L’action de Pierre Deffontaines au service des relations culturelles entre la France et les Amériques entre 1934 et 1967 est relativement méconnue du grand public et des spécialistes. Le rôle qu’il a joué dans des structures universitaires à l’étranger comme ‘exportateur’ de la géographie française en particulier, a très peu retenu l’attention des scientifiques. La question universitaire en France et à l’étranger, peut être abordée, en ce qui le concerne, des points de vue épistémologique, administratif et politique. L’étude conduite dans cette thèse porte sur les relations scientifiques et culturelles entre la France et les pays d’Amérique, du Nord comme du Sud à compter des années 1930. Cet espace atlantique, riche pour ce qui est des relations universitaires dans la partie centrale du XXe siècle, nous permet d’étudier le cas transversal dans cette étude d’un géographe chrétien rejeté dans son pays par ses pairs, tenants de la géographie officielle. Les travaux américains de ce géographe, couronnés de succès au Brésil, ont donné lieu à d’autres actions en Amérique latine (Uruguay, Argentine en particulier) et au Canada. Ses travaux canadiens, administratifs et scientifiques restent, aujourd’hui encore, une référence dans la géographie canadienne et s’inscrivent dans une période où l’influence scientifique française au Québec était grande. Durant ses missions et sur les différents terrains américains, la géographie de Deffontaines a été fortement marquée par ses voyages transatlantiques. Ce travail cherche à comprendre comment, durant toutes ces années au service de la France et de la géographie, Pierre Deffontaines profita de ses déplacements pour mettre en place et diffuser une géographie métisse en évolution constante. S’il subit en quelque sorte l’attraction de l’Amérique, nous avons montré en quoi ses réseaux, tout autant que sa personnalité, son talent et sa formation initiale, ont eu un rôle signifiant dans ce processus d’exportation-importation scientifique. « Expérience du déplacement, déplacement de l’expérience », de là a procédé pour l’essentiel son métier de géographe. / Pierre Deffontaines’ action in the context of international cultural relations between France and the Americas between 1934 and 1967 is relatively unknown to the general public and specialists. In particular the role he played in university structures abroad as an ‘exporter’ of French geography has been paid very little attention by scientists. The academic question in France and abroad, can be addressed from different points of view : epistemological, administrative and political. This dissertation's primary objective it to focus on the scientific and cultural relations between France and America's countries (North and South) after 1930. Through considering this Atlantic area, which was rich in terms of academic relations during the mid-twentieth century, this thesis advances the case for a transversal study. While in France Deffontaines was rejected by his peers, who were mainly supporters of an official geography, he was successfulness abroad. The American aspect of his work was esteemed and successful in Brazil. It led to other actions in Latin America (Uruguay, Argentina in particular) and Canada. A focal point in the emergence of the field of geography in Canada is that French scientific influence was great in Quebec. And Deffontaines' Canadian works, administrative as well as scientific, are still today a reference in Canadian geography. During Deffontaines' missions in various American lands, his geography was strongly influenced by his transatlantic voyages. This work considers how, in all these years in the service of France and geography, Pierre Deffontaines took advantage of his trips to develop and disseminate a constantly evolving métis geography. If America could hold a form of attraction for Deffontaines, his social networks, as well as his personality, his talent and his initial training, also had a significant role in the process of import-export of French geography. "Experience of mobility, mobility of experience", from there essentially proceeded his practice of geography.

Biennials, both historically and in the present, form a significant part of the contemporary art world. However, beyond simply acting as platforms for contemporary art, these extensive, recurring international exhibitions also facilitate complex dialogues involving a variety of agents, both cultural and political. With the inherently political nature of these exhibitions in mind, this thesis examines Canadian participation in the Venice and São Paulo biennials from 1951 to 1958. By examining what I identify as the triple purpose of the biennial - the exhibition of contemporary art, the facilitation of cultural diplomacy, and the creation and reinforcement of cultural nationalist narratives - this paper further explicates the National Gallery of Canada’s role in defining Canadian culture and the relationships between visual culture, cultural nationalism, cultural diplomacy and institutional politics in the postwar era. Drawing upon Judith Balfe’s conception of the utilization and manipulation of visual culture for nationalistic or diplomatic ends, I argue that participation in the Venice Biennale served as a means of reinforcing the presence of an NGC-defined culture of Canadian art to an international audience comprised mainly of artistic and diplomatic elite. Conversely, participation in the São Paulo Bienal served primarily as a conduit for the Department of External Affairs to project a positive image of Canadian culture to other nations and foster cordial relations between like-minded nations. I contend that a comparative analysis of Canadian participation in the two biennials highlights the complicated relationship between the NGC and the Department of External Affairs as well as the ideological adherence of both institutions towards liberalism and liberal democracy. / Thesis (Master, Art History) -- Queen's University, 2012-09-26 16:43:34.318

