Esta tese é o rastreamento das forças que as práticas (produtos e serviços) e discursos de marketing fazem circular por espaços do futebol de espetáculo brasileiro, ajudando a transformá-lo. Em aproximação à Actor-Network-Theory (LATOUR, 2005; LAW 2004), o estudo compôs-se de três movimentos principais: geração de controvérsias sobre a natureza do real, estudo das formas como os atores procuram estabilizar as controvérsias e, por fim, um exercício de onto-política (crítica). O caso concreto que serviu como espaço de partida foi o Grêmio de Foot-Ball Porto Alegrense, do estado do Rio Grande do Sul, Brasil. Os dados coletados incluíram a observação, observação participante, análise de documentos, entrevistas, dados financeiros e survey em uma abordagem de inspiração etnográfica. A partir de um olhar sensível para o contexto histórico e social do clubismo brasileiro e do clube estudado em específico (DAMO, 1998, 2005), procurei pensar as práticas e discursos de marketing inseridas na complexidade. Confrontados com diversidade e intensa participação de torcedores apaixonados e fiéis, cujos afetos variam abruptamente conforme as vitórias e derrotas do time no jogo (incerteza), os dirigentes/gestores desenvolvem dispositivos de reconversão de capital afetivo/simbólico em econômico mediados por três agências centrais: O Europeísmo (imaginário de futuro), Estética Dirigente (gosto tramado à classe) e Disciplinarização de Marketing (controle sobre o futuro). A mediação dessas entidades na transformação do futebol de espetáculo brasileiro opera como ‘construção de mundos’ (THRIFT, 2008a e b) com força estética que, entre outras coisas, agem para a inclusão e exclusão de torcedores de participação legítima nos espaços sagrados do clube. Adiciono controvérsia ao debate sobre formação de mercados na disciplina de Marketing (ARAUJO, 2007; KJELLBERG e HELGESSON; HELGESSON, 2007) a partir da proposta da relevância da dimensão estética dos mercados. Por fim, proponho formas alternativas de condução do clube a partir de uma inspiração da crítica pós-colonial (SAID, 1978; MIGNOLO, 2008). / This dissertation traces the forces that marketing practices (product and services) and discourses circulate in Brazilian spectacle football (soccer) helping to transform it. Using Actor-Network-Theory (LATOUR, 2005; LAW 2004), it makes three main movements: generates controversies about the nature of reality, studies the ways in which actors seek to stabilize controversies, and finally, an exercise onto-politics (criticism). The empirical space of departure was Grêmio Foot-Ball Porto Alegrense, from Rio Grande do Sul state, Brazil. The data collected included observation, participant observation, document analysis, interviews, financial data and surveys, inspired by an ethnographic approach. Sensitive for the historical and social context of Brazilian clubism and of the specific club studied (DAMO, 1998, 2005), I sought to think marketing practices and discourses within complexity. Faced with the diverse and active participation of passionate and faithful supporters, whose affections vary abruptly with team victories and defeats in the game (uncertainty), directors/managers develop affective/symbolic into economic capital conversion devices which are mediated by three main agencies: Europeism (imaginary future), Director’s Aesthetics (entangled with social class) and Marketing Disciplinarization (control over the future). This entities mediate a ‘world making’ process (THRIFT, 2008a e b) with aesthetic power in the transformation of Brazilian spectacle football that, among other things, acts on the inclusion and exclusion of supporters from legitimate participation in the sacred spaces of the club. I add to the debate on market formation in the Marketing discipline (ARAUJO, 2007; KJELLBERG e HELGESSON; HELGESSON, 2007) through the enactment of the relevance of aesthetics for markets. Finally, I propose alternative ways of conducting the football club inspired in postcolonial criticism (SAID, 1978; MIGNOLO, 2008).

