Paris et Londres offrent des sites privilégiés pour l’observation du nouveau regard porté sur la ville à la fin de l’époque des Lumières. Notre démonstration, basée sur des récits de voyage, des traités d’architecture et d’autres écrits sur la ville, vise à élaborer une histoire culturelle et littéraire de la ville à travers un volet de coopération histoire/poétique des représentations. Dans un premier temps, l’étude des projets urbains formulés à Paris et à Londres permet de dégager deux modalités complémentaires du rapport au phénomène urbain : la magnificence publique et l’utilité publique. Entre ces deux pôles émergent les concepts d’embellissement et d’improvement qui relèvent d’un imaginaire artistique et, respectivement, technique. En outre, cette réflexion générale sur l’aménagement urbain favorise l’émergence d’un espace public des savoirs, observée à travers deux cartes des lieux de savoirs à Paris et à Londres, élaborées par nos soins.Dans un deuxième temps, nous esquissons une poétique comparée de la ville qui permet de montrer l’imbrication des enjeux esthétiques et épistémologiques dans la description urbaine. D’une part, l’émergence de la théorie du caractère en architecture explique le lien entre les processus de lecture de la ville, la pratique de la réunion des arts et l’embellissement urbain. D’autre part, l’analyse comparée des différentes descriptions urbaines fait ressortir la circulation des modèles descriptifs de la ville. Le modèle de la cité idéale en particulier démontre parfaitement le réseau subtil de connivences qui se tissent à cette époque entre les formes urbaines et les formes discursives. / The two great European capitals, Paris and London, are emblematic of the phenomenon of urban growth in the second half of the Enlightenment. The aim of our study, based on travelogues, architectural treatises and other writings on the two cities, is to elaborate a cultural and literary history of Paris and London by means of a multiple approach of the concept of representation which combines history and poetics. On the one hand, the analysis of the urban projects designed for Paris and London allows us to pinpoint two complementary manners of conceiving the city: public magnificence and public utility. Between these two poles emerge the concepts of embellissement and (urban) improvement which stem from an artistic and, respectively, technical urban imaginary. Moreover, the general debate on urban improvement fosters the emergence of a public sphere of science, demonstrated through two maps of places of science in Paris and London, conceived for the purposes of this study.On the other hand, a poetic approach of these urban representations shows the overlapping of aesthetic and epistemological issues. Firstly, the emergence of the architectural concept of character accounts for the link between the process of reading the city, the collaboration of arts at this time and urban improvement. Secondly, the comparative analysis of different types of urban descriptions allows us to demonstrate the circulation of several descriptive patterns, among which the pattern of the ideal city is the perfect embodiment of the subtle connections between urban forms and forms of discourse in the second half of the Enlightenment.

Depuis une quinzaine d’années en France, nous assistons, à un retour en force de « l’histoire coloniale », stimulée par des questions mémorielles brûlantes, comme celles de la guerre d’Algérie, de la traite Atlantique, de l’esclavage aux Antilles, autant de thèmes devenus classique d’une tendance à la repentance coloniale. Manifestement désireux de penser l’intégration de la mémoire de la colonisation à l’identité nationale, le grand public se laisse donc touché par la redécouverte du passé colonial de la France, notamment par le biais de productions cinématographiques comme L’Empire du milieu du Sud du cinéaste Éric Deroo, qui retrace l’histoire du Vietnam et de l’Indochine française. Ces initiatives incarnent des formes de persistance de l’histoire des relations entre la France et son ex-empire, mais aussi une volonté de transmettre la mémoire sans la borner aux seuls conflits coloniaux. Elles contribuent à maintenir une sorte de lien affectif des Français envers leurs anciennes colonies. En réactivant leur mémoire, les sociétés occidentales, et la société française en particulier, posent donc la question des effets retours de l’époque coloniale sur la définition actuelle des identités nationales. Si le colonialisme est souvent considéré comme une forme de circulation à sens unique, des métropoles vers leurs colonies, l’évolution des points de vue et de la recherche historique permettent l’examen de l’influence de la colonisation en Europe, de nos jours, mais aussi durant la période coloniale. Cette circulation empire-métropole est désignée par les expressions « effets retours » ou « effets de réverbération », qui concernent en particulier des circulations de représentations. Dans la lignée de travaux universitaires récents, qui proposent diverses approches régionales des phénomènes de réception et d’appropriation du fait colonial, ce travail propose l’étude de