Os cantos afro-amazônicos são uma forma de comunicação social que foi preservada no ecossistema cultural de Mazagão Velho, comunidade afrodescendente transplantada da África para a Amazônia no período colonial, cuja trajetória é marcada por contatos que têm início com a formação do entreposto português na África, em 1514. Em 1769, por decisão da coroa, a cidade-forte foi evacuada e transplantada para a Amazônia para reforço da ocupação e para o povoamento da região. Nosso objetivo neste trabalho consiste no estudo dos cantos produzidos em situações específicas: as festas religiosas realizadas ao longo do ano em Mazagão Velho. Com base nos aspectos como a forma, a transmissão e a circulação, bem como a função social que os referidos cantos exercem na comunidade, estamos admitindo que eles constituem poesia oral e se realizam em perfórmance. Dessa forma, buscamos compreender o fato poético em relação ao ecossistema cultural mazaganense, com base em referenciais teóricos da etnografia da fala e da linguística de contato. Considerando que essas práticas culturais são tributárias do processo de contato ocorrido na formação social da referida comunidade e no mesmo processo histórico foram difundidas pelo território amapaense, sendo representativas do conjunto das comunidades afrodescendentes situadas ao longo do território amapaense, estamos identificando-as como um dos traços culturais difundidos que favoreceram a constituição de uma área etnolinguística no Estado do Amapá. / Afro-Amazonian songs are a form of communication which have been preserved in the cultural ecosystem of Mazagão Velho, an afro-descendant community transplanted from Africa to the Amazon during the colonial period, with a history marked by contact which began with the formation of the Portuguese trading post in Africa, 1514. In 1769, following decision of the Crown, the fortified city was evacuated and transplanted to the Amazon in order to reinforce the occupation and settlement of the region. Our objective in this work is to study the songs produced under a specific situation: the religious festivals held throughout the year in Mazagão Velho. Based on different aspects, such as shape, transmission and circulation, as well as the social role that these songs play in the community, we consider them to be oral poetry that takes place during performance. Therefore, we aim to understand the poetic fact that concerns the cultural ecosystem of Mazagão, based on the theories of the ethnography of speaking and contact linguistics. Considering that these cultural practices contributed to the contact process which occurred in the social formation of the community investigated as they were spread across the state of Amapá in the same historical process, being representative of the group of African-descendant communities in Amapá,we identify the songs as one of the most widespread cultural traits that favoured the establishment of an ethno-linguistic area in the state.

Os cantos afro-amazônicos são uma forma de comunicação social que foi preservada no ecossistema cultural de Mazagão Velho, comunidade afrodescendente transplantada da África para a Amazônia no período colonial, cuja trajetória é marcada por contatos que têm início com a formação do entreposto português na África, em 1514. Em 1769, por decisão da coroa, a cidade-forte foi evacuada e transplantada para a Amazônia para reforço da ocupação e para o povoamento da região. Nosso objetivo neste trabalho consiste no estudo dos cantos produzidos em situações específicas: as festas religiosas realizadas ao longo do ano em Mazagão Velho. Com base nos aspectos como a forma, a transmissão e a circulação, bem como a função social que os referidos cantos exercem na comunidade, estamos admitindo que eles constituem poesia oral e se realizam em perfórmance. Dessa forma, buscamos compreender o fato poético em relação ao ecossistema cultural mazaganense, com base em referenciais teóricos da etnografia da fala e da linguística de contato. Considerando que essas práticas culturais são tributárias do processo de contato ocorrido na formação social da referida comunidade e no mesmo processo histórico foram difundidas pelo território amapaense, sendo representativas do conjunto das comunidades afrodescendentes situadas ao longo do território amapaense, estamos identificando-as como um dos traços culturais difundidos que favoreceram a constituição de uma área etnolinguística no Estado do Amapá. / Afro-Amazonian songs are a form of communication which have been preserved in the cultural ecosystem of Mazagão Velho, an afro-descendant community transplanted from Africa to the Amazon during the colonial period, with a history marked by contact which began with the formation of the Portuguese trading post in Africa, 1514. In 1769, following decision of the Crown, the fortified city was evacuated and transplanted to the Amazon in order to reinforce the occupation and settlement of the region. Our objective in this work is to study the songs produced under a specific situation: the religious festivals held throughout the year in Mazagão Velho. Based on different aspects, such as shape, transmission and circulation, as well as the social role that these songs play in the community, we consider them to be oral poetry that takes place during performance. Therefore, we aim to understand the poetic fact that concerns the cultural ecosystem of Mazagão, based on the theories of the ethnography of speaking and contact linguistics. Considering that these cultural practices contributed to the contact process which occurred in the social formation of the community investigated as they were spread across the state of Amapá in the same historical process, being representative of the group of African-descendant communities in Amapá,we identify the songs as one of the most widespread cultural traits that favoured the establishment of an ethno-linguistic area in the state.