Nesta tese, examina-se um complexo evento cultural – a Feira do Livro de Porto Alegre/RS –, realizado anual e ininterruptamente desde 1955 sob a chancela da Câmara Rio-Grandense do Livro, em parceria com o Ministério da Cultura e a Prefeitura Municipal de Porto Alegre (RS), reunindo atividades culturais de distintas ordens e mobilizando muitas práticas que delineiam identidades culturais para a cidade e para a própria Feira e seus participantes. É possível afirmar que o evento se encontra em expansão, tanto no que se refere ao espaço físico que ocupa, quanto ao que diz respeito ao número de participantes, ao qual se somam os patrocinadores, organizadores, administradores, escritores, livreiros e mídias, que, além de divulgá-lo, reiteram, por meio dele, seus compromissos com a cultura sul-rio-grandense. Muitas são as representações colocadas em circulação na Feira, que definem, posicionam e ensinam, aos sujeitos e às instituições locais, modos de integrar-se à cultura regional. Ao lado dessa configuração mais regionalista, institucionalizam-se na Feira, cada vez com mais intensidade, práticas de internacionalização voltadas a conectar esse evento da cultura gaúcha a outros em desenvolvimento na América Latina e em outros continentes. O estudo focaliza estratégias discursivas e representações associadas à produção/gestão/invenção desse evento cultural veiculadas no encarte Caderno da Feira – suplemento que circula diariamente durante a realização da Feira no jornal gaúcho Zero Hora, o qual integra o conjunto de artefatos comunicacionais do Grupo RBS. Considerou-se que tanto a Feira quanto o encarte e o jornal a que está vinculado operam como pedagogias culturais. O corpus da pesquisa abarca um acervo ampliado de 153 exemplares, do qual foram examinadas 85 edições publicadas e divulgadas nos meses de outubro/novembro, quando ocorre a Feira, dos anos de 2005 a 2013. Foram também examinados exemplares do jornal Zero Hora das décadas de 1960, 1970, 1980 e 1990 por conterem informações importantes sobre esse evento. Foram ainda examinadas seções, manchetes de capa e reportagens, incluindo as imagens nelas apresentadas, bem como notas informativas. O estudo inspira-se nos Estudos Culturais e vale-se de teorizações de autores, tais como Albuquerque Jr. (2012), Canclini (2007), Debord (1997), Fischer (2012), Freitas (2007), Hall (1997a; 2005), Kellner (2006), Sarlo (1998), Silva (2012), Silveira (2000), Yúdice (2006), Woodward (2012) e Wortmann (2010), dentre outros. As análises evidenciam as múltiplas funções do evento: nele, comemora-se o “livro”, promove-se a sua venda, destacam-se autores e autoras, divulga-se a importância da leitura, mas igualmente propagandeiam-se seus promotores, patrocinadores e gestores, além de essa festa do livro ser associada a muitos outros eventos culturais da cidade, entre os quais, estão a Bienal do Mercosul, mostras e exibições fotográficas, oficinas de criação literária, palestras, apresentações de grupos musicais diversos, etc. Tudo isso transforma o evento em um espetáculo cultural múltiplo que se tornou central à vida da cidade, não apenas durante sua realização. O estudo também aponta para a forma como, especialmente a partir da figura do patrono, são destacadas diferentes facetas da cultura sulrio- grandense, que incluíam desde um culto ao gauchismo até a configuração de uma regionalidade mais ampliada, urbana e vinculada a cânones literários. / This thesis examines a complex cultural event, the Porto Alegre Book Fair, which has been annually held since 1955 under the auspices of Rio Grande do Sul Chamber of Literature in a partnership with the Ministry of Culture and Porto Alegre City Hall. The Fair comprises different kinds of cultural activities and involves several practices which have delineated cultural identities to the city, the Fair itself and its participants. It is possible to state that the event has been expanded in terms of physical space, number of participants, sponsors, organizers, managers, writers, booksellers and media, which besides publicizing the Fair, reinsure its commitment to sul-rio-grandense culture. A number of representations have been spread by the Fair and defined, positioned and taught people and local institutions ways of integrating the local culture. Together with this regionalist configuration, internationalizing practices have been more intensively institutionalized by the Fair with the aim of connecting this gaucho culture event to other events occurring in Latin America and in other continents as well. The study is focused on discursive strategies and representations associated with the production/management/creation of this cultural event as conveyed by Caderno da Feira, a supplement of the gaucho newspaper Zero Hora which is daily published along the days in which the Fair is held. This newspaper is one of the communication artifacts owned by Grupo RBS. The Fair, the supplement and the newspaper have been regarded as cultural pedagogies. The research corpus comprehended a large collection of 153 issues, out of which 85 issues published in October and November from 2005 to 2013 were examined. Issues of Zero Hora newspaper dating back to the 60s, 70s, 80s and 90s were also examined because they contained important information about the event. Sections, cover headlines and reports were examined together with pictures and notes. The study has been grounded on Cultural Studies and has relied on theorizations by Albuquerque Jr. (2012), Canclini (2007), Debord (1997), Fischer (2012), Freitas (2007), Hall (1997a; 2005), Kellner (2006), Sarlo (1998), Silva (2012), Silveira (2000), Yúdice (2006), Woodward (2012) and Wortmann (2010), among others. The analyses have evidenced the multiple functions performed by the event: it celebrates the “book”, promotes its commercialization, highlights writers, reinforces the importance of reading, but it also adverts its promoters, sponsors and managers. Furthermore, it is associated with a number of other cultural events taking place in the city, such as Mercosur Biennial Art Exhibition, photography shows, literary workshops, lectures, musical performances, etc. All that turns this event into a multiple cultural spectacle which has become central to the city life, and not only while it is held. The study has also pointed out the way in which different facets of the sul-rio-grandense culture are highlighted, particularly considering the patron figure, comprehending from the cult of gauchism to the configuration of a larger, urban regionalism linked to literary canons.