la manière dont s’opèrent des phénomènes d’ouverture culturelle liés à l’expansion coloniale à une échelle régionale, alors que, pendant longtemps, suite aux travaux de l’historien Raoul Girardet, l’échelle nationale a été privilégiée1. Le présent travail tend à vérifier l’hypothèse de la construction de l’identité des gens du Nord, à l’intérieur de la nation, en intégrant l’influence de l’expansion coloniale. L’historien américain Herman Lebovics nous aide à affiner cette hypothèse lorsqu’il affirme dans La vraie France, qu’il existe des parallèles entre les moyens employés par les pouvoirs français pour gagner la loyauté d’une population étrangère assujettie, et l’appareil culturel mis en place pour provoquer la loyauté des métropolitains 2. Il évoque notamment l’ethnologie conservatrice, qui attire l’attention des autorités sur le besoin de préserver les cultures coloniales et de raviver les cultures régionales, à la condition de ne pas engendrer de revendications politiques allant à l’encontre de l’existence d’un État centralisé, issu de la tradition révolutionnaire jacobine. Cette recherche envisage d’apprécier les effets retours de la construction d’un l’empire colonial vers une région de la métropole et ses habitants, en étudiant les changements de direction du « regard » et l’élargissement des échelles, du local au national puis du local à l’empire. Le changement de focale permet donc une étude, qui examine des réalités et des problématiques locales et définit une réception et une appropriation spécifiques du fait impérial, l’exaltation de l’empire devenant à la fois un élément de l’identité locale et un élément d’intégration de la région à une identité nationale. / For about fifteen years in France, we have assisted, with a return in strength of “the colonial history”, stimulated by burning hot memory questions, like those of the war of Algeria, the Atlantic draft, slavery in the Antilles, as many topics become classical of a trend with the colonial repentance.Obviously eager to think the integration of the memory of colonization of the national identity, the general public is thus left touched by the rediscovery of the colonial past of France, in particular by the means of film productions like Empire of the medium of the South of the scenario writer Éric Deroo, who recalls the history of the Viêt - Nam and French Indo-China.These initiatives incarnate forms of persistence of the history of the relations between France and its ex-empire, but also a will to transmit the memory without limiting it to the only colonial conflicts. They contribute to maintain a kind of emotional tie of the French towards their old colonies.By reactivating their memory, Western companies, and the French company in particular, thus ask the question of the returns effects of the colonial time on the current definition of the national identities. If colonialism is often regarded as a form of circulation to one way, metropolises towards their colonies, the evolution from the points of view and the historical research allow the examination of the influence of colonization in Europe, nowadays, but also during the colonial period. This circulation empire-metropolis is indicated by the expressions “returns effects” or “effects of reverberation”, which relate to in particular circulations of representations.In the line of recent university work, which proposes various regional approaches of the phenomena of reception and appropriation of the colonial fact, this work proposes the study in the way in which phenomena of cultural opening related to the colonial expansion take place with a regional scale, whereas, for a long time, following work of the historian Raoul Girardet, the national scale was privileged.This work tends to check the assumption of the construction of the identity of people of North, inside the nation, by integrating the influence of the colonial expansion. The American historian Herman Lebovics helps us to refine this assumption when it affirms in true France, that there exist parallels between the average employees by the French powers to gain the honesty of a subjugated foreign population, and the cultural device set up to cause the honesty of the French people.He evokes in particular the preserving ethnology, which draws the attention of the authorities to the need to preserve the colonial cultures and to revive the regional cultures, in the condition of not generating political claims going against the existence of a centralized State, resulting from the revolutionary tradition jacobine.This research plans to appreciate the returns effects of the construction of colonial empire towards a region of the metropolis and its inhabitants, by studying the changes of management of the “glance” and the widening of the scales, of the room to the national then room with the empire. The change of focal distance thus allows a study, which examines local realities and problems and defines a specific reception and an appropriation of the imperial fact, the exaltation of the empire becoming at the same time an element of the local identity and an element of integration of the area to one national identity.