This dissertation is about the work of love songs in Hargeysa, Somaliland. In a setting where music and expressions of love are conspicuously absent from public soundscapes, I explore the lives and labour of a genre as it moves and is moved across time and space, the singing and speaking voices that animate these songs, and the entanglement of love songs in the mediation of intimacy and the shaping of contested post-war soundscapes. What, I ask, is a love song? In a setting marked by war, where music-making and expressions of love are contested, what do love songs do? And how do they do what they do? In answering these questions, I take love songs in motion as my primary ethnographic object and investigate the "labour" of love songs in two senses: the intimate human labour by which love songs are made, circulated, heard, performed and put to assorted uses, and the social-aesthetic-affective labour that a genre itself performs. Based on eighteen months of field-research with poets, musicians, singers, music-lovers and love-suffering audiences in Hargeysa, I track love songs through various stages of their multi-faceted lives: as they first come into the world through the collaboration of a poet and his muse, a musician and a singer; as they circulate and are re-animated alongside stories of singers and stories of encounters; as they are re-figured by the ears and voices of attentive listeners; as their sounding is learned by musicians; and as their live performance is negotiated and received in contested urban terrain. I show the primary labour of love songs to be the distillation, performance and creation of intimate social relations: intimate relations predicated on "dareen-wadaag" ("feeling-sharing") that transcend everyday cleavages and prohibitions, and that have the power to shape both individuals' personal intimate lives and the socio-political worlds in which songs move and do their work. I argue that love songs' ability to distill and open space for intimacy rests on an ideology of voice that figures the voice as a deeply personal mode of self-expression and the simultaneously multi-vocal practices of voicing by which love songs are animated. In other words, the "voice" is made - and made intimate - by its multi-faceted multi-vocal sociality. In so doing, this dissertation contributes to understandings of the workings and power of popular culture in Africa and beyond, recent anthropological efforts to hold together the sonic and social dynamics of the "voice", and broader anthropological conversations about the mediated, multi-vocal making of persons and social worlds.

Orientador: Irene Jeanete Lemos Gilberto / Banca: Luiz Roberto Velloso Cairo / Banca: Mário César Silva Leite / Banca: Maria Lídia Lichtscheidl Maretti / Banca: Ivete Lara Camargos Walty / Resumo: Esta tese compreende um estudo da poesia oral pantaneira no momento de sua atualização, ou seja, durante a performance. Para tanto, ela se divide em três partes principais. Na primeira, com base em relatos de viagem, foram identificados embates discursivos entre o narrador e o viajante. A partir desses embates, foi demonstrado como, durante a performance, a presença do auditório exige do narrador uma postura frente àquilo que conta, ou seja, como ele cria uma identidade, que se manifesta pelo discurso da narrativa. Outro ponto discutido diz respeito ao registro da poesia oral pelo viajante, em que enfatizei como elementos ligados à performance foram ignorados e como a transcrição interfere na compreensão do texto oral. Na segunda parte, foram analisados os aspectos discursivos da narrativa oral. Constatei que o narrador cria uma "autoridade" (relação frente ao auditório) e "autoria" (atualização do texto que ouviu), pelas quais ele engendra um discurso identitário. A questão das variáveis e invariantes no texto oral foi estudada na terceira parte. Assim, detive-me no estudo das narrativas de enterro pantaneiras. Identifiquei elementos invariantes (origem, anunciação, marcação, provação, desenlace), que congregam algumas variáveis (tipos de origem, formas diferenciadas de anunciação, etc.). Além disso, as narrativas se reorganizam mudando de significado, como constatei com o protoconto, a explicativa, o logro e a descritiva. O