Em um contexto caracterizado pela exacerbação da masculinidade, no qual a homofobia e a misoginia são reiteradas e, muitas vezes, naturalizadas, com o propósito também de demarcar seres abjetos por não se adequarem a essa norma, o presente trabalho estuda a trajetória de grupos e de movimentos de torcedores cujos discursos e performance vão na contramão da ideia de que o futebol brasileiro é um jogo pra machos, reduto de homens cisgêneros e heterossexuais. Tal exercício tem como propósito analisar as ações de grupos, que por meio de sua ação política em diferentes períodos históricos, reivindicaram o direito de torcer pelas pessoas LGBT e mulheres, desestabilizando, assim, a norma regulatória baseada em um modelo de masculinidade hegemônica. Para isso, serão estudadas as torcidas gays do final da década de 1970, como a Coligay (torcida do Grêmio Foot Ball Porto Alegrense) e a Fla-Gay (torcida do Clube de Regatas Flamengo), que surgem em meio ao regime militar brasileiro, e os movimentos de torcedorxs contemporâneos contrários à homofobia e à misoginia no futebol brasileiro, que constroem a sua visibilidade principalmente por meio do site de rede social Facebook: Galo Queer (formada por torcedorxs do Clube Atlético Mineiro), Bambi Tricolor (que reúne torcedorxs do São Paulo Futebol Clube), Palmeiras Livre (coletivo de torcedorxs da Sociedade Esportiva Palmeiras) e Movimento Toda Poderosa Corinthiana (coletivo de torcedoras do Sport Club Corinthians Paulista) / In a context characterized by the exacerbation of masculinity, in which homophobia and misogyny are reiterated and often naturalized, with the purpose of also demarcating abject beings for not conforming to this norm, the present work studies the trajectory of groups and of movements of fans whose discourse and performance go against the idea that Brazilian football is a game \"for machos,\" a stronghold of cisgender, heterosexual men. The purpose of this paper is to analyze the actions of groups that, through their political action in different historical periods, have claimed the right to support for LGBT people and women, thus destabilizing the regulatory norm based on a model of hegemonic masculinity. To this end, I will study the gay fans of the late 1970s, such as Coligay (supporters of Grêmio Foot Ball Porto Alegrense) and Fla-Gay (supporters of the Clube de Regatas do Flamengo), as well as the movements of contemporary fans against homophobia and misogyny in Brazilian football, who construct their visibility mainly through the social network site Facebook: Galo Queer (formed by fans of Clube Atlético Mineiro), Bambi Tricolor (that unites supporters of the São Paulo Futebol Clube), Palmeiras Livre (a collective of fans from the Sociedade Esportiva Palmeiras) and Movimento Toda Poderosa Corinthiana (a collective of female supporters from Sport Club Corinthians Paulista)

Em um contexto caracterizado pela exacerbação da masculinidade, no qual a homofobia e a misoginia são reiteradas e, muitas vezes, naturalizadas, com o propósito também de demarcar seres abjetos por não se adequarem a essa norma, o presente trabalho estuda a trajetória de grupos e de movimentos de torcedores cujos discursos e performance vão na contramão da ideia de que o futebol brasileiro é um jogo pra machos, reduto de homens cisgêneros e heterossexuais. Tal exercício tem como propósito analisar as ações de grupos, que por meio de sua ação política em diferentes períodos históricos, reivindicaram o direito de torcer pelas pessoas LGBT e mulheres, desestabilizando, assim, a norma regulatória baseada em um modelo de masculinidade hegemônica. Para isso, serão estudadas as torcidas gays do final da década de 1970, como a Coligay (torcida do Grêmio Foot Ball Porto Alegrense) e a Fla-Gay (torcida do Clube de Regatas Flamengo), que surgem em meio ao regime militar brasileiro, e os movimentos de torcedorxs contemporâneos contrários à homofobia e à misoginia no futebol brasileiro, que constroem a sua visibilidade principalmente por meio do site de rede social Facebook: Galo Queer (formada por torcedorxs do Clube Atlético Mineiro), Bambi Tricolor (que reúne torcedorxs do São Paulo Futebol Clube), Palmeiras Livre (coletivo de torcedorxs da Sociedade Esportiva Palmeiras) e Movimento Toda Poderosa Corinthiana (coletivo de torcedoras do Sport Club Corinthians Paulista) / In a context characterized by the exacerbation of masculinity, in which homophobia and misogyny are reiterated and often naturalized, with the purpose of also demarcating abject beings for not conforming to this norm, the present work studies the trajectory of groups and of movements of fans whose discourse and performance go against the idea that Brazilian football is a game \"for machos,\" a stronghold of cisgender, heterosexual men. The purpose of this paper is to analyze the actions of groups that, through their political action in different historical periods, have claimed the right to support for LGBT people and women, thus destabilizing the regulatory norm based on a model of hegemonic masculinity. To this end, I will study the gay fans of the late 1970s, such as Coligay (supporters of Grêmio Foot Ball Porto Alegrense) and Fla-Gay (supporters of the Clube de Regatas do Flamengo), as well as the movements of contemporary fans against homophobia and misogyny in Brazilian football, who construct their visibility mainly through the social network site Facebook: Galo Queer (formed by fans of Clube Atlético Mineiro), Bambi Tricolor (that unites supporters of the São Paulo Futebol Clube), Palmeiras Livre (a collective of fans from the Sociedade Esportiva Palmeiras) and Movimento Toda Poderosa Corinthiana (a collective of female supporters from Sport Club Corinthians Paulista)