[pt] A pesquisa Cartazes do cinema brasileiro: imagem e imaginário social reflete sobre o universo imagético contido nos cartazes do cinema brasileiro, e tenta identificar imagens de referência ou recorrentes (ícones) que teriam contribuído para a construção do imaginário social sobre o país no cinema nacional, procurando identificar as origens da identidade social brasileira, como seria formado o imaginário nacional e se ele poderia ser representado por imagens dos cartazes de cinema brasileiros. A reflexão se desenvolve, principalmente, a partir das relações entre sociedade e cultura, o campo da arte e seus sistemas de produção. Tais relações colocam em evidência o fato de que as representações são construídas através da história social, a partir de configurações simbólicas que definem a sua forma final e a partir de conceitos pré-estabelecidos – as convenções –, que promovem facilidade de reconhecimento para quem observa, e faz com que os produtores de imagem possam ter certo controle sobre o seu uso. A existência de uma cultura visual evidencia as práticas culturais dentro da sociedade, enquanto a indústria cultural utiliza as convenções para formar um conjunto de imagens que acaba por definir o universo visual moderno, permitindo perceber quando uma imagem tenta fugir de um padrão instituído. A tese desta pesquisa se configura sobre um caminho que tenta delimitar teoricamente o que constituiria a identidade social brasileira, em relação aos tipos de representação do brasileiro e do país; sobre pensamentos acerca da indústria do cinema nacional e seus mecanismos de distribuição e divulgação, que determinam, entre outros fatores, o design dos cartazes e também os tipos de representação da imagem; e finalmente, sobre as representações sociais e imagens dos cartazes de cinema pertencentes aos filmes nacionais. Fazendo parte de um universo onde as representações se baseiam no imaginário estrangeiro dos filmes, o cinema brasileiro se encontra encerrado entre uma prática que procura imitar as produções internacionais e seus padrões de imagem, ou buscar elementos da cultura brasileira para tentar construir um imaginário próprio, reforçando mitos e reafirmando a cultura nacional. O cartaz de cinema brasileiro se encontra no mesmo paradoxo: repetir os padrões gráficos consolidados pela indústria cinematográfica internacional e impostos pelas distribuidoras estrangeiras, ou buscar um padrão gráfico que possa ser considerado nacional. / [en] The study Posters of Brazilian Cinema: Image and the Social Imaginary reflects on the imagistic universe contained in the posters of Brazilian cinema, and attempts to identify recurrent (icons) or reference images that could have contributed to building the social imaginary about the country in national theater, seeking to identify the origins of Brazilian social identity, how the social imaginary was formed and if it could be represented by certain images from posters of brazilian cinema. The reflection is mainly developed from the relations between society and culture, the field of art and its production systems. Such relationships provide evidence of the fact that the representations are constructed through social history, from symbolic configurations that define its final form and from pre-established concepts – conventions – that promote ease of recognition for the observer , and gives the image producers some control over its use. The existence of visual culture highlights the cultural practices within society, while the cultural industry uses conventions to form a set of images that ends up defining the modern visual universe, making it possible to notice when an image tries to escape tthe established patern. The thesis of this research is set on a path that attempts to theoretically define what would constitute the Brazilian social identity in relation to the types of representation of the Brazilian people and the country; it encircles thoughts about the national cinema industry and their mechanisms of distribution and dissemination, which determine, among other factors, the design of posters and also the types of image representation; and finally, the social representations and images of movie posters belonging to brazilian national films. As part of a universe where representations are based on foreing imagery of films, Brazilian cinema is closed between a practice that seeks to mimic the international productions and its image patterns, or find elements of Brazilian culture to try to build an image of it own, reinforcing myths and reaffirming the national culture. Posters of Brazilian cinema finds itself in the same paradox: repeat graphic patterns consolidated by the international film industry and imposed by foreign distributors, or seek a chart pattern that can be considered national.

Matière et mémoire constituent deux programmes de recherche que les sciences humaines entament souvent séparément : d'une part, l'observation empirique de la présence matérielle des objets ; de l'autre, la réflexion spéculative sur l'expérience immatérielle de la mémoire. Nonobstant, la sociologie de la mémoire permet et exige assumer sur ce point une perspective conjonctive: considérer la mémoire comme pratique sociale, inscrite dans les entourages matériels immédiats. Suivant ce principe conjonctif, la révision de quelques pratiques de mémoire nous a permis d'identifier la présence constante d'objets matériels, comme si les formes "naturelle" et "artificielle" de la mémoire étaient indissociables du statut matériel de l'objet. Une relation objectale à la mémoire et un rapport mémoriel à l'objet apparaît donc comme un invariant sur lequel nous nous efforçons de présenter quelques manifestations historiques : à Rome, aux temps de la République et le Haute-Empire, des expériences dissemblables comme le culte aux morts ou l'art rhétorique mettent en jeu, incessamment, objets et mémoire ; dans la Renaissance, la prolifération des studioli, cabinets de curiosités et Wunderkammern ne font que constater la consécration, dans les espaces du savoir et du pouvoir, d'une grande fascination pour les objets du passé ; au XIXe siècle, enfin, époque apparemment dominée par la production industrialisée, le fétichisme de l'antique renouvelle l'intérêt que les objets investis de mémoire éveillent. D'où la présence également persistante d'objets de mémoire dans la littérature: à ces moments historiques correspond une production littéraire considérable qui se propose de décrire l'importance des choses qui suscitent une expériences sensible du passé. L’œuvre de quelques poètes latins, les réflexions de Goethe sur le collectionnisme, les idées de Rilke à propos des "objets vécus" ou la Recherche proustienne sont des variations sur un