último capítulo tratou da performance, em que foi analisada a manifestação da narrativa na performance e, também, alguns dos mecanismos que o narrador emprega para persuadir o seu auditório. Os estudos assim divididos visam a dar uma visão sincrônica da poesia oral, pois partem do texto oral em seu espaço de constituição, levando em conta a voz (identidade e ruído) do narrador. / Abstract: This thesis contains an oral poetry study at the moment of its updating (sometimes subtractions are possible), that is to say, during the performance. For clarification's sake, it is divided in three main parts. In the first part, I identified the discoursive clashes between the narrator and the foreign traveler, based on travelers' reports. After that, it was demonstrated that the audience presence requires from the narrator, during the performance, an attitude about what he tells, i.e., an identity creation manifested by the narrative discourse. Another item is about the oral poetry recorded by the traveler. At this point, I emphasized that some performance features were ignored and that the transcription interferes in oral text comprehension. In the second part, the oral narrative discursive aspects were analyzed. I verified that the narrator creates an "authority" (the relationship face the audience) and an "authorship" (the listened text update) by which he engenders an identity discourse. The matter of variables and invariables was studied in the third part. Thus, I detained myself in the study of burial "pantaneira" narrative. I identified invariable elements (origin, annunciation, marking, probation, epilogue) that have some variables (kinds of origin, different forms of annunciation, etc.). Besides, the narratives reorganize themselves by changing their meanings such as the prototale, the explicative, the bluff and the descriptive, according to my verification. In the last chapter, I discussed the performance. I also analyzed the narrative manifestation in the performance and some of the narrator's mechanisms used to persuade his audience. Divided this way, the studies intend to make a synchronic approach of oral poetry, because they depart from oral text in its composition space taking into consideration the narrator's voice (identity and noise) / Doutor

SILVA, Djanilson Amorim da. Os Cocos no Ceará: dança, música e poesia oral em Balbino e Iguape. 2008. 112f. – Dissertação (Mestrado) – Universidade Federal do Ceará, Programa de Pós-graduação em Sociologia, Fortaleza (CE), 2008. / Submitted by Gustavo Daher (gdaherufc@hotmail.com) on 2017-08-04T12:23:58Z No. of bitstreams: 1 2008_dis_dasilva.pdf: 515872 bytes, checksum: 3418c1eaa82ac270c0d54d730755ac97 (MD5) / Approved for entry into archive by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2017-08-04T19:18:30Z (GMT) No. of bitstreams: 1 2008_dis_dasilva.pdf: 515872 bytes, checksum: 3418c1eaa82ac270c0d54d730755ac97 (MD5) / Made available in DSpace on 2017-08-04T19:18:30Z (GMT). No. of bitstreams: 1 2008_dis_dasilva.pdf: 515872 bytes, checksum: 3418c1eaa82ac270c0d54d730755ac97 (MD5) Previous issue date: 2008 / Este estudo procura interpretar como é vivenciada uma prática cultural conhecida como “coco” pelas populações que habitam pequenas comunidades de pescadores no litoral cearense. Principalmente nas localidades de Iguape e Balbino, pertencentes aos municípios de Aquiraz e Cascavel, respectivamente. É uma interpretação antropológica, com o intuito de entender não apenas como a prática do coco proporciona uma produção específica de sujeitos sociais. Mas, seguindo uma via de mão dupla, como esses sujeitos experimentam e atualizam a brincadeira, herdada de seus antepassados, no atual contexto da especulação imobiliária, da indústria do turismo e das políticas culturais. A dança, a música e a poesia oral presente nos cocos. Os instrumentos musicais, as vestes, os significados vividos na brincadeira. O coco como um elemento de articulação social não apenas entre os seus brincantes, mas também entre estes e o público urbano dos centros culturais. O trabalho apresenta uma reflexão sobre as relações estabelecidas entre Estado e brincantes, por meio das Políticas Culturais, e o papel dos intermediários (promotores de eventos) nesse processo.