Les processus de la mise en scène reposent nécessairement sur une réalité humaine complexe, faite de dialogues et de rapports de force en constante redéfinition. Afin de les théoriser, plusieurs travaux ont institué en corpus les documents produits en cours de réunion ou de répétition, pour leur appliquer les méthodes issues de la génétique des textes. Or le transfert s’avère problématique : vestiges lacunaires, ces supports ne sauraient témoigner à eux seuls de la vie organique et polyphonique de la mise en scène en gestation. Une première solution consiste à opter pour une approche radicalement intermédiale des archives d’un spectacle : dans la mesure où la mise en scène fait interagir plusieurs disciplines artistiques, pourquoi ne pas la penser en confrontant activement les différents media générés lors de son élaboration ? Complémentaire de la première, une seconde proposition suppose que le chercheur s’implique dans une observation in vivo de réunions et de répétitions afin de disposer d’une matière plus complète. À cette clarification épistémologique succède un essai de théorisation des processus de la création scénique. Il apparaît tout d’abord que l’espace de travail est aussi bien un contenant physique de la recherche des artistes qu’un catalyseur : c’est en se l’appropriant à plusieurs qu’un groupe de collaborateurs donne corps à la mise en scène. L’espace de création révèle par là même une dimension polyphonique que l’on retrouve sur le plan du temps : dans la mesure où il engage un ensemble d’artistes, un processus ne possède pas de linéarité chronologique homogène ; il se compose d’une multitude de temporalités propres à chacun des répétants, qu’il s’agit de faire converger pour élaborer un spectacle commun à tous. Les processus de la mise en scène se caractérisent ainsi par leur dimension fondamentalement sociale. Réunie dans un espace-temps donné, la petite société formée autour du metteur obéit à un mode de création dialogique, où les propositions des uns et des autres s’agrègent pour former un discours foisonnant dont la force et l’unité sont garanties par une instance surplombante. / A complex human reality, based on dialogues as well as power relations which are permanently being redefined, is at the heart of the process of performance creation. So as to theorize such processes, several studies have been building a corpus compiling the documents which are produced during meetings or rehearsals. However, such a transfer has proven questionable : as it is made of incomplete traces, such material is necessarily too incomplete to bespeak of the organic and polyphonic life of a performance in gestation. A first solution is to elect a decidedly intermedial approach of a performance’s archives : since various artistic disciplines interact in the process of a performance’s production, one may analyze it by actively comparing and contrasting the different media which are generated during its elaboration. As a complement to the first proposal, a second approach will lead the researcher to get involved into an in vivo observation of meetings and rehearsals so as to have at his disposal a more comprehensive research material. This epistemological clarification paves the way for an attempt to theorize the processes of stage creation. First, it appears that the stage or work space is as much of a physical receptacle for the artists’ research as it is a catalyst : it is in the course of getting to own this space collectively that a group of collaborators gives substance to the production. The creative space thus reveals a polyphonic dimension which is also true regarding time : since it involves an ensemble of artists, a creative process has no uniform chronological linearity ; it comprises a whole array of relations to time which are specific to each of the participants, and one has to bring these temporalities together to give birth to a performance that belongs to all. There is therefore a fundamentally social dimension to any staging process. As it is gathered in a given space and time, the small society which is formed around the stage director has to follow a creative process based on dialogue, where the suggestions of the different individuals coalesce to produce a prolific discourse whose strength and unity are guaranteed by the presence of the director.