thème : le temps des objets, le temps que les objets contiennent. / Matter and memory are two research programs that Human Sciences usually undertaken in a separately way. On the one hand the empirical observation on material presence of the objects; on the other hand the speculative thought on the immaterial experience of the memory. However, sociology of memory allows and requires to assume on this subject a conjunctive outlook: to consider the memory as a social practice included in the nearby material environments. Following this conjunctive principle, the review of some memory practices has allowed us to identify the continuous presence of material objects as if the  "natural" and "artificial" ways of memory were indissociable from the material status of the object. An object-based relationship with memory and a memorial relationship with objects then appears as a constant from which we try to present some historical variations: in Rome, at times of the Republic and during the Early Empire, different experiences as the cult of the dead and the art of rhetoric, incessantly implies object and memory; at Renaissance the proliferation of studioli, cabinets de curiosités and Wunderkammern can only confirm the enshrining of a great fascination in the spaces of power and knowledge for the objects from the past ; in 19th century, apparently ruled by the industrial production, the fetishism for ancient objects renews once again the interest that objects vested of memory arouses. For this reason the equally persistent presence of the objects of memory in literature: in each of those historical moments we aware that a considerable literary production attempts to describe the importance of things that evoke an experience of past. The works of some Latin poets, the Goethe's reflections on collectionism, the ideas of Rilke on the subject of "lived objects", and Proust's own Search, are literary variations on the same topic : the time of things, the time contained in things. / Materia y memoria constituyen dos programas de investigación que las ciencias humanas suelen emprender por separado: por una parte, la observación empírica sobre la presencia material de los objetos; por otra, la reflexión especulativa sobre la experiencia inmaterial de la memoria. No obstante, la sociología de la memoria permite y exige asumir a este respecto una perspectiva conjuntiva: considerar la memoria como práctica social, inscrita en los entornos materiales inmediatos. Siguiendo este principio conjuntivo, la revisión de algunas prácticas de memoria nos ha permitido identificar la presencia constante de objetos materiales, como si las formas "natural" y "artificial" de la memoria fueran indisociables del estatuto material del objeto. Una relación objetual con la memoria y una relación memorial con los objetos aparece entonces como una constante de la que tratamos de presentar algunas variaciones históricas: en Roma, en tiempos de la República y el Alto Imperio, experiencias disímiles como el culto a los muertos y el arte de la retórica ponen en juego, incesantemente, objeto y memoria; en el Renacimiento, la proliferación de studioli, de cabinets de curiosités y de Wunderkammern no hacen más que constatar la consagración, en los espacios de poder y de saber, de una gran fascinación por los objetos del pasado; en el siglo XIX, aparentemente dominado por la producción industrial, el fetichismo de lo antiguo renueva una vez más el interés que despiertan los objetos investidos de memoria. De ahí la presencia igualmente persistente de objetos de memoria en la literatura: en cada uno de esos momentos históricos constatamos que una producción literaria considerable se propone describir la importancia de las cosas que despiertan una experiencia del pasado. La obra de algunos poetas latinos, las reflexiones sobre el coleccionismo de Goethe, las ideas de Rilke a propósito de los "objetos vividos", la propia búsqueda de Proust, son variaciones literarias sobre el mismo tema: el tiempo de las cosas, el tiempo que las cosas contienen.

Présentant des styles musicaux spécifiques des musiques extrêmes, cette thèse permet au lecteur de découvrir leurs sources d'inspirations et imaginaires. Elle interroge, à travers l'histoire du genre, le concept de contre-culture attaché à la culture Metal. Dans cette perspective, cette recherche va s'intéresser aux stéréotypes et aux préjugés. Ceux liés à la pornographie, souvent mis en avant par les détracteurs de cette musique, avec l'analyse du projet Girls X présenté par le festival Hellfest Open Air. Puis ceux relatifs à l'homosexualité en étudiant le sous-genre du glam'metal et les figures de l'androgyne et du beefcake tout en s'interrogeant sur la place des femmes dans ce sous-genre. Ce travail met aussi en opposition deux sous-genres musicaux, le métal symphonique et le black métal afin de réaliser une analyse de la présence féminine sur ces deux scènes. Le premier a pour particularité de mettre en scène le conte de La Belle et la Bête et le second d'observer le lien entre femmes et religions, grandes inspiratrices du black métal, et de présenter un héros spécifique du Métal, le prêtre-guerrier. L'étude du corps féminin dans la culture Métal est essentielle. Ce sera l'occasion de mettre en lumière les muses du Métal et les critères auxquels elles doivent correspondre. Enfin, cette thèse s'intéresse aux interactions entre ce qui est traditionnellement associé à la féminité et à la masculinité dans cette culture musicale notamment à travers les notions de puissance et pouvoir, la pratique du maquillage et le port de la jupe. Enfin, le changement de genre fait l'objet d'un dernier point de ce travail. / Is Heavy Metal music a counterculture? To answer this question this thesis presents various styles of Metal music with their imaginary worlds and inspirations in relation to gender studies. First, this thesis studies pornography stereotypes and prejudices with Hellfest Open Air Festival's project: Girls X. Then, this analysis studies those in relation to homosexuality in the glam'metal and present androgyne and beefcake figures. There is also some question as to, where women are in the glam' metal ? This research shall also estimate the presence of women into symphonic metal and black metal. Symphonic metal staging tale of Beauty and the Beast and black metal study observe link between of women and religions and present the warrior-priest hero character. This work studies the female body in Heavy Metal culture as well as the interactions within this musical culture, which matter and are seen as traditionally masculine or feminine through notions power over and power to, makeup... Lastly the thesis study the transgender people in Heavy Metal culture.