distribuída em uma moldura interpretativa criada por duas cidades separadas em suas respectivas fundações mais ou menos três séculos. A pólis arcaica de Mégara Hibleia e a pólis clássica de Túrio oferecem as maiores referências da presente pesquisa, cuja intenção é analisar o fenômeno da organização ortogonal através da teoria da poesia oral como apresentada nos estudos comparativos de Milman Parry e Albert Lord. A pesquisa etnográfica de Parry e Lord no começo do século XX com bardos iugoslavos abriu todo um novo e inspirador campo de estudos no âmbito da composição e recepção dos poemas homéricos. Com tal perspectiva, se demonstrará nas páginas seguintes um método de planejamento sem que haja o desenho de planos. Um planejamento que utiliza como recurso de composição fórmulas aritméticas que definem as proporções entre os elementos do sistema. Iniciando o problema com as evidências literárias sobre Hipodamo de Mileto, coroado por uma corrente historiográfica como primus inventor do método urbano ortogonal, se descortinará uma tradição anônima secular derivada da prática de artífices que não escreveram uma linha a respeito de sua técnica. As fórmulas ortogonais constituem medidas co-dimensionadas entre os lados do lote da casa, do quarteirão e da largura das ruas cristalizados ao longo do tempo na escansão dos quarteirões. Tomando-se miras ópticas e alinhando cordas ao longo de estradas seria possível - como em um esquadro - iniciar dois vetores das fórmulas aritméticas então traduzidas em formas geométricas. Será argumentado na análise detalhada da forma de Mégara Hibleia contra a hipótese de que exista no período arcaico a concepção de um módulo abstrato e a priori. A cidade ortogonal arcaica não é um plano-mestre pensado como um conjunto que precede suas partes. O uso dos princípios da ortogonalidade ao longo do tempo, no entanto, contribuem para o surgimento de novas fórmulas de unidades maiores que em cidades como Túrio consignam dentro de sua área o agrupamento de um dado número de quarteirões. Isto é o indício de que a cidade ortogonal comensura-se então como um conjunto articulado de partes. Ao questionar a leitura moderna que, sob um paradigma literário, vê nos planos e desenhos de reconstituição da malha original das cidades ortogonais um produto de um exercício por excelência abstrato, mental e a priori, se discutirá, por consequência, a ontologia do artefato arqueológico, os fundamentos epistemológicos da arqueologia que, desde seu vir-a-ser como disciplina acadêmica, se ampara de uma série de ferramentas interpretativas herdadas da cosmologia moderna ocidental. O texto circulará, portanto, em vias interdisciplinares entre arqueologia, filologia, filosofia, sociologia, antropologia e história da arte. / The Greek orthogonal technique, especially in the urban contexts of Sicily and south Italy (Magna Graecia), could be distributed in a interpretative frame created by the archaeological tale of two cities separated in its foundations more or less three hundred years. The Archaic polis of Megara Hyblaea and the Classical polis of Thurioi offer the two major references of the present research which intends to analyze the phenomenon of orthogonal organization through the oral poetry theory as presented in the comparative studies of Milman Parry and Albert Lord. The ethnographic research of Parry and Lord in the earlier twentieth century with Yugoslavian singers opens a new and inspiring field on the composition and reception of the Homeric poems. With this perspective, it will be demonstrate in the following pages a planning method without any design plans. A planning that uses as compositional resources arithmetical formulas that define the proportional dimensions between the elements of the system. Initiating the subject with the literary evidences about Hipodamus of Miletus, crowned by a historiographical current as primus inventor of the orthogonal method, will be uncovered the anonymous secular tradition derived from the practice of craftsmen who did not write a single word about their techniques. The orthogonal formulas constitute co-dimensioned measures between the sides of the house lot, the block and the width of streets crystallized over time in the scansion of the blocks. Taking optical sights and aligning ropes along roads would be possible - as in a square - to start two vectors from the arithmetical formulas then translated in geometrical forms. It will be argued in the detailed analysis of Megara Hyblaea\'s layout against the hypothesis that there is in the Archaic period a conception of an abstract and a priori module. The orthogonal Archaic city it is not a master plan thought as a set which precedes its parts. The continued use of the orthogonal principles over time, however, contribute to the emergence of new formulas of larger unities which in cities like Thurioi consigns inside its area the grouping of a given number of blocks. This is a sign of a notion then that the orthogonal city is co-measured from a set articulated of parts. By questioning the modern lecture which, under a literary paradigm, sees the reconstituted plans and drawings of an original orthogonal grid a byproduct of an abstract, mental and a priori exercise, it will be discussed, by consequence, the ontology of the archaeological artifact, the archaeology\'s epistemological fundaments that, since its becoming as an academic discipline, relies on a series of interpretative tools inherited from modern Western cosmology. It will be circulate, therefore, in interdisciplinary roads between archaeology, philology, philosophy, sociology, anthropology and art history.