Submitted by Marcela Moraes Gomes (marmogo@gmail.com) on 2016-12-15T15:41:40Z No. of bitstreams: 1 Dissertação final Marcela Moraes Gomes.pdf: 1943019 bytes, checksum: fb40e9c9a48ade175978a9e2b9a26e99 (MD5) / Approved for entry into archive by Rafael Aguiar (rafael.aguiar@fgv.br) on 2016-12-16T18:23:46Z (GMT) No. of bitstreams: 1 Dissertação final Marcela Moraes Gomes.pdf: 1943019 bytes, checksum: fb40e9c9a48ade175978a9e2b9a26e99 (MD5) / Made available in DSpace on 2016-12-22T19:03:32Z (GMT). No. of bitstreams: 1 Dissertação final Marcela Moraes Gomes.pdf: 1943019 bytes, checksum: fb40e9c9a48ade175978a9e2b9a26e99 (MD5) Previous issue date: 2016-05-09 / This dissertation investigates how the intellectual life of Delgado de Carvalho sheds a new light on the role of international relations in the shaping History teaching in Rio de Janeiro during the Vargas government (1930-1945). The aim is to highlight the state's role in promoting cultural exchanges between Brazil and other countries, through the actions of the Ministry of Education and Health and the Ministry of Foreign Affairs. Therefore, the hypothesis that guides the work is the idea that Brazil would have sought, through the intellectuals, the expansion of cultural exchanges with many countries in a key moment of reorganization of its nationalist project, highlighting the transactions with the US and France. To reach this conclusion, it articulates the assumptions already present at the historiography with documents recently available to the public to show how international intellectual circularity illustrates the context of Brazilian foreign policy and cultural activities. Finally, it aims to be considered by the debate on the emergence of culture in the International Relations. / A presente dissertação investiga de que forma a trajetória intelectual de Delgado de Carvalho ilustra o papel das relações internacionais na formação do curso de História nas universidades do Rio de Janeiro durante o governo de Vargas (1930-1945). O objetivo é evidenciar a atuação do Estado na promoção de intercâmbios culturais do Brasil com outros países, através das ações do Ministério da Educação e Saúde e do Ministério das Relações Exteriores. A hipótese que norteia o trabalho é a ideia de que o Brasil teria buscado, através dos intelectuais, a ampliação dos intercâmbios culturais com diversos países em momento chave de reelaboração de seu projeto nacionalista, tendo destaque as transações com os EUA e a França. Para chegar a esta conclusão, articula-se as hipóteses já trabalhadas pela historiografia com as fontes para evidenciar como a circulação internacional do intelectual ilustra o contexto da política externa brasileira e das ações culturais. Sendo assim, busca-se ao longo da narrativa, inserir-se no debate da emergência da cultura nas Relações Internacionais.

Pour respecter les droits d’auteur, la version électronique de cette thèse a été dépouillée de certains documents visuels. La version intégrale de la thèse a été déposée à la Division de la gestion des documents et des archives. / Notre recherche doctorale porte sur la critique d’art latino-américaniste. Cette génération de critiques d’art est née à la fin des années 1960. Elle a atteint son apogée dans la seconde moitié de la décennie suivante et a connu un déclin progressif au cours des années 1980 et de la première moitié des années 1990. Le latino-américanisme est un type de continentalisme, c’est-à-dire un mouvement de promotion de l’identité historique, politique et culturelle des pays d’Amérique latine en vue de la protection d’intérêts communs dans le cadre des relations internationales. Dans la seconde moitié du 20e siècle, il est d’ailleurs indissociable de la guerre froide, des mouvements anticolonialistes et anti-impérialistes et des utopies révolutionnaires largement disséminées dans les milieux artistiques et intellectuels d’Amérique latine. En effet, la critique d’art latino-américaniste s’est caractérisée principalement par son engagement dans le débat sur la spécificité de l’art latino-américain, son histoire et ses aspirations théoriques, esthétiques et politiques pour l’avenir. Nous éloignant de l’histoire des idées au profit du cadre plus large de l’histoire sociale, dans cette thèse doctorale nous nous intéressons particulièrement à la constitution et à la progressive consolidation des réseaux de sociabilité intellectuelle qui ont créé les conditions de possibilité pour le développement de ce projet critique. Il s’agit de la multiplication des espaces de rencontre et de débat en Amérique latine, ainsi qu’au sein d’institutions culturelles internationales et d’organisations multilatérales, avec notamment la réalisation de projets éditoriaux et muséologiques collectifs ayant fortement favorisé l’intégration culturelle latino-américaine. L’analyse de ces espaces et de ces projets est au cœur de nos réflexions. / This doctoral research focuses on the Latin Americanist art criticism. This generation of art critics originated in the late 1960s. It peaked in the second half of the following decade and experienced a gradual decline during the 1980s and first half of the 1990s. Latin Americanism is a type of continentalism, a movement for the promotion of the historical, political and cultural identity of the countries of Latin America with the aim of protecting common interests within international relations. In the second half of the 20th century, it was strongly linked to the Cold War, anti-colonialist and anti-imperialist movements and revolutionary utopias widely disseminated in artistic and intellectual circles in Latin America. Furthermore, Latin American art criticism was characterized mainly by its engagement in the debate on the specificity of Latin American art, its history and its theoretical, aesthetic and political aspirations for the future. Moving away from the history of ideas in favour of the broader framework of social history, this doctoral thesis is particularly interested in the constitution and the progressive consolidation of the networks of intellectual sociability which created the conditions of possibility for the development of this critical project. This involves the multiplication of meeting and debate spaces in Latin America, as well as within international cultural institutions and multilateral organizations, with the realization of collective editorial and museological projects that have strongly favoured the integration of Latin American cultures. The analysis of these spaces and these projects is at the heart of our reflections.