Cette thèse a pour objet d’étude les processus d’élaboration de nouveaux ballets dans les compagnies de répertoire. À travers une enquête internationale, elle se propose d’interroger dans une perspective sociologique la situation de création spécifique qui est celle des chorégraphes de formation classique, insérés dans des institutions vouées principalement à l’entretien d’un répertoire d’œuvres existantes. Leurs trajectoires professionnelles et les différences genrées qu’elles mettent en évidence y sont élucidées, ainsi que la dimension fondamentalement collective d’un travail artistique qui implique la coopération d’autres acteurs, notamment les interprètes et les répétiteurs. À partir des formes d’incorporation et de circulation du mouvement, des logiques de création se dégagent, qui permettent d’interroger la nature de l’autorité créative du chorégraphe.Appuyé sur l’observation des répétitions de cinq créations au Ballet du Bolchoï, au Ballet de l’Opéra de Paris, à l’English National Ballet et au New York City Ballet, ce travail est complété par 29 entretiens et une base de données recensant toutes les créations des compagnies étudiées entre 2000 et 2016. Ces données croisées permettent de faire ressortir l’imaginaire commun qui sous-tend le travail des chorégraphes au XXIe siècle, les différences entre les quatre pays ainsi que les tensions propres à une forme de création identifiée comme classique. / Creativity within classical art forms is often underrated, and little is known about what it takes to craft a new ballet. This thesis explores the process of making new works in ballet companies today from a sociological perspective. Drawing on original field work in four countries, it looks at the specificity of the creative endeavours of ballet-trained choreographers, who work in institutional contexts where creation is allowed only limited space in comparison to the existing repertoire. The career trajectories of classical choreographers are addressed along with gender biases in the field. An in-depth look at the ways in which movement is shared, shaped and incorporated in the studio reveals the collective nature of creative processes which closely involve dancers and ballet masters.In addition to sustained periods of observation related to five creations at the Bolshoi Ballet, English National Ballet, New York City Ballet and the Paris Opera Ballet, the data gathered includes 29 interviews and a database listing every ballet created by the four companies above between 2000 and 2016. These findings shed light on the classical imaginary – a network of images and models, I argue, underpinning the work of 21st-century ballet choreographers – and highlight the complexity of classical artistic identities today.