No description available.

Made available in DSpace on 2016-04-28T19:58:42Z (GMT). No. of bitstreams: 1 Katia Pellicci Cembrone.pdf: 18447270 bytes, checksum: 121241adc401cae7b8a83434755a9686 (MD5) Previous issue date: 2011-10-07 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This work aims to demonstrate the reason why Ode Marítima is considered the most important poem of the Sensacionism Moviment, created by Fernando Pessoa and Mário de Sá-Carneiro in the early twentieth-century, by establishing a connection between actual and original, modern and primitive, time and no-time dimensions, chronological time and mythical time. In order to do that, some of the theoretical frameworks used were: the studies of the rhythm structure of this ode, by José Augusto Seabra and Nicolás Extremera Tapia; the studies of oral poetry, developed by Paul Zumthor; Fernando Pessoa and Mário de Sá-Carneiro s writings about Sensacionism; Micea Eliade s studies about myth; and the philosophical view of man s way of life transformations according to Friedrich Nietzsche. In the first chapter, we intended to reflect on the transformations poetry has passed through the time in order to, in the next chapter, explain and justify the sensacionist proposal of a modern art that is based on sensation strength, and intends to touch the sensorial body of its receptor. Finally, we proceeded to an analytic reading of the corpus: the Ode Marítima. We concluded that the poem materializes the Sensacionism by proposing us a return to the origins of the poetry. Thus, Álvaro de Campos modern experiment is access to the archaic rituals rhythm: song, voice, dance, body pure sensation, pure poetry. Such an experiment gives us the possibility of a more conscious perception of the complex way of modern life / O objetivo deste trabalho é demonstrar por que Ode Marítima é considerada o poema expressão máxima do movimento sensacionista, idealizado por Fernando Pessoa e Mário de Sá-Carneiro, no início do século XX, estabelecendo uma relação entre o atual e o inaugural, o moderno e o arcaico, o tempo e o não-tempo, o tempo cronológico e o tempo mítico. Para tanto, alguns dos referenciais teóricos utilizados foram: os estudos realizados por José Augusto Seabra e Nicolás Extremera Tapia acerca da estruturação rítmica da ode; os estudos sobre a poesia oral, realizados por Paul Zumthor; os escritos sobre o Sensacionismo, deixados por Fernando Pessoa e Mário de Sá-Carneiro; os estudos do mitólogo Micea Eliade; e a leitura filosófica das transformações no modo de viver do homem, realizada por Friedrich Nietzsche. No primeiro capítulo, buscamos refletir sobre as transformações pelas quais passou o ser da poesia através dos tempos para, no capítulo seguinte, explicar e justificar a proposta sensacionista, de uma arte moderna que se baseia na força da sensação, que busca atingir o corpo sensorial do receptor. Finalmente, realizamos uma leitura analítica do corpus: a Ode Marítima. Concluímos que o poema materializa o Sensacionismo propondo-nos um retorno às origens da poesia. Assim, o experimento moderno de Álvaro de Campos é acesso ao ritmo dos rituais arcaicos: canto, voz, dança, corpo pura sensação, pura poesia. Tal experimento nos dá a possibilidade de uma nova percepção, mais consciente, da complexa forma de vida moderna

