La reconnaissance et la construction de la cuisine italienne en France relèvent d’un processus historique et social dont l’imaginaire des mangeurs français est le principal moteur, sur fond d’une communauté culturelle franco-italienne ancienne. Ce rôle performatif de l’imaginaire s’exerce à travers des concepts (rattachés à la cuisine) circulant entre la conscience des mangeurs, la sémiosphère française et les territoires culinaires italiens en France. Dans l’espace public, ces derniers sont représentés principalement par les établissements italiens de restauration. En considérant les trois dimensions (imaginaire des mangeurs, contenus circulant dans la sémiosphère, établissements culinaires), cette thèse analyse le rôle spécifique de l’imaginaire géographique dans la migration et la création contemporaines de la cuisine italienne en France. L’opérateur géographique du paysage joue encore un rôle essentiel dans cette construction, mais il est investi de plus en plus par un processus d’écologisation, au fur et à mesure que la cuisine italienne en France devient le symbole d’un voyage vers une nature désirée. L’opérateur trajectif du naturel (mouvement vers la nature) prend le relais du paysage, dans un contexte d’inquiétudes écologiques croissantes des mangeurs et de rejet des modèles alimentaires d’inspiration strictement moderniste, conçus à partir d’une séparation présumée entre homme et nature. La cuisine italienne en France devient une illustration de la quête contemporaine de nouveaux modes d’existence. En même temps, l’intensité de la reconnaissance culinaire franco-italienne pourrait ouvrir des perspectives dans le champ de la géopolitique planétaire du goût. / The recognition and the construction of the Italian cookery in France are the products of a historical and social process having its main motive in the eaters’ imagination, based on the old cultural affinity between France and Italy. This performative function of imagination is exercised through concepts (in connection with cookery) circulating among eaters’ consciousness, French semiosphere and the Italian culinary territories in France. In the public space, these territories coincide with the Italians eating-places. This Ph.D. thesis analyses the specific function of the geographical imagination in the contemporary migration and construction of the Italian cookery in France, by considering three dimensions (eaters’ imagination, semiosphere circulating contents, eating-places). A crucial role in this construction is still played by landscape as geographical actant, but this one is increasingly involved in a process of ecologization, as Italian cookery in France becomes the symbol of a travel towards a desired nature. Naturalness as a transitional actant (movement toward nature) takes over from landscape, in the context of increasing ecological anxieties by eaters and a rejection of strictly modernistic food models based on a presumed division between man and nature. Italian cookery in France becomes an illustration of contemporary quest for new ways of life. At the same time, French-Italian high culinary recognition could open new perspectives in the field of the global geopolitics of taste.

Y a-t-il une différence entre mémoire et imagination ? Comment évoquer l’histoire d’une guerre dont les séquelles sont encore manifestes et qu’on souhaite oublier? Le théâtre répondrait-il à l’obligation de mettre à distance une telle histoire ? Entre la nécessité de se rappeler et le besoin d’oublier, la création théâtrale au Liban dans les années 2000 réveille le paradoxe de l’écriture de l’histoire de la guerre civile (1975-1990). Écrits de journaux, faits divers, photos, vidéo, Internet deviennent les matériaux du travail scénique, autant de traces qui évoquent les symptômes d’une mémoire conflictuelle, latente ou traumatisée, soulignant les méfaits de l’oubli volontaire et les influences des médias. La potentialité fictive des documents et des archives constitue les enjeux de la création, particulièrement dans les oeuvres de la compagnie Arcinolether, de Rabih Mroué et de Walid Raad. Enquêter, raconter et interroger deviennent les modalités d’un langage scénique. Ces formes narratives s’apparentent à des mises en performance et mettent en question la représentation théâtrale et le jeu de l’acteur. Dérivant d’une « dramaturgie documentaire », la scène contemporaine au Liban joue sur la frontière entre réel et fiction. Ce caractère glissant de la vérité décline des enjeux politiques et rend poreuse la relation entre témoignage et faux document. En soumettant le passé au débat, ces réalités imaginaires permettent-elles de faire le deuil d’une histoire amputée, d’engager un changement de regard vers le passé et peut-être aussi l’amorce d’une « démarche résiliente » ? / What is the difference between memory and imagination ? How does one evoke the history of a war whose scars are still fresh and which one would like to forget ? Is theater able to provide other points of view of such a history ? Between the necessity to remember and the need to forget, theatrical creation in Lebanon in the 21st century points out the possibilities and limits of writing the history of the civil war (1975-1990). Newspaper articles, miscellaneous news items, photos, videos, and the internet become the materials of scenic work, palimpsestes witnessing the symptoms of a conflicting memory, latent or traumatized, underlining the misdeeds of voluntary forgetfulness and the influence of the media.The fictitious potentiality of documents and of archives highlights the stakes of creation, particularly in the works of the theater companies of Arcinolether, Rabih Mroué, and Walid Raad. To investigate, to tell, and to question become the modalities of a scenic language. These narrative forms resemble art performance and call into question theatrical representation and acting. Deriving from a "dramaturgical documentary", contemporary theater in Lebanon performs on the frontier between reality and fiction. The elusive quality of the truth has political implications and renders porous the relationship between witness testimony and false document. In submitting the past to debate, do these imaginary realities allow us to mourn an interrupted history, to introduce a new way of looking at the past, or to trigger the "process of resiliency" ?