Les écrivains d’avant-garde des années 1970 (P. Guyotat, D. Roche, P. Sollers, C. Prigent...), souvent qualifiés d’illisibles, présentent de nombreux points communs tant dans leur pratique stylistique que dans leurs conceptions du langage. Si le « textualisme » de la seconde moitié des années 1960 ainsi que le « post-modernisme » du début des années 1980 sont bien connus, les expérimentations verbales de 1965-1985 sont peu étudiées dans leur spécificité et leur cohérence. Ce travail, qui s’appuie sur un corpus d’auteurs gravitant autour de trois revues (Tel Quel, Change et TXT) et de textes aussi bien théoriques que littéraires, entend donc prouver la consistance d’une langue littéraire propre à l’avant-garde d’une période que l’on pourrait qualifier de « post-structuraliste », héritant du structuralisme mais le déplaçant vers des enjeux plus littéraires. Cette langue littéraire ne saurait être envisagée sans être mise en relation avec l’imaginaire linguistique de l’époque – une pensée de la langue – dont les principales caractéristiques sont d’une part la conscience du caractère réducteur de la langue nationale et d’autre part la remise en question de la linguistique saussurienne. L’obscurité des textes, la déconstruction de la syntaxe et du lexique, la multiplication des néologismes ou des jeux de mots qui, en apparence, portent atteinte à la langue française, illustrent en réalité une volonté de panser la langue, de l’enrichir par la mise en valeur du signifiant, par l’emprunt aux langues étrangères ou encore par le rythme. L’œuvre de Guyotat, en particulier, condense ces enjeux, articulant un imaginaire de la langue et un travail langagier tout à fait singuliers. / The Francophone avant-garde writers from the 1970s (P. Guyotat, D. Roche, P. Sollers, C. Prigent...), often said to be unreadable, are quite similar both in their stylistical praxis and in their conception of language. If the “textualism” from the late 1960s and the “post-modernism” of the early 1980s are rather well-known, the verbal experimentations of the 1965-1985 period have not been much studied as a specific and coherent whole. This work, based on a corpus of authors linked to three journals (Tel Quel, Change and TXT) and on literary as well as theoretical texts, wishes to prove the consistency of the specific literary language shared by the avant-garde of a time that could be labelled “post-structuralist”, i.e. inheriting from structuralism but focusing more on literary issues. This literary language cannot be analyzed without taking into account the linguistic imaginary of the time, i.e. how language was thought. That linguistic imaginary is mainly characterized by a consciousness of how reductive the national language is and by questioning Saussure's linguistics. The obscure texts, the deconstructed syntax and lexicon, the multiple neologisms and puns, which seem to violate the French language, actually illustrate a desire to improve the language (and not only to think it), to enrich it by emphasizing the signifier through borrowed foreign words or rhythms. The work of Guyotat particularly condenses these issues as it articulates most singular linguistic imaginary and work on language.

Diante do processo de instrumentalização de que vem sendo objeto a língua espanhola nas práticas de ensino aprendizado, nas quais fica reduzida a uma língua veicular a serviço de resolver as urgências do sujeito contemporâneo, entendido como um sujeito pragmático, propomos trabalhar o texto literário como um suporte ligado a experiências de leitura nessas práticas. Pensamos que dessa forma poderíamos oferecer uma certa resistência à referida redução da língua, pois, nossa hipótese é que a materialidade do texto literário torna possível o confronto entre um sujeito e duas dimensões que consideramos que não devem ser escamoteadas, tal como, a nosso ver, acontece no processo de instrumentalização de que falamos. Este, de fato, não apenas evita a dimensão do equívoco mas também contorna a exposição à alteridade. De nossa perspectiva, determinados textos literários apresentam de forma potencializada a não estabilização semântica dos sentidos e exploram a relação com o estranho. Nesse sentido, realizamos uma experiência piloto com aprendizes brasileiros de língua espanhola que nos permitiu constituir um corpus no qual a partir do lugar teórico da Análise do Discurso de linha francesa analisamos as imagens detectadas nas respostas dos aprendizes aos questionários aplicados ao longo do processo, bem como as produções escritas por eles realizadas durante mesmo. Nessa análise, detectamos deslocamentos tanto no nível do registro imaginário quanto no da elaboração simbólica. / In teaching learning practices, the Spanish language has been suffering from the instrumentalization process in which it is transformed in a vector language so as to solve the contemporary subject urgencies, being this subject understood as a pragmatic subject. We propose here to deal with the literary text as a support linked to reading experiences in these practices and in this way we thought be possible to offer a certain resistance to the language usage as mentioned above. Our hypothesis is that the literary text materiality makes it possible the confrontation between one subject and two dimensions which, in our view, shouldnt be disguised such as it happens in the instrumentalization process . In fact, this not only would avoid the misconception dimension but also would minimize the exposition to the alterity. From our perspective, certain literary texts present the non-stabilization semantics of the senses in a potentialized form and explore the relation with the strange. In this sense, on the grounds of the Discourse Analysis in the French line of thought , we have done a pilot experience with Brazilian learners of the Spanish language , allowing us to constitute a corpus, in which the detected images in the learners answers to the questionnaires throughout the process are analyzed as well as the written productions. In this analysis, we have detected misplacement both in the imaginary register level and in the symbolic elaboration.