Cette thèse étudie la trajectoire de Festivals de Violeiros realisées dans le Nord-est du Brésil, en ayant comme fil conducteur de la recherche la poétique orale, notamment la cantoria improvisée. Pour construire une cartographie des festivals, on réfléchit sur les changements sociaux qui ont motivé l'émergence de cette structure plus moderne, le festival, avec des éléments dirigés au spectacle urbain comme transformation d'une pratique plus traditionnelle, o pé de parede, qui avait lieu dans les régions rurales. Le trajet entre la permanence d'une modalité et le renforcement de l'autre passe par la production de rencontres et de congrès qui occupent les espaces de cantoria improvisée, connu aussi como repente. La première partie, intitulé Improviso e pé-de-parede, met en évidence la nature structurelle de ce type de poésie orale, en mettant l'accent sur le processus de création des vers improvisés, ainsi comme la réflexion sur la performance à partir du trépied: la voix, le corps et l'image, qui module la figure du repentista. On offre également une discussion sur la participation des chanteurs et chanteuses dans l'univers de la cantoria depuis l'enfance, à partir de l'analyse des entrevues réalisées au cours de la recherche. La deuxième partie, intitulée Festivals: entre les routes et les vagues, se concentre sur les festivals et cherche à présenter une trajectoire à partir des événements organisées en Europe et comme le modèle adopté au Brésil a cherché son inspiration dans la manière en vogue dans les festivals de musique populaire brésilienne, par exemple. Bien que la structure était utilisé dans une grande tradition de congrès et de rencontres réalisées encore dans les années 1940, le nom festival n’était adopté que dans les années 1970. La recherche a mis en évidence l'existence de routes qui conduisent le mouvement des festivals. Dans le même temps, il était aperçu des changements dans la configuration des événements, en tranformant l’esthétique par rapport à la viola, au vers et à la voix ainsi que leur inclusion dans le circuit de l’industrie culturelle, encourageant la création de spectacles dirigés à la consommation de masse et de l'utilisation des médias comme réseaux de permanence et d'expansion. / This thesis investigates the trajectory of Violeiros Festivals held in Northeast Brazil having as common thread of the research the oral poetry, notably the improvisation singing. To build a cartography of these festivals, the research reflects on the social changes that led to the emergence of this more modern structure, the festival, with elements facing the urban spectacle as a transformation from a more traditional practice, o pé de parede, which occurred in rural areas. The route between the permanence of a modality and the strengthening of other involves the production of meetings and conferences which occupy the spaces of improvised singing, known as repente. The first part, entitled Improvisation and pé de parede, aims at the structural nature of this type of oral poetry, focusing on the process of creating improvised verses, as well as thinking about performance from the tripod voice, body and image, which modulates the “repentista” profile. It also offers a discussion of the involvement of the singers and “cantadoras” with the universe of “cantoria” since childhood, from the analysis of the interviews conducted during the research. The second part, entitled Festivals: between routes and waves, addresses festivals and aims at presenting a trajectory from the events held in Europe and how the model adopted in Brazil found inspiration in the pattern still in practice in Brazilian Popular Music Festivals for example. Although the structure had already been used in a wide tradition of conferences and meetings performed in the 1940s, the noun “festival” started to be adopted only from the 1970s. The research revealed the existence of routes that drive the movement of the festivals. At the same time, there are changes in the configuration of events, changing aesthetics in relation to the viola, the verse and the voice as well as the inclusion in the cultural circuit industry, encouraging the creation of shows geared for mass consumption and making use of the media as maintenance and expansion channels.

