose main objective is to analyse especially the presence of Victor Hugo in the work of Castro Alves. At this new stage, as a consequence of the diverse intertextual procedures found, we have broadened the analysis to the several aspects of the French presence, as well as to the varied list of literary and cultural references which extolled the works of the writer of The Slaves. Therefore, we shall analyse the textual procedures such as epigraphs, quotations and allusions found in prose and poetry. Our objective is thus to accomplish the detailed analysis of the selected texts aiming to investigate the meaning of the appropriations used, what accounts for the task of explaining the role of the French presence in Castro Alves works.

Les relations internationales du Brésil sont marquées par l’omniprésence états-unienne. Nous proposons ici de déconstruire en partie cette perspective, à l’appui d’archives inédites issues des ministères français des Affaires étrangères et de la Défense. Durant les années 50, 60 et 70, la France a envoyé ses plus grands spécialistes du renseignement au Brésil. Issus d’horizons politiques très différents, ces hommes ont assuré le transfert des doctrines coloniales de l’armée française vers l’armée brésilienne mais ils ont aussi créé des débouchés pour les industries françaises reconstituées dans l’après la Seconde Guerre mondiale. En moins de vingt ans, l’armée française a entièrement remodelé la perception que les militaires brésiliens avaient de leur rôle. La technologie exportée n’était pas uniquement matérielle ; politique, elle a permis la construction d’un nouvel édifice militaire, fondé sur le principe de la guerre anti-subversive, sur l’action des services de renseignement et sur l’hégémonie des groupes industriels liés à l’armement. En ce sens, la France a largement contribué à ce que l’armée brésilienne atteigne son autonomie stratégique. Pourtant, sa technologie n’a pas apporté que des résultats positifs. Bien au contraire, à l’instar des guerres menées par l’armée française dans les colonies, la guerre anti-subversive au Brésil a refondu la société brésilienne. / Brazil's international relations are characterized by the overwhelming presence of the United States of America, both in terms of specialized bibliography and in the writings of the political actors involved. In this thesis we propose to put this established perspective into question, with the help of archives we found in the libraries of the French Department of Foreign Affairs and the Department of Defense which had never been studied previously. In the 1950s, 60s and 70s, France sent their best experts in information to Brazil. They came from very different political backgrounds; their mission was to pass on the colonial doctrines of the French Army to the Brazilian officers. They also created new outlets for the recently reformed French industries which had suffered great losses in the War. Within less than twenty years, the French Army has thoroughly reshaped the perception Brazilian officers entertained of their own role. The exported technology was not only of a material nature : it was also a political technology which paved the way for a new military edifice, based on the principle of the anti-subversive war, on the action of the information services and on the leading role given to the industrial groups linked with the armament sector. Thus, France can be said to have greatly contributed to the process leading to the strategic autonomy of the Brazilian Army. And yet, France's imported technologies did not only bring about positive results. On the contrary, as in the wars led by France in the colonies, the anti-subversive war in Brazil has deeply restructured the former Brazilian society.

Esta tese de doutorado pretende fazer uma releitura do romance de estreia de Lima Barreto, Recordações do Escrivão Isaías Caminha. Dividida em quatro capítulos, o presente trabalho questiona a visão da crítica literária tradicional que analisa o livro como mero romance de chave com traços autobiográficos, uma leitura válida porém incompleta. Em seu lugar, o autor propõe uma interpretação intertextual do romance barretiano com Illusions Perdues, de Honoré de Balzac, do qual Lima Barreto faz um aproveitamento criativo da trajetória do protagonista e de temas como o mito de Napoleão, o homem de província na Capital e a crítica à imprensa industrial moderna. Também se apontam a presença de elementos de outras obras da literatura francesa e ocidental em Recordações do Escrivão Isaías Caminha, num grau menor que o do intertexto balzaquiano, e o processo de articulação dessas conexões usado por Lima Barreto para denunciar as contradições sociais da Primeira República Brasileira (1889-1930). / This PhD thesis aims to stablish a new approach for the first Lima Barreto\'s novel Recordações do Escrivão Isaías Caminha. Divided into four chapters, this work discusses the traditional view of literary criticism that analyzes the book as a mere roman à clef with autobiographical traits, an important but incomplet reading. Instead, the author proposes an intertextual approach between the Lima Barreto\'s novel with Illusions Perdues, by Honoré de Balzac, from which the Brazilian writer does a creative use of the protagonist\'s trajectory and themes like the myth of Napoleon, the provincial man in the Capital and the criticism against the modern industrial press. It\'s pointed out as well the presence of elements of other works from French and Western literatures in Recordações do Escrivão Isaías Caminha, in a smaller degree than the Balzatian intertext, and the process of articulation of these connections used by Lima Barreto to denounce the social contradictions from the First Brazilian Republic (1889-1930).