Le cabaret de l’Écluse est une petite salle de spectacles, ouverte entre 1951 et 1974 au 15, quai des Grands Augustins à Paris, et dont la particularité est de programmer chaque soir des numéros variés — chant, sketch comique, poésie récitée, marionnettes, mime et projection de dessins. Au fil des vingt ans d’existence de ce cabaret, s’y produisent des artistes aussi divers que Barbara, Raymond Devos, Marcel Marceau, Yves Joly, Philippe Noiret et Jean-Pierre Darras ou Cora Vaucaire. À rebours de l'éclectisme déroutant du spectacle qu'il accueille, c'est en tant que lieu que le cabaret de l'Écluse semble le mieux « donner prises », construisant son identité à partir d'une localisation parisienne qui l'insère dans un paysage urbain, social et culturel soutenu par une tradition historique complexe. Il fait ainsi partie des cabarets dits « rive gauche », qui fleurissent près de la Seine après la Seconde Guerre mondiale et affichent spatialement leur refus du divertissement commercial qu’offrent par ailleurs les « boîtes » plus luxueuses de la rive droite. Cette lecture déterminée de l’espace qui fait du cabaret un mot-valeur doit être comprise dans une histoire plus longue. Se construit en effet depuis le XIXe siècle, loin des premières représentations du lieu, d’abord attaché à une inquiétude sociale, l’image du cabaret comme un espace refuge où la poésie trouverait à s’épanouir contre l’affirmation croissante d’une culture industrielle et commerciale.En dépit d’un tel patrimoine axiologique, le cabaret de l’Écluse présente une réalité plus métissée. S’il rend hommage à des modèles littéraires prestigieux, comme le Chat Noir ou le Lapin Agile, dont il contribue à prolonger le mythe, il intègre pourtant, pour chacun de ses numéros, les apports du café-concert, du music-hall et du cinéma — autant de manifestations associées à une culture du divertissement souvent bannie du champ littéraire. Cette hétérogénéité est soulignée par la formule même du spectacle, qui érige la variété en principe de composition. À la diversité des modes d’expression convoqués répond ainsi le caractère composite de leurs héritages. L’Écluse apparaît donc comme un objet pluriel qui exige, pour être pensé, de fonder de nouvelles catégories d’analyse. C’est précisément au prisme de la variété, envisagée comme un véritable outil méthodologique aux prolongements herméneutiques et éthiques féconds, que nous l’étudierons.Irréductible aux déterminations axiologiques, le cabaret de l'Écluse fait vaciller la stabilité de son ancrage géographique, et nous oblige à repenser les territoires et prérogatives du littéraire, qu'il n'effleure, par le biais poétique, que pour mieux le sidérer. Quelle place accorder à ce lieu rebelle qui prend de cours nos critères d'analyse traditionnels et rend illisible le paysage artistique et culturel qu'explorent les études littéraires ? À force d'écarts et de détours, le lieu qui s'imposait à nous par sa visibilité évidente ne risque-t-il pas de perdre toute consistance ? L’Écluse parviendrait à demeurer — telle est notre hypothèse — en transformant le lieu géographique et social du cabaret pris dans les mailles d'un réseau et d'un champ, dans les filets de déterminations historiques, en un espace poétique délié. Lieu traversé, habité de propositions spectaculaires variées, il fonderait à partir de leur mise en présence cet espace poétique, que nous nous proposerons de définir non comme une certaine mise en forme du texte mais comme un réseau d’échos, tissés d’une prestation à l’autre. Cette « manœuvre foudroyante de rapports » déplace la production du sens du plain-chant à ses résonances. / L’Écluse was a small performance hall which presented mixed shows every evening between 1951 and 1974 : songs, shorts comedy sketches, recitations of poems, puppet shows, mimes and projected drawings. Many performers worked at L’Écluse. Some became famous, suche as Barbara, Raymond Devos, Marc Marceau, Yves Joly, Philippe Noiret and Cora Vaucaire. Despite the confusing eclectism of the cabaret shows, the place itself seems to offer a stable way to consider the subject. Indeed, L’Écluse built itself through its localisation in Paris, situated in an urban, social and cultural landscape shaped by a long and historical tradition. It was part of these « cabarets rive-gauche » that bloomed in Paris after the Second World War, pretending to refuse every form of commercial entertainment usually proposed to tourists by luxurious night-clubs on the right bank of the Seine river. This emblematic partition of the French capital between a right and a left bank resulted from a long history. Since the end of the XIXth century, cabarets were indeed considered as places of arts, where poetry could blossom far from a besides growing industrial and commercial culture. However, l’Écluse’s identity was not as clear as it seemed. The cabaret payed tributes to its prestigious literary precursors such as Le Chat Noir and Le Lapin Agile, but also to café-concerts, music-halls and popular movies, that are frequently left out of the literary field. This complete heterogeneity appeared in its shows themselves, shaped by various artistic expressions. L’Écluse was thus ruled by variety. It was therefore a complex object that requires specific methods to be considered. It is precisely through the prism of variety, regarded as a fruitful methodological analysis tool, that we intent to study it. With its mixed shows, L’Écluse cannot be sorted into a « black-or-white » category. It encourages us to re-think what belongs to literature or not. Where can such an unclassifiable place, that catches us unawares and strikes down our usual analysis categories, stand in literary studies ? Accordingly, we postulate that L’Écluse converted its place, defined by historical, geographical and social determinations, into a creative poetic space, shaped by the coexistence of various artistic expressions and the echoes that appeared between each of them and not by the pretended quality of its acts. The meaning of the shows was thus not provided by what was clearly said : it came from what remained unformulated.

