Notre travail de recherche a porté sur quatre des caractéristiques principales de la poésie espagnole la plus contemporaine : l'hybridation, l'intermédialité, la porosité et la marginalité. Nous avons examiné les écritures poétiques de sept poètes nés entre 1962 et 1990, Manuel Vilas,Jorge Riechmann, Agustin Fernandez Mallo, Vicente Luis Mora, Pablo Garcia Casado, Begona Callejon et Luna Miguel. Ces sept poètes sont paradigmatiques d'un renouveau créatif qui prend appui sur une ouverture forte sur le monde social, scientifique mais aussi populaire et quotidien. La question de la définition de la poésie revient dans ce contexte avec plus de force. Tout semble plus brouillé que jamais avec ces incursions de la poésie dans des univers non-poétiques. Ces franchissements de frontières permettent de saisir l'acte de création poétique, ce qu'est la poésie : une poésie en mutations rétro-alimentées dans ses explorations méta-poétiques et son rapport au monde qui l'entoure. / Our research work was concerned with four main characteristics of Spanich poetry in its most contemporary form : hybridations, intermedialities, porosity and marginality. We studied the poetic writings of seven poets born between 1962 and 1990 : Manuel Vilas, Jorge Riechmann, Agustin Fernandez Mallo, Vicente Luis Mora, Pablo Garcia Casado, Begona Callejon and Luna Miguel. These seven poets are representative of a creative revival that leans heavely on an openness towards concerns of a social and scientific nature but also common and day-to-day lite. Within this context, the question of what defines poetry becomes ail the more powerful. As never before,theses-poetic incursions within the non-poetic world throw everything into flux. These boundary crossings enable one to better grasp the process of poetic creation and what is : poetry undergoing transformations via feedback with regard toits metapoetic explorations and its relationship with the outside world.

Made available in DSpace on 2016-02-26T14:52:35Z (GMT). No. of bitstreams: 1 MarciaReginaCassanhoOliveira-1.pdf: 1143160 bytes, checksum: ba0e7250cd847e45b8f1652e3427c494 (MD5) Previous issue date: 2010-08-27 / This study had as aim to verify, in the economic and social cultural process, the adaptation of the immigrant Syrian-Lebanese group in the city of Campo Grande, Mato Grosso do Sul State. The research had its starting point in the Register Office Santos Pereira, from the year of 1906, that the birth documents of a daughter of the first Lebanese family. The study is an attempt to understand the main social, cultural and economic transformations, lived by generations of these immigrants, in the period f 1906 to 2009. It had tried to notice the processes of integration, the transmission of uses and standard costums of hospitality and the integration to the new nationality and the cultural dialogues resulted from the immigration. It implied in investigating, in the multiple and complex environment, cohabitated by distinct cultures, the degree of welcoming and openness, provided in the reception to these immigrants, since the foundation of Clube Libanês of Campo Grande at that time, still Mato Grosso State in1951.So that, it was relevant to know the historical and social context that provoked the emigration. It is a question of a documental fundamentally research, in the Register Offices in minutes and documents of Clube Libanês. At the same time, this research was exploited by interviews to arab immigrants and their decendents, such contribution, through evidences and narratives, it constituted of extreme importance to the achieving this work. It had noticed that the reality of the entire immigrant is marked by meetings and not meetings. The results of the research point alterations that have been introduced during the time in function of several factors, among them, the contact with the Brazilian standards; the different West life rhythm with reference to the East; the geographic distances and the available time. Furthermore, the life style and the values had changed along the time, becoming hybrid. The arab immigrants are, at the same time Brazilians and Syrian-Lebanese. However, even that inserted in the Brazilian society, the arabic people kept and reforced the conscience of the group through the family, the church, the Clube Libanês with their rituals and social festivities and ethnic parties besides keeping the publishings of newspapers and specialized magazines / Este estudo tem como objetivo verificar, no processo sócio-cultural e econômico, a adaptação do grupo de imigrantes sírio-libaneses na Cidade de Campo Grande, Mato Grosso do Sul. A pesquisa teve como ponto de partida um registro no Cartório Santos Pereira, do ano de 1906, que documenta o nascimento de uma filha da primeira família libanesa. O estudo é uma tentativa de se compreenderem as principais transformações sociais, culturais e econômicas vividas pelas gerações desses imigrantes, no período de 1906 a 2009. Procurou-se perceber os processos de integração, a transmissão de usos e costumes, os padrões de hospitalidade e de integração à nova nacionalidade e os diálogos culturais decorrentes da imigração. Isso implicou a investigação, no ambiente complexo e múltiplo coabitado por culturas distintas, do grau de acolhimento e de abertura proporcionado na recepção a esses imigrantes, a partir da fundação do Clube Libanês de Campo Grande - na época, ainda estado de Mato Grosso, em 1951. Para isso, foi relevante conhecer o contexto histórico e social que provocou a emigração. Trata-se de uma pesquisa fundamentalmente documental, em registros de cartórios e em atas e documentos do Clube Libanês. Paralelamente, esta pesquisa foi instrumentalizada por entrevistas a imigrantes árabes e descendentes deles, cuja contribuição, por meio de depoimentos e narrativas, constituiu-se de extrema importância para a consecução deste trabalho. Pôde-se constatar que a realidade de todo imigrante é marcada por encontros e desencontros. Os resultados da pesquisa apontam alterações que foram introduzidas no decorrer do tempo em função de vários fatores, dentre eles, o contato com os padrões brasileiros; a diferença do ritmo de vida no ocidente, em relação ao oriente; as distâncias geográficas e a disponibilidade do tempo. Além disso, o estilo de vida e os valores se alteraram ao longo do tempo, tornando-os híbridos. Os imigrantes árabes são, ao mesmo tempo, brasileiros e sírio-libaneses. Contudo, ainda que inseridos na sociedade brasileira, os árabes mantiveram e reforçaram a consciência de grupo através da família, da igreja, do Clube Libanês com seus rituais e festividades sociais e festas étnicas, além de manterem a publicação de jornais e revistas especializadas