Somos uma construção social, a nossa produção de sentido, a compreensão que temos do mundo resulta das relações sociais e dos vínculos afetivos, subjetivados e resubjetivados desde a fase especular da infância. A linguagem, condição para a estruturação do inconsciente, inscreve e inaugura o sujeito no universo simbólico. A interação do sujeito com o entorno dá-se de acordo com as significações que faz sobre o mundo em que vive, e o objetivo da tese centra-se em compreender a construção dos significantes de stress. Os significantes de stress desenvolvidos e manifestados na atividade profissional resultam da produção de sentido do sujeito, foram construídos ao longo do tempo, permeados pelo contexto e por elaborações imaginário-simbólicas. Nesta tese, para dar conta do fenômeno estudado, mostrou-se a possibilidade de aproximação teórica entre a psicanálise lacaniana, no que se refere à dimensão imaginário-simbólica constitutiva do sujeito, com a teoria de stress psicológico de Lazarus para viabilizar aqui neste trabalho, a compreensão da origem do stress psicológico. Analisou-se a produção de sentido de stress em profissionais que exercem atividade gerencial, destacando os conteúdos ideativos das dimensões imaginário- simbólica, como constituintes da origem do stress psicológico e buscou-se na análise, entender a relação entre as significações de stress atribuídas à atividade pesquisada e à experiência de stress do sujeito. A pesquisa empírica, realizada com 20 sujeitos, constou de entrevistas-narrativa, com roteiro focal semi-estruturado. Escolheu-se o método de análise do discurso, seguindo dois modelos: Análise do Discurso-AD e Análise do Discurso do Sujeito Coletivo-DSC, utilizando- se o recurso do software Qualiquantisoft. Os resultados encontrados apontam que as significações sobre o trabalho são centrais na vida dos homens e mulheres entrevistados. Os significantes de stress mais lembrados por eles, estão canalizados para as situações de trabalho, em que o estressor mais intenso está vinculado ao cumprimento das metas de prazos curtos. Em segundo lugar, foi lembrado o stress por não ter o controle da situação estressante. Quanto às significações de stress, os homens centram-se nos stressores externos e por sua vez, as mulheres apontam os sintomas como significantes de stress. A maioria dos homens, tem uma lembrança idealizada da infância, sem a presença de stress, sendo que os demais, 30% consideram ter tido uma infância difícil, e identificaram os stressores da infância. As mulheres, também, em sua maioria consideram a infância como um período muito bom de suas vidas, conseguindo identificar stress ocorrido nessa fase. Quanto às lembranças do stress da infância, predomina nos homens entrevistados, a categoria de não se lembrar de tido stress infância, o que não aconteceu no caso das mulheres, para elas, a infância foi muito boa, mas guardam na lembrança ativa, a primeira vez que sentiram stress, tal como o significam atualmente. Elas afirmaram que o stress atual é o mesmo stress da infância, confirmando a repetição significante, de acordo com psicanálise. Com relação aos processos de coping, a diversidade evidenciou-se nas respostas dos homens e das mulheres. As escolhas dos homens mostram três de categorias de coping: Eu enfrento o stress de frente, como um desafio; Eu me afasto para pensar melhor; Relaxar por meio de leituras de auto ajuda. O coping das mulheres também revelou diversidade de respostas quanto a enfrentar seus stressores: 40% tenta se acalmar primeiro, esquivando-se da situação e, depois enfrentam o stressor; 30% toma um calmante leve, uma faz terapia para fortalecer-se e aprender a lidar com os stressores, principalmente para aprender a dizer não às pressões sofridas. Uma afirmou enfrentar prontamente os stressores e sua estratégia consiste em diminuir os seus efeitos para poder controlá-los. Foi citado por outra entrevistada, o procurar relaxar e espairecer por meio de um lazer prazeroso com a família nos finais de semana. Fazer amigos e buscar apoio e trocar idéias foi citado como eficaz processo de coping. O estudo sobre a construção imaginário-simbólica do stress psicológico possibilitou desvelar a origem dos significantes de stress, à luz do saber lacaniano e a pesquisa empírica permitiu um olhar convergente, mas não conclusivo. / We are social constructions, our sense production, the comprehension we have of the world result from the social relations and of affective links, subjectively created since the infant´s mirror stage. The language, condition to the unconcious structuration, inscribes and inaugurates the subject in the symbolic universe. The subject interaction with the environment is realized in accordance with the significations that are made about the world in which the subject lives. The objective of this thesis centers in the comprehension of the construction of stress significants. The stress significants developed and manifested in the professional activity result from the subject´s sense production, and were constructed during the life time, permeated by the context and by imaginary-symbolic elaborations. In this thesis, in considering the studied phenomenon, it was shown the possibilities of a theoretical approximation between the lacanian psychoanalysis, in what it refers to subject´s imaginary-symbolic constitutive dimension, with Lazarus´ theory of psychological stress, to make viable the comprehension of the origin of the psychological stress. It was analyzed the production of stress sense in professional people in managerial activities, emphasizing the ideative contents of the imaginary-symbolic dimensions as constitutive of the origin of the psychological stress, searching to understand, in the analysis made, the relation between the stress significations addressed to the analyzed activities and to the subject´s experience of stress. The empirical research, realized with 20 subjects, was based on an interview/narrative approach, with semistructured focal survey. The method of discourse analysis was chosen following