La pratique des artistes dits en « situation de handicap » est le plus souvent analysée par le champ de la sociologie à travers les implications sociales et environnementales qui se jouent ou les effets de la création sur les artistes concernés. Par cette recherche, nous avons souhaité favoriser une approche esthétique, en lien avec les arts du spectacle, particulièrement sur les scènes de théâtre et de danse contemporaines. Nous avons ainsi appuyé notre étude sur l’examen de travaux artistiques et d’expériences, dans ce domaine, de praticiens jugés « hors-normes », en lien avec les contextes culturels et les usages sociaux dans lesquels ils sont impliqués. Ces analyses nous ont permis de réaliser que l’étude du handicap renvoie à des domaines pluriels qui génèrent des discours, notamment autour des notions de « différence(s) » et de « hors-normes ». La mise en exergue du travail des praticiens a permis, d’une part, d’aborder la dimension esthétique de leur travail et, d’autre part, a donné lieu à la découverte de nouvelles dimensions de ce qui a trait à la différence. L’objectif premier étant de déterminer le contexte dans lequel les artistes jugés « hors-normes » évoluent afin de se focaliser sur l’apport esthétique des particularités qui les définissent sur les différentes scènes étudiées. / The practice of the so-called "disabled" artists is most often analyzed by the field of sociology through the social and environmental implications that are being played or the effects of creation on the artists concerned. Through this research, we wanted to promote an aesthetic approach, in connection with the performing arts, especially on contemporary theater and dance stages. We thus supported our study of the review of artistic works and experiences in this field of practitioners deemed "non-standard" in relation to the cultural contexts and social uses in which they are involved. These analyzes have enabled us to realize that the study of disability refers to pluralistic domains that generate discourse, especially around the notions of "difference (s)" and "non-standard". The emphasis on the work of the practitioners made it possible, on the one hand, to approach the aesthetic dimension of their work and, on the other hand, gave rise to the discovery of new dimensions of what relates to difference. The first objective is to determine the context in which artists considered "non-standard" evolve in order to focus on the aesthetic contribution of the peculiarities that define them on the different scenes studied.

O presente trabalho tem por objetivo estudar o ecoturismo. Buscou-se averiguar a existência de uma preocupação com a educação ambiental (e quais os princípios que a regem) nas atividades e pacotes ecoturísticos comercializados pelo mercado. Para atingir tal objetivo, procurou-se conhecer o termo ecoturismo a partir das perspectivas da cultura de consumo e da sociedade do espetáculo e sob tal enfoque discutir suas relações com temas como turismo e consumo, natureza e educação ambiental; buscou-se também identificar as bases filosóficas do trabalho ecoturístico (particularmente em sua relação com a questão da educação ambiental) desenvolvido pelas operadoras de tais atividades; e por fim, realizar crítica conceitual acerca das relações entre os assuntos abordados pela dissertação. Foram entrevistadas 03 operadoras do mercado ecoturístico e 03 pesquisadores de áreas relacionadas aos temas propostos. O texto da dissertação foi produzido a partir das informações obtidas por levantamento bibliográfico em diálogo com as opiniões obtidas nas entrevistas no trabalho de campo. Concluiu-se que o ecoturismo como atividade de mercado é pouco utilizado para a disseminação da consciência ambientalista por conta das operadoras terem uma visão da educação ambiental que a aproxima da educação formal e que tal característica não deve ser integrada às atividades turísticas momentos de diversão e lazer; constatou-se também que o ecoturismo é uma atividade que produz subjetividade consumista nos participantes do processo e reafirma o tempo espetacular do capital. / The present work aims to study the ecotourism. It has investigated the existence of a preoccupation with the environmental education (and its leading principles) in the activities and ecotourism packages traded on the market; to achieve such aim it has searched to understand the term ecotourism from the culture of consumption and society of the spectacle perspective, and under such view, to discuss its relation with themes such as tourism and consumption, nature and environmental education; It has searched to identify the philosophical basis of the ecotourism work (particularly in its relation with the environmental education matter) developed by the operators of such activities; and finally, to do a conceptual critic on the issues considered on this essay. 03 operators of the ecotourism market and 03 researchers of areas related to the theme here proposed were interviewed. This essay was written based on the information collected through bibliographic research and opinions gathered in the interviews on the field work. It was concluded that the ecotourism as a market activity isnt much used to spread the environmental awareness due to the fact that the operators have a view of environmental education close to a formal education and such characteristic shouldnt be integrated to the tourism activities fun moments and leisure; it was also noticed that the ecotourism is an activity that evokes consumption patterns among its participants and reassures the capital´s spectacular time.