Esta tese de doutorado pretende fazer uma releitura do romance de estreia de Lima Barreto, Recordações do Escrivão Isaías Caminha. Dividida em quatro capítulos, o presente trabalho questiona a visão da crítica literária tradicional que analisa o livro como mero romance de chave com traços autobiográficos, uma leitura válida porém incompleta. Em seu lugar, o autor propõe uma interpretação intertextual do romance barretiano com Illusions Perdues, de Honoré de Balzac, do qual Lima Barreto faz um aproveitamento criativo da trajetória do protagonista e de temas como o mito de Napoleão, o homem de província na Capital e a crítica à imprensa industrial moderna. Também se apontam a presença de elementos de outras obras da literatura francesa e ocidental em Recordações do Escrivão Isaías Caminha, num grau menor que o do intertexto balzaquiano, e o processo de articulação dessas conexões usado por Lima Barreto para denunciar as contradições sociais da Primeira República Brasileira (1889-1930). / This PhD thesis aims to stablish a new approach for the first Lima Barreto\'s novel Recordações do Escrivão Isaías Caminha. Divided into four chapters, this work discusses the traditional view of literary criticism that analyzes the book as a mere roman à clef with autobiographical traits, an important but incomplet reading. Instead, the author proposes an intertextual approach between the Lima Barreto\'s novel with Illusions Perdues, by Honoré de Balzac, from which the Brazilian writer does a creative use of the protagonist\'s trajectory and themes like the myth of Napoleon, the provincial man in the Capital and the criticism against the modern industrial press. It\'s pointed out as well the presence of elements of other works from French and Western literatures in Recordações do Escrivão Isaías Caminha, in a smaller degree than the Balzatian intertext, and the process of articulation of these connections used by Lima Barreto to denounce the social contradictions from the First Brazilian Republic (1889-1930).

C’est dans le contexte de l’accentuation des disputes entre les empires européens, qu'afin de préserver son empire et d’augmenter son pouvoir politique et économique dans le monde, la France inaugure sa politique culturelle internationale durant l’ultime quart du XIXe siècle. Toutefois, c’est surtout à partir de la dernière année de la Seconde Guerre mondiale que nous constatons une politique culturelle internationale plus pragmatique et une constante augmentation du budget, utilisé par le ministère des Affaires étrangères, pour le rayonnement de la culture française dans le monde. Au Brésil, entre 1945 et les années 1970, cet effort se traduit par la mise en place, par la diplomatie français sur place et au Quai d’Orsay, de stratégies visant à étendre la présence culturelle française sur tout le territoire national (avant la guerre les éléments culturels français sont, de façon disproportionnée, concentrés dans l’axe Rio de Janeiro - São Paulo) et à tous les groupes sociaux (avant 1945 la culture française ne touche pratiquement que l’élite brésilienne). / In the context of heightened disputes among European empires, France launches its international cultural policy during the last quarter of the 19th century to preserve its empire and increase its political and economic power in the world. However, it is from the last year of World War II that the French Ministry of Foreign Affairs uses a more pragmatic policy for international cultural affairs, which includes an increasing budget, to influence French culture in the world. At the Quai d’Orsay, and in Brazil, the French diplomatic effort between 1945 and the 1970s results in established strategies to extend the French cultural presence throughout the national territory and all social groups of Brazil. Before the war, French cultural elements are disproportionately concentrated in the axis Rio de Janeiro–São Paulo; before 1945, French culture influences mostly the Brazilian elite.