Made available in DSpace on 2016-08-03T12:20:51Z (GMT). No. of bitstreams: 1 Anderson Lino 1-110.pdf: 305183 bytes, checksum: 3e9fdf0932dcc4b802238095ad98a383 (MD5) Previous issue date: 2009-03-13 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This dissertation addressed the conflicts that occurred in the geographical space known as "Northern Pioneer". The image of the Bom Jesus, the family-owned Pinto, was expropriated by the vicar of the parish of the district of Salto Itararé, priest Alfredo Simon, who met about twenty armed men to capture this saint. In this religious conflict that occurred on 26/4/1933, two people were killed: the business of the Small Village Pintos, João Moreira, and heir of Bom Jesus, José Pinto de Oliveira. The latter has died months after the conflict. Around this image was created an official history and supervised by the owners of the symbolic, sponsor of the order and tradition. However, the history of Bom Jesus was understood in a broader concept, as occurred in the religious sphere a phenomenon called Romanization. The Catholic Church followed the Code of Canon Law of 1917, not recognizing the Code of Civil Law of the Brazilian. In the political sphere, the government paranaense put into practice the system of land vacant. In the sector of transport, the railway RVPRSC (Roads Paraná Santa Catarina) was already in the region since 1919. And this time, the new socio-cultural relations and economic fields have been made in, that is, the agrarian capitalism.(AU) / Essa dissertação abordou os conflitos que ocorreram no espaço geográfico denominado Norte Pioneiro . A imagem do Bom Jesus, de propriedade da família Pinto, foi expropriada pelo vigário da paróquia do Distrito de Salto do Itararé, padre Alfredo Simon, que reuniu cerca de vinte homens aramados para capturar esse santo. Nesse conflito religioso que ocorreu no dia 26/4/1933 duas pessoas foram mortas: o comerciante do Arraial dos Pintos, João Moreira, e o herdeiro do Bom Jesus, José Pinto de Oliveira. Esse último veio a falecer meses depois do conflito. Ao redor dessa imagem foi sendo criada uma história oficial e vigiada pelos donos do poder simbólico, mantenedora da ordem e da tradição. No entanto, a história do Bom Jesus foi compreendida numa concepção mais ampla, pois na esfera religiosa ocorria um fenômeno denominado de romanização. A Igreja Católica seguia o Código de Direito Canônico de 1917, não reconhecendo o Código de Direito Civil do Estado Nacional Brasileiro. Na esfera política, o governo paranaense colocou em prática o sistema de terras devolutas. No setor dos transportes, a estrada de ferro RVPRSC (Rede Viária Paraná Santa Catarina) já se encontrava na região desde 1919. E nesse ínterim, as novas relações sócio-culturais e econômicas foram introduzidas no campo, isto é, o capitalismo agrário.(AU)

Made available in DSpace on 2016-08-03T12:29:48Z (GMT). No. of bitstreams: 1 Anap1-150.pdf: 1261470 bytes, checksum: b2621bfda6c744c73f0aad7c82032d35 (MD5) Previous issue date: 2013-04-08 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This study about Management Media Relations (MMR) at private Universities aims to identify and analyze how this area of Business Communication has worked for the following Higher Education Institutions (HEI) in São Paulo: Ibirapuera University, University of Santo Amaro, University city of São Paulo and Paulista University, corpus defined based on previous exploratory research. This study we demonstrate the importance of MMR as part of strategic intelligence sector in the HEI. Thus, we believe that this area of Business Communication can contribute, through the symbolic power relations that are established in the media, for the recognition and appreciation of these institutions in the educational setting current Brazilian. This study aims, analyze contributions of MMR in building an image of credibility and reputation of the HEI; we seek also reflect on the theory and practice Corporate Communication sector through empirical research, observing their communication structure and actions taken and analyzes relating to the concepts found in the references about this theme. Diverse methodological techniques and instruments were used to achieve the objectives proposed in this study, including the documentary analysis, bibliographic research, semi-structured interviews and content analysis. Observed through this study that the practice of GRM remains incipient in those institutions where