Le présent mémoire de thèse a pour objet l'analyse d'une parenté formelle et symbolique susceptible de constituer en genre les œuvres cinématographiques particulières que nous nommons «films d'ascension». Cette volonté de mettre en évidence une structure narrative proche nous a amené à interroger la notion de genre cinématographique, ses caractéristiques, sa pertinence, ses limites. Les situations d'hybridation avec des genres tels que le mélodrame, le film policier, le film d'espionnage, par exemple, sont également évoquées. La singularité du «film d'ascension» nous a invité à examiner les contextes socio-historiques qui favorisèrent sa naissance et sa pérennisation malgré la disparition de son avatar historique qu'est le Bergfilm. D'autre part, la fonction sociale du film d'ascension a nécessité que nous nous penchions sur sa dimension symbolique et sur les ressorts mythiques qui le sous-tendent ainsi que sur son éventuelle adéquation avec les valeurs de représentation de l'imaginaire social des époques qu'il a traversées. Sont enfin abordées les questions que soulèvent le devenir, dans le contexte de l'appréhension nouvelle de la nature et des espaces naturels, d'un genre étroitement lié à la perception de la haute montagne. / The subject of this thesis is to analyze formal and symbolic relationship being liable to form into gender the specific movies that we call " ascent movies." This will to highlight a narrative structure closer that led us to question us about the notion of genre, its characteristics, its relevance, its limits. The Situations of hybridization with genders such as melodrama, thriller, spy movie, for example, are also discussed. The peculiarity of "ascent movie" invited us to examine the socio-historical contexts that favored his birth and his sustainability despite the disappearance of its historical avatar that is the Bergfilm. On the other hand, the social function of ascent movie has required that we consider her symbolic dimension and his underlying mythical spring that as well as her possible appropriateness with values representing the social imaginary of eras that he has come down through. At last, are addressed the issues raised by the evolution, in the context of the new understanding of nature and natural areas, of a genre closely related to the perception of the high mountain.