Nesta tese, examina-se um complexo evento cultural – a Feira do Livro de Porto Alegre/RS –, realizado anual e ininterruptamente desde 1955 sob a chancela da Câmara Rio-Grandense do Livro, em parceria com o Ministério da Cultura e a Prefeitura Municipal de Porto Alegre (RS), reunindo atividades culturais de distintas ordens e mobilizando muitas práticas que delineiam identidades culturais para a cidade e para a própria Feira e seus participantes. É possível afirmar que o evento se encontra em expansão, tanto no que se refere ao espaço físico que ocupa, quanto ao que diz respeito ao número de participantes, ao qual se somam os patrocinadores, organizadores, administradores, escritores, livreiros e mídias, que, além de divulgá-lo, reiteram, por meio dele, seus compromissos com a cultura sul-rio-grandense. Muitas são as representações colocadas em circulação na Feira, que definem, posicionam e ensinam, aos sujeitos e às instituições locais, modos de integrar-se à cultura regional. Ao lado dessa configuração mais regionalista, institucionalizam-se na Feira, cada vez com mais intensidade, práticas de internacionalização voltadas a conectar esse evento da cultura gaúcha a outros em desenvolvimento na América Latina e em outros continentes. O estudo focaliza estratégias discursivas e representações associadas à produção/gestão/invenção desse evento cultural veiculadas no encarte Caderno da Feira – suplemento que circula diariamente durante a realização da Feira no jornal gaúcho Zero Hora, o qual integra o conjunto de artefatos comunicacionais do Grupo RBS. Considerou-se que tanto a Feira quanto o encarte e o jornal a que está vinculado operam como pedagogias culturais. O corpus da pesquisa abarca um acervo ampliado de 153 exemplares, do qual foram examinadas 85 edições publicadas e divulgadas nos meses de outubro/novembro, quando ocorre a Feira, dos anos de 2005 a 2013. Foram também examinados exemplares do jornal Zero Hora das décadas de 1960, 1970, 1980 e 1990 por conterem informações importantes sobre esse evento. Foram ainda examinadas seções, manchetes de capa e reportagens, incluindo as imagens nelas apresentadas, bem como notas informativas. O estudo inspira-se nos Estudos Culturais e vale-se de teorizações de autores, tais como Albuquerque Jr. (2012), Canclini (2007), Debord (1997), Fischer (2012), Freitas (2007), Hall (1997a; 2005), Kellner (2006), Sarlo (1998), Silva (2012), Silveira (2000), Yúdice (2006), Woodward (2012) e Wortmann (2010), dentre outros. As análises evidenciam as múltiplas funções do evento: nele, comemora-se o “livro”, promove-se a sua venda, destacam-se autores e autoras, divulga-se a importância da leitura, mas igualmente propagandeiam-se seus promotores, patrocinadores e gestores, além de essa festa do livro ser associada a muitos outros eventos culturais da cidade, entre os quais, estão a Bienal do Mercosul, mostras e exibições fotográficas, oficinas de criação literária, palestras, apresentações de grupos musicais diversos, etc. Tudo isso transforma o evento em um espetáculo cultural múltiplo que se tornou central à vida da cidade, não apenas durante sua realização. O estudo também aponta para a forma como, especialmente a partir da figura do patrono, são destacadas diferentes facetas da cultura sulrio- grandense, que incluíam desde um culto ao gauchismo até a configuração de uma regionalidade mais ampliada, urbana e vinculada a cânones literários. / This thesis examines a complex cultural event, the Porto Alegre Book Fair, which has been annually held since 1955 under the auspices of Rio Grande do Sul Chamber of Literature in a partnership with the Ministry of Culture and Porto Alegre City Hall. The Fair comprises different kinds of cultural activities and involves several practices which have delineated cultural identities to the city, the Fair itself and its participants. It is possible to state that the event has been expanded in terms of physical space, number of participants, sponsors, organizers, managers, writers, booksellers and media, which besides publicizing the Fair, reinsure its commitment to sul-rio-grandense culture. A number of representations have been spread by the Fair and defined, positioned and taught people and local institutions ways of integrating the local culture. Together with this regionalist configuration, internationalizing practices have been more intensively institutionalized by the Fair with the aim of connecting this gaucho culture event to other events occurring in Latin America and in other continents as well. The study is focused on discursive strategies and representations associated with the production/management/creation of this cultural event as conveyed by Caderno da Feira, a supplement of the gaucho newspaper Zero Hora which is daily published along the days in which the Fair is held. This newspaper is one of the communication artifacts owned by Grupo RBS. The Fair, the supplement and the newspaper have been regarded as cultural pedagogies. The research corpus comprehended a large collection of 153 issues, out of which 85 issues published in October and November from 2005 to 2013 were examined. Issues of Zero Hora newspaper dating back to the 60s, 70s, 80s and 90s were also examined because they contained important information about the event. Sections, cover headlines and reports were examined together with pictures and notes. The study has been grounded on Cultural Studies and has relied on theorizations by Albuquerque Jr. (2012), Canclini (2007), Debord (1997), Fischer (2012), Freitas (2007), Hall (1997a; 2005), Kellner (2006), Sarlo (1998), Silva (2012), Silveira (2000), Yúdice (2006), Woodward (2012) and Wortmann (2010), among others. The analyses have evidenced the multiple functions performed by the event: it celebrates the “book”, promotes its commercialization, highlights writers, reinforces the importance of reading, but it also adverts its promoters, sponsors and managers. Furthermore, it is associated with a number of other cultural events taking place in the city, such as Mercosur Biennial Art Exhibition, photography shows, literary workshops, lectures, musical performances, etc. All that turns this event into a multiple cultural spectacle which has become central to the city life, and not only while it is held. The study has also pointed out the way in which different facets of the sul-rio-grandense culture are highlighted, particularly considering the patron figure, comprehending from the cult of gauchism to the configuration of a larger, urban regionalism linked to literary canons.