the main focus of strategic thinking and communication planning is in advertising actions, in policies of internal communication and basic actions, if not punctual press relations. / Este estudo sobre a Gestão de Relacionamento com a Mídia em universidades privadas pretende avaliar como esta área da Comunicação Empresarial tem sido conduzida pelas seguintes Instituições de Ensino Superior de São Paulo: a Univ. Ibirapuera, a Univ. de Santo Amaro, a Univ. Cidade de São Paulo e a Universidade Paulista, corpus definido com base em pesquisa exploratória prévia. Buscamos demonstrar neste estudo, o papel fundamental da GRM, sendo considerada como parte da inteligência estratégica das IES. Sendo assim, entendemos que esta área da Comunicação Empresarial pode contribuir, por meio das relações de poder simbólico que se estabelecem na mídia, para o reconhecimento e a valorização dessas instituições no cenário educacional brasileiro atual. Este estudo tem como objetivos, verificar as contribuições da GRM na construção de uma imagem e reputação de credibilidade das IES; Buscamos também refletir sobre a teoria e prática Comunicação Empresarial no setor por meio de pesquisa empírica, observando sua estrutura de comunicação e ações realizadas e relacionando as análises aos conceitos encontrados nas referências bibliográficas sobre o tema. Técnicas e instrumentos metodológicos diversos foram utilizados para alcançar os objetivos propostos neste estudo, entre eles, a análise documental, a pesquisa bibliográfica, entrevistas semiestruturadas e a análise de conteúdo. Observamos por meio deste estudo que a prática da GRM se mantém insipiente nessas instituições, onde o foco principal do pensamento e planejamento estratégico de comunicação está nas ações publicitárias mercadológicas, em políticas de comunicação interna e ações básicas, quando não pontuais de assessoria de imprensa.

Made available in DSpace on 2014-06-11T19:32:22Z (GMT). No. of bitstreams: 0 Previous issue date: 2010-08-10Bitstream added on 2014-06-13T19:43:01Z : No. of bitstreams: 1 fonseca_aa_dr_fran.pdf: 3815676 bytes, checksum: ae699d308b78d7cda4e085b3d3683f9c (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Na década de 1950 o professor Mário Palmério (1916-1996), futuro autor de Vila dos Confins (1956), foi representado pela imprensa do Triângulo Mineiro como um verdadeiro mito da cultura política regional. Neste período, como candidato a deputado federal, ele irrompeu como uma espécie de herói salvador nas lutas de representações que procuravam impor um conjunto de ideias para responder às crises sociais, políticas, econômicas e identitárias dessa região historicamente agitada por movimentos separatistas. Para isso, tal como um personagem de si mesmo, o jovem professor atuou conscientemente durante mais de dez anos para teatralizar uma imagem pública, conquistar distinção social, acumular prestígio e consagrar o seu nome no cenário regional. Novato na vida partidária, este ator social interpretou os anseios de seu tempo, mobilizou os circuitos de opinião das elites e promoveu uma autopropaganda intensiva para afirmar a vinculação de sua figura a uma série de valores profundamente enraizados na cultura local. Neste período, as crises que perturbavam aquela sociedade fermentavam um campo muito propício para a elaboração de mitologias. Por tudo isso, em seu discurso, ao invocar o poder das forças históricas em nome da união de seu povo; ao apontar com firmeza o caminho “certo” e “seguro” para a superação das crises; e ao anunciar com entusiasmo a iminente conquista da civilização, da cultura e da prosperidade em sua região, o guerreiro messiânico encenado de modo espetacular pelo candidato Mário Palmério correspondeu à ansiedade dos eleitores por um signo de modernidade capaz de suplantar o monopólio da economia agrária que, naquele momento de instabilidade, parecia definitivamente condenada à bancarrota. A presente pesquisa procura compreender a ascensão profissional, social e política de Mário Palmério, relacionando as aspirações da cultura... / In 1950 Professor Mário Palmério (1916-1996), future writer of Vila dos Confins (1956), was represented by the press of Triângulo Mineiro as a great myth of the regional political culture. During this period, as a federal congressman candidate, he emerged as a hero savior in the representative campaigns that wanted to impose a set of ideas to respond to social, political, economic and identity crises of this region