Mus par la volonté de découvrir et d’exploiter les ressources de l’Afrique, les Occidentaux y ont apporté leurs cultures, et notamment la langue française. En s’intégrant au quotidien des habitants, cette langue a exporté les différents éléments de sa culture, dont le théâtre qui se place désormais au coeur des rencontres entre les artistes de France et d’Afrique subsaharienne francophone.Par le prisme d’événements artistiques majeurs comme les festivals, les artistes ont trouvé des espaces centraux d’expression sur les deux continents. Ainsi, ils ont pu nouer des relations de travail avec leurs pairs du reste du monde. A certains niveaux, les échanges qui s’en sont suivi ont permis des rencontres fructueuses lors de manifestations comme le Festival des Francophonies en Limousin, mais aussi le FITMO/FAB au Burkina Faso et le FITHEB au Bénin, tous événements émanant de l’Afrique subsaharienne francophone.Avec la mondialisation, les rencontres entre dramaturges se soldent parfois par des échanges au sein même des textes produits. Elles conduisent à des relations de travail qui conduisent à des hybridations et à des métissages qui transforment sans doute la teneur des productions dramaturgiques. En nous appuyant sur un corpus de textes d’auteurs contemporains, nous formulons ici l’hypothèse que les échanges entre artistes transforment les conditions de production comme les esthétiques en vigueur, cette dynamique générant l’émergence d’une poétique de la relation. / Driven by the desire to discover and exploit the resources in Africa, the westerners brought their cultures there and in particular the French language. By integrating with the daily life of the inhabitants, this language has exported the different elements of its culture, including the theatre which is now at the heart of encounters between French and French-speaking sub-Saharan artists.By the prism of major events such as festivals, artists have found central spaces of expression on both continents. So, they were able to build working relationships with their peers in the world. At certain levels, the exchanges that followed made it possible to have fruitful meetings during events such as Festival of Francophone in Limousin, but also FITMO/FAB in Burkina Faso, and FITHEB in Benin, all events emanating from French-speaking sub-Saharan Africa.With globalisation, encounters between playwrights sometimes result in exchanges within the texts produced. They lead to working relationships that lead to hybridization and mixing which undoubtedly transform the contents of the dramaturgical productions. Based on a corpus of texts by contemporary authors, we formulate here the hypothesis that exchanges between artists transform the conditions of production as the aesthetics in force, this dynamics generating the emergency of a poetic of the relationship

Les orichas sont des divinités d’origine africaine dont le culte est connu à Cuba sous le nom de Santería ou Regla de Ocha. A travers l’interprétation des œuvres de quatre artistes cubains, cette étude entend retracer la généalogie de l’image artistique de ces entités. Participant au mouvement des avant-gardes parisiennes, Wifredo Lam (1902-1982) est le premier artiste cubain à opérer une réappropriation artistique des orichas, conférant une forme de légitimité à une culture marginalisée dans la société postcoloniale. René Portocarrero (1912-1985) explore le syncrétisme qui a uni les orichas et les images catholiques des Saints et des Vierges et fabrique leur première image humaine. Ce n’est qu’avec Manuel Mendive (né en 1944) que les orichas sont imaginés comme des dieux noirs et deviennent des figures positives de la négritude dans l’art. Afin de remettre en question la supposée ancestralité des orichas, Santiago Rodríguez Olazábal (né en 1955) propose à partir des années 1990 des représentations de ces dieux en prise avec le monde contemporain. Cette généalogie des représentations des orichas permet d’interroger la place des cultures des afro-descendants dans les sociétés postcoloniales, les logiques de conservation du patrimoine afro-cubain et de mise en spectacle de celui-ci, ainsi que les formes d’articulation entre la création artistique d’une ancienne périphérie et le marché international de l’art. Elle propose également une réflexion sur les rapports entre la politique, l’art et la religion dans une période déterminante de l’histoire contemporaine de Cuba. / Orichas are not only gods from a syncretic Cuban religion, but also Cuban popular culture characters becoming more and more famous abroad. This work intends to understand the invention of oricha artistic images while studying the artworks of four Cuban artists. Following the surrealist and cubist movement, Wifredo Lam (1902-1982) is the first artist to adopt orichas as a subject for his paintings. Through this choice he legitimates a culture that was marginalized in the postcolonial society until then. René Portocarrero (1912-1985) works on the syncretism between orichas and Catholic Saints and Virgins and builds their human representations. But it’s Manuel Mendive (born in 1944) who creates the figures of the black gods and turn them into positive characters of blackness in art. Santiago Rodríguez Olazábal (born in 1955) designs a new way of representing orichas according to contemporary art aesthetics. This genealogy of the orichas focuses on the Afro Cuban cultures role in postcolonial societies, their folklorisation and adaptation to spectacular shows, and the articulation between perpipherical artistic creation and the international art market. It also considers the links between politics, art and religion during a very relevant period of contemporary Cuban history.