Este estudo parte da experiência da pesquisadora como cocriadora e atriz do espetáculo Teatro à La Carte, que tem como principal característica o ator como centro motor da cena sem a utilização de aparatos técnicos no que se refere ao cenário e iluminação. O espetáculo é apresentado em espaços não convencionais ao teatro e com a participação direta do espectador, que escolhe, entre as opções contidas em um “menu” de cenas, o que deseja assistir. Buscou-se então, a partir desta experiência, investigar os vínculos que se estabelecem no trabalho do ator, no que diz respeito ao processo de adaptação que este desenvolve quanto às instabilidades dos diferentes espaços de representação e a relação de convívio com o espectador tal como é proposta pelo filósofo Jorge Dubatti. Sobre a inserção do espetáculo em espaços não convencionais ao teatro, estabeleceu-se a mediação do ator com duas das chamadas leis orgânicas da ação, descritas por Konstantin Stanislávski em seu trabalho teatral: atenção criadora e adaptação. E acerca da relação com o espectador e a proposta de sua participação ativa no espetáculo, refletiu-se a partir da teoria do educador e filósofo Jacques Rancière, sobre a ação de ver que permite a emancipação do espectador; e a teoria do filósofo Jorge Dubatti, entendendo o teatro como acontecimento que gera convívio e poiése. Assim, fez-se a análise reflexiva da relação entre ator/espectador/espaço não convencional ao teatro com base no espetáculo Teatro à La Carte, de forma a problematizar e ampliar os questionamentos realizados como forma de instigar a reflexão sobre o assunto. / This study comes from the experience of the researcher as a co-creator and actress of the spectacle Teatro à La Carte, which has as main feature the actor as the motor center of the scene, without the use of technical devices in relation to scenery and lighting. The show is presented in spaces unconventional to theatre, and with the direct participation of the spectator, who chooses what they feel like watching among the options contained in a "menu" of scenes. Thus, from this experiment, we aimed at investigating the links that are established in the work of the actor, with regards to the process of adaptation he develops, regarding the instabilities of the different spaces of representation and the relation of conviviality with the spectator, as it is proposed by philosopher Jorge Dubatti. On the spectacle’s insertion in spaces unconventional to theatre, it was established the mediation of the actor with two of the so-called organic laws of action, described by Konstantin Stanislávski in his theatrical work: creative attention and adaptation. Now in reference to the relation with the spectator and the proposal of their active participation in the spectacle, it was reflected from the theory of educator and philosopher Jacques Rancière, on the action of seeing that allows the emancipation of the spectator, and the theory of philosopher Jorge Dubatti, understanding theater as an event that generates conviviality and poiése. Thus, there was a reflective analysis of the relationship between the actor/spectator/space unconventional to theater based on the spectacle Teatro à La Carte, in order to problematize and expand the questions carried out as a way to instigate reflection on the subject.