Avec une oeuvre dense et complexe, Sylvie Germain constitue aujourd'hui l'une des figures marquantes du paysage littéraire français. A partir d'un corpus formé d'une dizaine de romans, représentatifs de son oeuvre, cette étude essaie d'explorer son univers romanesque qui trouverait son fondement dans le Cosmos et ses quatre éléments. L'objet de cette thèse est donc l'étude de la place et de la fonction symboliques de l'imagination matérielle dans l'oeuvre romanesque de Sylvie Germain. Cette dernière met l'accent sur l'importance de l'hérédité, de la racine, de la transmission et des éléments qui marquent une mémoire familiale. En adoptant les approches thématique et psychanalytique, cette étude est menée sous l'angle du couple antithétique : enracinement/déracinement que nous nous proposons d'approcher d'abord dans son acception géographique pour l'étendre ensuite à toute forme d'arrachement, qu'il soit psychologique ou métaphysique. Nous nous proposons également de démontrer que ces deux désirs d'enracinement et de déracinement créent une nouvelle typologie humaine qui remplacerait l'ancienne typologie nomades/sédentaires. La volonté de déracinement se traduit souvent par une volonté de faire table rase du passé et de s'arracher à une filiation, tandis que l'enracinement exige un travail de réconciliation avec le passé et une quête de la filiation. Enfin, pour écrire cette oeuvre de mémoire, Germain développe un jeu intertextuel et intratextuel et inscrit son texte dans la filiation des récits de commencements et dans une tradition littéraire auxquels elle ne cesse de se ressourcer. / With a dense and complex work of fiction, Sylvie Germain has become a prominent figure in modern French literature. Refering to a large corpus of works illustrative of her fiction, this study attempts to explore her fictional universe that is based on the cosmos and its four elements. The subject of this thesis is therefore the study of space and the symbolic function of material imagination in Germain's novels. In fact, she puts emphasis on the importance of inheritance, roots, transmission, and the elements that mark a family memory. Germain resurrects the rootedness and uprootedness problematic that appeared in French literature in the beginning of the 20th century. Following the thematic and psychoanalytical approaches, this study is built on the binary opposition: rootedness and uprootedness, first within a geographical framework, which later extends to every form of extraction, be it psychological or metaphysical. This study also attempts to prove that both desires of rootedness and uprootedness create a new human typology that would replace the old nomadic/sedentary typology. The will for uprootedness is often translated by the will to make a tabula rasa of the past and to split from a filiation, whereas rootedness requires reconciliation with the past and implies a quest for filiation. Finally, in order to depict memory, Germain develops a pattern of intertextuality and intratextuality, inscribing her text in the line of genesis narratives and in a literary tradition, which both ceaselessly inspire her work.

In this thesis Vicente Huidobro's French "Fragment d'Altazor" (1930) and Spanish Altazor (1931) are compared with Samuel Beckett's English Imagination Dead Imagine (19B5) and French "Imagination morte imaginez" (1967) in terms of the concepts of musical and architectural scale which are common to all of these texts. While the Huidobro works maintain a primarily musical notion of scale, the Beckett texts employ a chiefly architectural one. In Huidobro, the vestigial presence of the diatonic scale in the seven Canto divisions of Altazor together with the chromatic structuring of Canto IV with its dodecaphonic repetition of "No hay tiempo que perder," foreshadow the fully realized tonic scale of the nightingale passage's (IV 193-9) emblematic acrosticism. In Beckett, scale involves measurement with respect to a radix or basic, conventional unit and is used in the precise description of the rotunda, the two figures within, and the flux of light and heat. The Beckettian scale is undercut, however, by the replacement of radices with retrograde and inverted variants. A semiotic approach has been used in the discussion of these texts since it not only foregrounds the importance of pattern as meaningful in itself, but also allows for comparison of two works according to the functioning of their meaning-systems, while permitting analysis at the local, medial, and global levels of the texts. However, in contrast to the theory of a semiotician like Michael Riffaterre, the view taken in this- thesis is that form is an extension of content. Thus the figure/ ground relationship is discussed both in terms of the scales studied and of its value as a theoretical device. Imagination Dead Imaoine/"Imaoination morte imaginez" subverts rational cross-reference by injecting multiple instabilities into the figure/ground relation. By creating a figure, the rotunda, against the backdrop of "anywhere" ("ailleurs") and then removing the figure, the Beckett text effects a realization of "Nulle part." Huidobro's texts, in contrast, employ alternation (e.g., in the tonic-chromatic-tonic scales) to arrive at a non-referential purity of language ("La pura palabra y nada mcis" --III 145). As different as these two texts are in terms of, for instance, genre, length, and diegetical features, they are similar in their refusal, commonly articulated in their use of the multidimensional patterns of scale, to delimit any one particular meaning. / Arts, Faculty of / English, Department of / Graduate