Tout au long du XIXe siècle, le Costa Rica a construit son identité nationale sur l’idée de « pureté et de blancheur de la race costaricienne ». C’est dans ce paradigme identitaire qu’une population afro-caribéenne provenant majoritairement de la Jamaïque est arrivée sur la côte caribéenne pour travailler à la construction du chemin de fer et dans les plantations bananières à partir des années 1870. Cette population « noire », qui ne parlait pas l’espagnol, mais l’anglais et un créole à base d’anglais, constituait « un obstacle » au projet d’identité nationale. L’année 2015 marque un tournant, car le Costa Rica vient de se redéfinir comme une « République […] multiethnique et pluriculturelle » par un amendement constitutionnel de l’article premier. Cette thèse retrace le processus complexe d’intégration de la population afro-caribéenne au Costa Rica de 1870 à 2015 et défend l’idée qu’une reconfiguration du paradigme de l’identité nationale costaricienne s’est amorcée depuis la zone la plus périphérique du Costa Rica (la province de Limon) et en grande partie par le biais des revendications sociolinguistiques et identitaires de la population caribéenne. En effet, la politique linguistique concernant l’espagnol et les langues indigènes centrées sur la relation du citoyen à la langue officielle est contrariée par la pratique fortement ancrée du créole de Limon dans la Caraïbe costaricienne. L’apport théorique des linguistes Robert Le Page et Andrée Tabouret-Keller qui ont mis en évidence comment les choix langagiers constituent des « actes d’identités » par lesquels les locuteurs exposent discursivement leur identité personnelle, leurs affiliations à certains groupes et leurs aspirations à certains rôles sociaux a retenu notre attention pour montrer que l’utilisation du créole de Limon avec ses concepts et ses symboles propres dans le contexte plurilinguistique et diglossique de la Caraïbe costaricienne révèle des positionnements identitaires favorisant une reconfiguration de l’identité nationale. En 2010, l’UNESCO a classé le créole de Limon dans son Atlas des langues du monde en danger. Existe-t-il une campagne de revitalisation au Costa Rica ? Dans une perspective intersémiotique de l’étude des reconfigurations identitaires, la littérature et les arts de la Caraïbe costaricienne ont été envisagés comme des espaces privilégiés de représentation des identités plurielles et plurilingues et d’expression des revendications sociolinguistiques et identitaires de la population caribéenne. / Throughout the 20th century, Costa Rica built its own national identity on the “purity and whiteness” of the Costa Rican race. This is the identity paradigm in which the Jamaican population found itself upon arriving on the Caribbean coast in 1870 in order to work on the construction of railways and the banana plantations. This black, non-Spanish-speaking community was a barrier to the Costa Rican national identity project. However, the year 2015, marked a turning point. In virtue of an amendment to the first article of the Constitution, Costa Rica redefined itself as a “multiethnic, multicultural Republic”. This thesis retraces the complex process of integration undergone by the Costa Rican Afro-Caribbean community from 1870 to 2015. This study claims that the existence of this recent reconfiguration of the Costa Rican identity paradigm was in part fostered by one of the country’s most peripheral areas: Limon. The works of linguists such as Robert Le Page and André Tabouret-Keller have proven that linguistic choices can be considered as “identity claims or acts” by means of which a given speaker demonstrates his identity, his background and his aspirations. The people from Limon, by means of their sociolinguistic and identity claims, have thus helped start the aforementioned process of reconfiguration. The well-established use of Creole English clashes with the government’s official policy regarding the use of the official language of Spanish and the indigenous languages. Even though Creole English is spoken in Limon, in 2010 UNESCO classified it in its Atlas of the World’s Endangered Languages. Is there thus a campaign of revitalization in Costa Rica concerning Creole English? In an attempt to analyze the changing identity paradigm from an intersemiotic perspective, this study has chosen to focus on Caribbean literature and art as they both represent powerful mediums through which the expression of the Caribbean identity is portrayed and claimed.