historically troubled by separatist movements. To do so, as a character of himself, the young teacher worked conscientiously for over ten years to dramatize his public image, achieve social distinction, get people’s prestige and consolidate his name in the regional scene. As a beginner in political life, this social activist interpreted the anxieties of his time, mobilized the opinion of the elite towards his name and promoted an intensive self-publicity to assert his linking to a series of values deeply rooted in the regional imaginary. In that time, the crises that plagued that society fed a very favorable field to the development of mythologies. For all that, in his speech, to invoke the power of historical forces on behalf of the union of his people; to firmly point the “right” and “safe” way to overcome the crisis; and when he enthusiastically announced the imminent civilization, culture and prosperity conquest in his region, the messianic warrior spectacularly staged by the enshrined Mário Palmério corresponded to the voters’ anxiety for a sign of modernity able to overcome the monopoly of an agrarian economy that, in that instable time, definitely seemed to be condemned to bankruptcy. This research aims to comprehend Mário Palmério’s professional, social and political rise, connecting the aspirations of the regional culture to the symbol denoted by this character on that society to play a sacred and heroic representation of his image and history / En la década de 1950, el profesor Mário Palmério (1916-1996), futuro autor de “Vila dos Confins” (1956), fue representado por la prensa del Triángulo Minero como un verdadero mito de la cultura política regional. En ese período, como candidato a diputado federal, él irrumpió como una especie de héroe salvador en las luchas de representaciones que procuraban imponer un conjunto de ideas para responder a las crisis sociales, políticas, económicas y de identidades de esa región históricamente agitada por movimientos separatistas. Para ello, tal como un personaje de uno mismo, el joven profesor actuó conscientemente durante más de diez años para teatralizar una imagen pública, conquistar distinción social, acumular prestigio hasta consagrar su nombre en el escenario regional. Novato en la vida partidaria, este actor social interpretó las ansiedades de su tiempo, movilizó los circuitos de opinión alrededor de su nombre y promocionó una auto propaganda intensiva para afirmar la vinculación de su figura a una serie de valores profundamente arraigados en la cultura regional. En ese periodo, las crisis que perturbaban aquella sociedad fermentaban un campo muy propicio para la elaboración de mitologías. Por todo ello, en su discurso, al invocar el poder de las fuerzas históricas en nombre de la unión de su pueblo , al apuntar con firmeza el camino “cierto” y “seguro” para la superación de las crisis; y al anunciar con entusiasmo la eminente conquista de la civilización, de la cultura y de la prosperidad en su región, el guerrero mesiánico protagonizado de modo espectacular por el consagrado Mário Palmério correspondió a la ansiedad de los electores por un signo de modernidad capaz de suplantar el monopolio de la economía agraria que, en aquel momento de inestabilidad, parecía definitivamente condenada a la bancarrota. La presente investigación busca... (Resumen completo clicar acceso eletronico abajo)

Orientador: Teresa Maria Malatian / Banca: Rosangela Patriota Ramos / Banca: Karina Anhezini de Araújo / Banca: Marisa Saens Leme / Banco: Suzeley Kalil Mathias / Resumo: Na década de 1950 o professor Mário Palmério (1916-1996), futuro autor de Vila dos Confins (1956), foi representado pela imprensa do Triângulo Mineiro como um verdadeiro mito da cultura política regional. Neste período, como candidato a deputado federal, ele irrompeu como uma espécie de herói salvador nas lutas de representações que procuravam impor um conjunto de ideias para responder às crises sociais, políticas, econômicas e identitárias dessa região historicamente agitada por movimentos separatistas. Para isso, tal como um personagem de si mesmo, o jovem professor atuou conscientemente durante mais de dez anos para teatralizar uma imagem pública, conquistar distinção social, acumular prestígio e consagrar o seu nome no cenário regional. Novato na vida partidária, este ator social interpretou os anseios de seu tempo, mobilizou os circuitos de opinião das elites e promoveu uma autopropaganda intensiva para afirmar