Orientador: Antonio Carlos Rodrigues de Amorim / Tese (doutorado) - Universidade Estadual de Campinas, Faculdade de Educação / Made available in DSpace on 2018-08-08T00:11:58Z (GMT). No. of bitstreams: 1 Oliveira_JoseMarioAleluia_D.pdf: 20067763 bytes, checksum: 7c9ab3c58cd8f3cf6cb6d1b4a137fc2a (MD5) Previous issue date: 2006 / Resumo: Currículos-Hipertextos-Pops assume, em sua escrita como tese, a banalidade, o ordinário e o comum aos quais remetem as culturas escolares, em seus ritmos espaço-temporais. Enfrenta esta condição de práticas educativas que se movimentam em três escolas, com professoras e professor de distintas experiências, com projetos educativos em multiplicidades. É tese que se inverte no caos. E nele se efetua. O trabalho com conceitos de Gilles Deleuze, na tese, coloca-os em fluxos para o campo dos estudos de currículo, invadindo-o e com ele seatritando. Não é uma conversa tranqüila, com canais abertos ao diálogo, à hospitalidade. Trabalhou-se na barbárie, foi preciso fazer do currículo passagem para a multidão, desconstrutora e violenta. A opção foi deixar vazar os fluxos pelo que há de mais comum e poderoso no pensamento curricular sobre a escola: sua organização em espaços e tempos da modernidade, sua centralidade nos conteúdos, sua expectativa em comunicar para ensinar. As pontencialidades do encontro do currículo com os tempos ¿deleuzianos¿ são, nesta tese, o desassossego das relações entre escola e culturas. Também são os traçados, linhas do ¿conto¿ para se considerar a política curricular como estética artística / Abstract: Curriculum-hypertexts-pops assumes, in its writing as a thesis, the banality, the ordinary and the common to which the scholastic cultures are sent, in their space-temporal rhythms? It faces this condition of educational practices that are set in motion in three schools,with teachers with different experiences, with educational projects in multiplicities. It is a thesis that inverts in the chaos. And it is made effective on it. The work with concepts of Gilles Deleuze, in the thesis, puts them into fluxes to the curriculum field studies, invading it with attrition. It is not a relaxed chatting, with open channels to dialogue, to the hospitality. It was worked under barbarism, it was necessary to make from the curriculum passage to a violent and deconstructive multitude. The option was to let empty the fluxes of the most common and powerful in the curricular thinking of the school: its organization into spaces and times of the modernity, its centrality in contents, its expectation to communicate to teach. The potentialities of the meeting of the curriculum with the ¿Deleuzian¿ times are, in this thesis, the disturbance of the relations between school and cultures. They are also the draw, lines of ¿story¿ to let curricular politics be considered artistic esthetics / Doutorado / Educação, Conhecimento, Linguagem e Arte / Doutor em Educação

Esse trabalho busca estabelecer relações entre a neurociência e o ensino e aprendizagem da arte, mantendo o foco nas artes plásticas. Desse modo o ato de desenhar, observar, perceber e imaginar, exercidos na ação artística, são considerados a partir do funcionamento do sistema nervoso. O conhecimento de como o encéfalo funciona pode dar subsídios importantes para futuras formulações metodológicas da área. / This work seeks to establish relations between neuroscience and the teaching and learning of art, having plastic arts as main focus. This way the act of drawing, observing, interpreting and imagining are considered from the functioning of the nervous system. The knowledge of how the nervous system, mainly the brain, works may provide important subsidies for future methodological formulations in the area.

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Orientador: Irineu Aliprando Tuim Viotto Filho / Resumo: A pesquisa aqui relatada é vinculada à Linha de Pesquisa 3 “Processos formativos, infância e juventude”, do Programa de Pós Graduação em Educação da Faculdade de Ciências e Tecnologia UNESP/Presidente Prudente e sob as bases teóricas e epistemológicas da teoria histórico-cultural teve como objetivo geral identificar e analisar o quanto a organização do ensino da atividade da dança, em um processo de intervenção formativo ludo-pedagógico, contribuiu para a aprendizagem sobre a linguagem da dança e a criação de imagens artísticas, carregadas de significados sociais através de ações corporais, tendo em vista o desenvolvimento das funções psicológicas superiores, como a imaginação e a criatividade dos estudantes. Para tanto, realizamos um processo de intervenção junto a uma sala de 3º ano do Ensino Fundamental, com cerca de 36 estudantes na faixa etária entre oito e nove anos, em uma escola pública municipal, da cidade de Presidente Prudente. Em um total de 24 encontros buscamos construir possibilidades interventivas formativas para os estudantes e, nesse movimento, compreender as possibilidades de ensino da dança e sua relação com o desenvolvimento da imaginação e criatividade dos sujeitos participantes. Com as reflexões teóricas expostas em nossa seção de análise dos dados, observamos o avanço dos sujeitos no que se refere à compreensão do conceito da dança e os elementos que a compõe e como essas apropriações os fizeram avançar no processo de composição de uma imagem artística... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: The research reported here is linked to Research Line 3 “Formative processes, childhood and youth”, from the Postgraduate Program in Education at FCT- UNESP / Presidente Prudente and under the theoretical and epistemological bases of historical-cultural theory, its general objective was to investigate how much the organization of the teaching of dance activity, in a ludo-pedagogical formative intervention process, contributed to learning about the language of dance and the creation of artistic images, charged with social meanings through bodily actions, with a view to the development of superior psychological functions, such as students' imagination and creativity. To this end, we carried out an intervention process in a 3rd year elementary school room, with about 36 students aged between 8 and 9 years old, in a municipal public school in the city of Presidente Prudente; in a total of 24 meetings, we seek to build interventional training possibilities for students and, in this movement, understand the possibilities of teaching dance and its relationship with the development of the imagination and creativity of the participating subjects. With the theoretical reflections exposed in our chapter of data analysis, we observe the progress of the subjects in terms of understanding the concept of dance and the elements that compose it and how these appropriations made them advance in the process of composing an artistic image with communicative purposes at the end of the interventio... (Complete abstract click electronic access below) / Doutor

Esta tese tem por objetivo apresentar a investigação sobre a experiência estética e sua relação com a educação democrática e a democracia criativa a partir da filosofia da experiência de John Dewey. O ponto central da pesquisa é o que Dewey compreende como arte e como a experiência humana pode ser qualificada como estética, educativa e democrática. A experiência humana é o resultado das interações do ser humano e o meio em virtude do qual ele vive de modo a manter o fluxo da vida. O trabalho é uma análise teórico-bibliográfica das obras de Dewey, salientando a necessidade de se usar o método da inteligência para a solução de problemas e o papel da imaginação neste processo. Nossas análises buscaram o entrelaçamento por meio de um estudo aprofundado dos conceitos deweyanos no sentido da compreensão 1. da arte como a própria expressão humana, sendo que o principal produto da arte é o conhecimento e que resulta na ressignificação da vida e na reconstrução dos valores sociais; 2. da educação como reconstrução da experiência, sendo que educar é oferecer as melhores condições para novas experiências e sua ampliação; 3. da democracia como o modo de vida que tem como princípios a cooperação e a liberdade. Na filosofia da estética de John Dewey a apreciação é a fonte da reconstrução de valores sociais; é também uma epistemologia reconstruída que elucida sobre o papel da imaginação na solução de problemas. Nossa pesquisa coloca luz nas relações e na continuidade entre arte, educação e democracia, sendo que a imaginação e o pensamento são os elos que ligam uma experiência e outra. A estética de Dewey é uma estética social cujo principal produto da arte é o conhecimento, a educação democrática é processo ativo e criador que contribui para a reconstrução do mundo e a democracia é criativa na reconstrução contínua de um modo de vida cooperativo e livre. / This thesis aims to present research on the aesthetic experience and its relation to democratic education and creative democracy from the philosophy of John Dewey\'s experience. The focal point of this research is what Dewey understands as art and how the human experience can be classified as aesthetic, educational and democratic. Human experience is the result of the interactions of the human being and the environment under which they live in order to maintain the flow of life. This study is a theoretical-bibliographic analysis of Dewey\'s works, emphasizing the need to use the method of intelligence for problem solving and the role of imagination in this process. Our reviews have sought interweaving through an in-depth study of Deweyan concepts in terms of understanding 1. art as a human expression itself, being the main product of art the knowledge, resulting in the re-signification of life and the reconstruction of social values; 2. education as a reconstruction of experience, whereas to educate is to offer the best conditions for new experiences and their expansion; 3. democracy as the way of life which has as principles collaboration and freedom. Under John Dewey\'s philosophy of aesthetics appreciation is the source of the reconstruction of social values; it is also a reconstructed epistemology that elucidates the role of imagination in solving problems. Our research clarifies the relationships and continuity among art, education and democracy, whereas imagination and thought are the bonds that link one experience and another. Dewey\'s aesthetic is a social aesthetic, whose main product of art is knowledge; democratic education is an active and creative process that contributes to the reconstruction of the world, and democracy is creative in the sustained reconstruction of a collaborative and free way of life.