Sacha Guitry fit de sa vie le sujet principal de son œuvre brillante mais assez élégiaque et relativement mélancolique où les personnages suicidaires joués par lui sont assez fréquents. Dans son œuvre, l’osmose est quasiment complète entre le théâtre et la vie. Ses épouses actrices furent les premières à souffrir de cette osmose et de cette instrumentalisation de leur personne et elles se lassèrent presque toutes (sauf Marconi) d’être éternellement considérées comme des êtres élégants mais souvent muets, en dépit du train de vie brillant qu’il leur offrit. Il perdit ainsi périodiquement des partenaires de qualité (il ne remplacera jamais la très brillante Yvonne Printemps) car, l’une après l’autre, elles refusèrent de sacrifier leur vie personnelle au profit du programme théâtral et cinématographique d’un seul homme. Nous tenterons de voir pourquoi Guitry eut avec les acteurs-hommes de meilleures relations qu’avec les femmes érotisées comme ses cinq épouses. C’est pourquoi nous analyserons les rapports idylliques qu’il eut avec trois autres actrices (Carton, Pierry et Fusier–Gir) que le temps avait déjà marquées physiquement. Nous tenterons surtout de redonner vie à ses cinq actrices-épouses en tenant compte des études récentes relatives au "gender" au cinéma ainsi que des star-studies, même si aucune d’entre elles n’est vraiment une star. Nous nous efforcerons d’analyser les conséquences de son comportement souvent machiste et narcissique sur la vie et la carrière de ces femmes pendant 50 ans. Nous analyserons enfin ce qu’il leur apporta et ce qu’elles offrirent à son brillant cinéma par leur présence. / Sacha Guitry made his own life the main topic of his apparently cheerful and brilliant plays and films which are often also sometimes elegiac and melancholy. Surprisingly in his works, quite a few characters played by him seem to be fascinated by suicide. There is no real boundary in his works between life and theatre and the actresses who were also his wives suffered from this absence of a frontier-line between those two worlds. They also disliked the way he took unfair advantage of their personality in his plays and almost all of them (except Marconi) eventually got tired of being considered as very smart but speechless creatures, although he offered them a very luxurious way of life. He thus lost quite a number of excellent partners (actually he could never really replace Yvonne Printemps, the exceptional player and singer) because, one after the other, they refused to sacrifice their personal life for the benefit of someone with exacting prospects concerning the theatre and the cinema. We shall therefore try to understand why Guitry usually kept up a better relationship with men-actors than with actresses with obvious sex appeal, like his five wives. We shall then examine the perfect friendship he formed with three elderly actresses whose growing age was becoming quite noticeable. We shall try to "bring back to life" the real personalities of the five actresses who also became his wives by resorting to the recent discoveries about "gender" and star-studies. We shall also try to analyze the influence of his narcissistic and chauvinistic attitude upon the lives and careers of these actresses. We shall eventually try to find out what he brought them by his presence and what they added by theirs to his brilliant cinema.

Text in French; abstract in French and English / Observatrice des réalités quotidiennes camerounaises, Calixthe Beyala a publié, en 1987, un roman intitulé C’est le soleil qui m’a brûlée. Dans ce roman, elle montre au lecteur comment la femme, victime de la tradition, utilise, avec l’apport de la modernité, son corps comme moyen pour reconquérir son moi profond, et retrouver sa liberté. En 1994, elle a écrit et publié Assѐze, l’Africaine. Et en 2003, elle a publié Femme nue, femme noire. Après une lecture minutieuse de ces trois livres, le lecteur peut facilement découvrir que Calixthe Beyala place la femme au centre de sa préoccupation littéraire. Et elle examine, dans sa fiction, deux thѐmes: la tradition et la modernité. Qu’entend-elle par tradition et modernité? Comment examine-t-elle ces deux thѐmes dans les ouvrages de notre corpus? Quelles solutions propose-t-elle à la femme, d’une part, pour se libérer du joug de la tradition et de la domination masculine, et d’autre part, pour (re)conquérir son corps, son moi profond et pour son émancipation? / Observer of the daily Cameroonian realities, Calixthe Beyala published, in 1987, a novel entitled C’est le soleil qui m’a brûlée. In this novel, she shows the reader how a woman, victim of tradition, uses her body as means to reconquer herself and to find her freedom. In 1994, she wrote and published Assèze, l’Africane. And in 2003, she published Femme nue, femme noire. After a careful reading of the three novels, the reader can easily discover that Calixthe Beyala places woman in the center of her literary preoccupation. And she examines, in her fiction, two themes, tradition and modernity. What does she mean by tradition and modernity? How does she examine these two themes in the novels of our study? What solutions does she propose to the woman, firstly, to liberate herself from the yoke of tradition and male’s domination, and secondly, to reconquer her body, herself and her emancipation? / Classics and World Languages / M.A. (French)