Esta tese investiga proximidades entre as proposições de Hélio Oiticica e conceitos como \'construção de situação\', \'deriva\' e \'urbanismo unitário\' desenvolvidos pela Internacional Situacionista - IS (1957-1972). Além da literatura da área, foram explorados dois corpus documental, os Boletins da Internacional Situacionista e o Catalogue Raisonné de Hélio Oiticica. A partir dos Boletins foi possível compreender a formulação dos principais conceitos situacionistas, enquanto o Catalogue Raisonné de Hélio Oiticica possibilitou reconstituir suas deambulações urbanas. Suas caminhadas pela cidade refletem sua crítica à cidade e aos modos de vida urbano. Este caráter crítico está presente no desenvolvimento de seu Programa Ambiental, onde suas proposições estéticas buscam reestabelecer, justamente, as relações entre o indivíduo e a cidade. Os arquivos consultados, manuscritos, cartas, entrevistas, e um grande número de documentos inéditos foram fundamentais para a reconstrução de seus \'passos\' e o entendimento, a partir de seu próprio discurso, de suas relações com a crítica social e urbana desenvolvida pelos situacionistas. / This thesis investigates proximities between propositions of Hélio Oiticica and concepts such as \'situation\', \'dérive\' and \'unitary urbanism\' developed by the Situationist International - IS (1957-1972). Besides the literature of the field, two documentary corpus were explored, the Bulletins of the Situationist International and Catalogue Raisonné of Hélio Oiticica. From the Bulletins it was possible to understand fundamental Situationist concepts, while the Catalogue Raisonné of Hélio Oiticica allowed to reconstitute its urban wanderings. His strolls reflect his criticism to the city and urban lifestyles. This criticality is present in the developing of his Environmental Program, where his aesthetic propositions seek to reestablish precisely the relationship between the individual and the city. The archives consulted, manuscripts, letters, interviews, and a large number of unpublished documents were key elements to rebuilding his \'steps\' and the understanding, based on his own speech, of the relationship between Oiticica and social and urban critics developed by the Situationists.

Submitted by Cássia Santos (cassia.bcufg@gmail.com) on 2016-09-12T14:04:08Z No. of bitstreams: 2 Dissertação - Alline Neves de Assis - 2016.pdf: 2087989 bytes, checksum: 1235c98d6b9d5d192942e62b3007fe94 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2016-09-12T14:26:59Z (GMT) No. of bitstreams: 2 Dissertação - Alline Neves de Assis - 2016.pdf: 2087989 bytes, checksum: 1235c98d6b9d5d192942e62b3007fe94 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2016-09-12T14:26:59Z (GMT). No. of bitstreams: 2 Dissertação - Alline Neves de Assis - 2016.pdf: 2087989 bytes, checksum: 1235c98d6b9d5d192942e62b3007fe94 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2016-08-23 / This thesis has the objective of analysis of the shortcomings of the legal means to control the decision-making process with regard to public policies for the promotion and implementation of human-fundamental rights, addressing specifically the problems brought by the phenomenon of "spectacle of policy "on constitutionally proper execution of such public policies. It argues that the legal and constitutional mechanisms to control the legality and effectiveness of such policies are unable to identify and evaluate the role that the media and use media of government actions - aimed at improving approval rates and electoral performance of governments - have the definition in the implementation of such policies, due to the low interdisciplinary permeability of the current juspublicist paradigm to the language of communication science and policies, regarding in particular the current 'culture of the spectacle' which we live and, consequently, the policies culture of the spectacle based on the perspective of the influence that the mass media and networked media have on public opinion, being an important variable considered in the actions and decisions of managers and public administrators. It starts with the criticism of the current theoretical frameworks of Public Law, Constitutional Theory and Theory of Fundamental Rights, as well as reflective and interdisciplinary analysis on the current role of media in political and social life, to explicit, as a central outcome of the investigation, the contradictions and gaps in the current legal and constitutional control instruments of public policy, in ensuring of link them to what's supposed to be the legitimizing goal of all of them: the promotion of human-fundamental rights. / Essa dissertação tem por objeto a análise das insuficiências dos meios jurídicos em controlar o processo de tomada de decisão no que se refere às políticas públicas de promoção e implementação de direitos humano-fundamentais, abordando, especificamente, os problemas trazidos pelo fenômeno da “espetacularização da política” na efetivação constitucionalmente adequada de tais políticas públicas. Defende que os mecanismos jurídico-constitucionais de controle da legalidade e efetividade de tais políticas são incapazes de identificar e avaliar o papel que a mídia e a utilização midiática das ações governamentais – voltadas à melhoria dos índices de aprovação e de desempenho eleitoral dos governantes – possuem na definição e na implementação de tais políticas, em razão da baixa permeabilidade interdisciplinar do atual paradigma juspublicista à linguagem das Ciências da Comunicação e das Ciências Políticas, no que tange, em especial, a atual ‘cultura do espetáculo’ em que vivemos e, consequentemente, a cultura política do espetáculo, baseada na perspectiva da influência que os meios de comunicação de massa e a mídia em rede possuem na opinião pública, sendo uma variável determinante a ser considerada nas ações e decisões dos gestores e administradores públicos. Parte-se da crítica aos atuais referenciais teóricos do Direito Público, da Teoria da Constituição e da Teoria dos Direitos Fundamentais, bem como da análise reflexiva e interdisciplinar no atual papel das mídias na vida político-social, para explicitar, como resultado central da investigação, as contradições e falhas nos atuais instrumentos de controle jurídico-constitucional das políticas públicas, na garantia da vinculação das mesmas àquilo de deveria ser a meta legitimante de todas elas: a promoção dos direitos humano-fundamentais.