two models: the Discourse Analysis and the Collective Subject Discourse through the use of the Qualiquantisoft software.The results point that the significations about the work are central in the interviewed men and women´s lives. The most recalled stress significant pointed by them is directed to work situations in which the most intense stressor are linked to the achievement of short time goals. In second place it was recalled the stress by having no control over stressing situations. Concerning to the stress significations, men are centered in external stressors and women point the symptom as stress significant. The majority of men have an idealized remembrance of childhood, without the presence of stress, having 30% considered they had a difficult childhood and identified the childhood stressors. The majority of women also considered the childhood as a very good period of their lives and identify stress in this period. As the remembrance of stress in childhood prevails in the men the category do not recall stress in childhood, what have not happened with women. The childhood was to them very good, but keeping in the active memory the first sensation of stress as the same significant of nowadays. They have asserted that the present stress is the same stress of childhood confirming the significant repetition according to the psychoanalysis. In relation with the coping processes the diversity appeared in the response of men and women. Men´s choices show three categories of coping: I face the stress as a challenge, I step aside to think better, I relax reading self-help books.Women´s coping also revealed the diversity of answers when managing the stressors. 40% of them try to calm down first, avoiding the situation and then facing the stressor, 30% takes a light sedative, one of them makes therapy to become stronger and learn how to handle stressors, specially to learn how to say no to pressure situations. One of them declared promptly facing the stressor, being her strategy to diminish the effects of the situation to better control them. Another one searches to relax and distract herself by means of a joyful leisure weekend with the family. Making friends, search support, changing ideas with other people, was mentioned as effective coping process. The study about the imaginary-symbolic construction of the psychological stress made possible to unveil the origin of stress significants according to the lacanian psychoanalysis, having the research permitted a convergent view, despite of being not conclusive.

O objetivo deste trabalho foi pesquisar as representações de vida e morte existentes nos cemitérios criados em São Paulo até o final da Primeira República (1889-1930) e analisar como essas representações dialogam com a transição de uma sociedade estruturada pela morte para uma sociedade estruturada pela vida, dialogando com os conceitos de biopolítica e biopoder de Foucault. O papel que a morte ocupa na nossa sociedade é resultado da estruturação econômica, cultural, simbólica, histórica. Somos herdeiros de uma concepção de ciência e de sociedade que se constituiu prioritariamente durante a República Velha sob a égide do positivismo, do higienismo, do branqueamento da sociedade e do capitalismo. A vida definida como um pacote de predicados vêm sendo substituída pela ideia de vida como um princípio autopoiético. A morte como evento dissociado da vida também vem se modificando. Foi através dos trabalhos de Foucault, Reis, Cymbalista, Àries, Vovelle que pude perceber que o cemitério, a morte, o morrer possuíam também um caráter educacional. Eram lugares em que os costumes sociais eram validados, transferidos, significados ou abandonados. É sob esta perspectiva fenomenológica que vamos nos aproximar do objeto estudado. Os referenciais metodológicos estão amparados pela hermenêutica e, nesse sentido, recorrer à ideia de percurso antropológico proposto por Durand é uma boa ferramenta de análise da relação entre o objeto e o sujeito. A fotografia, então, deixa de ser imagem e passa a ser um signo repleto de significações, profundidade, relações e sentido, capaz de dialogar com outros símbolos, mitos e rituais. É a hermenêutica que vai permitir o desvelamento interpretativo semântico simbólico das imagens e propiciar o diálogo entre sujeito, objeto e contexto. / This works objective was to research the representations of life and death that existed in the cemeteries built in Sao Paulo during Brazils so-called First Republic (1889-1930), and to analyze how those representations dialogue with the transition from a society structured by death to a society structured by life, approaching Foucaults concepts of biopolitics and biopower. Deaths role in our society is the result of a structure built upon economic, cultural, symbolical and historical references. We are heirs of a concept of science and society that was primarily developed during the Old Republic under the brand of positivism, hygienism, capitalism and the whitening of society. Life defined as a myriad of virtues has been changed by the idea of life as an autopoietic principle. Death as an event dissociated from life has also been modified. It was through the work of Foucault, Reis, Cymbalista, Aries, Vovelle that it became possible to perceive the cemetery, the death and the act of dying as an educational matter. They are places where the social customs were validated, transferred, signified and abandoned. It is through the phenomenological perspective that we are going to approach the objective of this study. Methodological references are backed by hermeneutics and, in this case, chasing Durands anthropological route is a good way to evaluate the relation between the object and the subject. The photography, thus, ceases to be an image and becomes a sign full of meanings, depth, relations and senses, capable of dialoguing with other symbols, myths and rituals. For it is the hermeneutics that will allow the semantic and symbolic interpretation of images and propitiate the dialogue among subject, object and context.