Toute historiographie se construit sous la forme d’un récit, soutenue par une narration qui, autour d’une intrigue, sélectionne et organise les événements en fonction de leur importance relative à des critères prédéterminés. La période des années 1960, qui est habituellement décrite comme celle de la naissance de la littérature québécoise, est on ne peut plus représentative de cette logique narrative qui sous-tend toute démarche historique. Un événement retenu par cette histoire, la Nuit de la poésie du 27 mars 1970, s’est littéralement élevé au rang de mythe dans l’imaginaire littéraire, mais aussi identitaire des Québécois. Que ce soit à travers les triomphes de Claude Gauvreau et de Michèle Lalonde ou la foule de plusieurs milliers de personnes devant le Gesù qui espérait assister à la soirée, cet événement, mis sur pellicule par Jean-Claude Labrecque et Jean-Pierre Masse, a été conçu par plusieurs comme l’apothéose de « l’âge de la parole ». Une observation minutieuse de ce happening soulève cependant de nombreuses questions concernant la construction de ce rôle dans l’histoire littéraire québécoise. En effet, tant l’étude des conditions d’organisation de la soirée que l’analyse de son mode de transmission révèlent des motivations archivistiques qui laissent transparaître l’objectif de la Nuit à « faire événement », à produire des traces qui participeront à l’inscription historique de la poésie québécoise. Considérant que l’œuvre filmique de Labrecque et de Masse constitue le seul véritable document témoignant de cet événement et que celui-ci a fait l’objet d’un montage ne présentant qu’une facette de la soirée, les enjeux de représentation et de mise en récit inhérents au cinéma documentaire poussent à questionner le portrait désiré de la poésie de l’époque que l’on voulait créer à travers le long-métrage. Véritable plateau de tournage, le spectacle du 27 mars 1970 appelle à être analysé dans les termes d’une conscience historique qui pousse les acteurs du milieu littéraire de l’époque à ériger les monuments qui seront à la base du canon et de l’institution littéraires québécois. L’étude, mobilisant les ressources de l’analyse de texte, de la sociologie de la littérature, de la théorie historiographique et de la théorie du cinéma, portera principalement sur le documentaire La Nuit de la poésie 27 mars 1970, considéré comme véritable recueil de textes, mais aussi de façon tout à fait originale sur les archives inédites rejetées du montage final des réalisateurs de l’ONF. Au terme de ce travail, j’approfondirai la réflexion sur le rôle historique d’un événement emblématique de la littérature québécoise en explicitant la construction historique autour de celui-ci. Il s’agira non seulement de relativiser l’événement en tant que tel, mais aussi de réfléchir sur le grand récit espéré par les artistes de l’époque. / Any historiography is constructed on the model of a story, that is, the narration of an underlying plot which conveys the particular choosing and singling out of events based upon their importance according to predefined criteria. The 1960s, which are usually depicted as the period where Quebecois literature came into being, are representative of this narrative logic which underlies the stream of history. "La Nuit de la poésie", which took place on the 27th of March 1970, was one of those events singled out by history and mythologized in Quebec’s collective imagination. As such, the happening, filmed by Jean-Claude Labrecque and Jean-Pierre Masse, was conceived by many as the apex of this fruitful period called the "âge de la parole". A study of this happening, however, raises many questions about the process of historical construction which took place around the event. The organization of the night, as well as the way it was passed to further generations, both highlight the strong aspiration to create an historical event and to mark Quebec’s literary culture. Given that Labrecque and Masse’s documentary is the only genuine document attesting to the event, and that the film itself has been subjected to a great deal of editing, issues of representation and of creation of narrative need to be addressed in the context of the cultural affirmation Quebec went through in the 1960s. The Night thus should be analyzed as an indication of an emergent historical consciousness, influencing the cultural actors of the 1960s and 1970s and creating a new group of canonical figures in Quebecois literature. This study, based on text analysis, the sociology of literature, historiography, and film theory, will bear on the documentary La Nuit de la poésie 27 mars 1970, and specifically on the singular work of editing which led to the rejection of many performances from the final documentary. At the end of this analysis, I will deepen the historical role of this iconic event by addressing the cultural and historical construction that surrounded it. The effect of my perspective will be to mitigate the impact of this event alone, but also to draw on the key features that underlined the historical vision characteristic of the literary Quebec of the 1960s.