a vinculação de sua figura a uma série de valores profundamente enraizados na cultura local. Neste período, as crises que perturbavam aquela sociedade fermentavam um campo muito propício para a elaboração de mitologias. Por tudo isso, em seu discurso, ao invocar o poder das forças históricas em nome da união de seu povo; ao apontar com firmeza o caminho "certo" e "seguro" para a superação das crises; e ao anunciar com entusiasmo a iminente conquista da civilização, da cultura e da prosperidade em sua região, o guerreiro messiânico encenado de modo espetacular pelo candidato Mário Palmério correspondeu à ansiedade dos eleitores por um signo de modernidade capaz de suplantar o monopólio da economia agrária que, naquele momento de instabilidade, parecia definitivamente condenada à bancarrota. A presente pesquisa procura compreender a ascensão profissional, social e política de Mário Palmério, relacionando as aspirações da cultura... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: In 1950 Professor Mário Palmério (1916-1996), future writer of Vila dos Confins (1956), was represented by the press of Triângulo Mineiro as a great myth of the regional political culture. During this period, as a federal congressman candidate, he emerged as a hero savior in the representative campaigns that wanted to impose a set of ideas to respond to social, political, economic and identity crises of this region historically troubled by separatist movements. To do so, as a character of himself, the young teacher worked conscientiously for over ten years to dramatize his public image, achieve social distinction, get people's prestige and consolidate his name in the regional scene. As a beginner in political life, this social activist interpreted the anxieties of his time, mobilized the opinion of the elite towards his name and promoted an intensive self-publicity to assert his linking to a series of values deeply rooted in the regional imaginary. In that time, the crises that plagued that society fed a very favorable field to the development of mythologies. For all that, in his speech, to invoke the power of historical forces on behalf of the union of his people; to firmly point the "right" and "safe" way to overcome the crisis; and when he enthusiastically announced the imminent civilization, culture and prosperity conquest in his region, the messianic warrior spectacularly staged by the enshrined Mário Palmério corresponded to the voters' anxiety for a sign of modernity able to overcome the monopoly of an agrarian economy that, in that instable time, definitely seemed to be condemned to bankruptcy. This research aims to comprehend Mário Palmério's professional, social and political rise, connecting the aspirations of the regional culture to the symbol denoted by this character on that society to play a sacred and heroic representation of his image and history / Resumen: En la década de 1950, el profesor Mário Palmério (1916-1996), futuro autor de "Vila dos Confins" (1956), fue representado por la prensa del Triángulo Minero como un verdadero mito de la cultura política regional. En ese período, como candidato a diputado federal, él irrumpió como una especie de héroe salvador en las luchas de representaciones que procuraban imponer un conjunto de ideas para responder a las crisis sociales, políticas, económicas y de identidades de esa región históricamente agitada por movimientos separatistas. Para ello, tal como un personaje de uno mismo, el joven profesor actuó conscientemente durante más de diez años para teatralizar una imagen pública, conquistar distinción social, acumular prestigio hasta consagrar su nombre en el escenario regional. Novato en la vida partidaria, este actor social interpretó las ansiedades de su tiempo, movilizó los circuitos de opinión alrededor de su nombre y promocionó una auto propaganda intensiva para afirmar la vinculación de su figura a una serie de valores profundamente arraigados en la cultura regional. En ese periodo, las crisis que perturbaban aquella sociedad fermentaban un campo muy propicio para la elaboración de mitologías. Por todo ello, en su discurso, al invocar el poder de las fuerzas históricas en nombre de la unión de su pueblo , al apuntar con firmeza el camino "cierto" y "seguro" para la superación de las crisis; y al anunciar con entusiasmo la eminente conquista de la civilización, de la cultura y de la prosperidad en su región, el guerrero mesiánico protagonizado de modo espectacular por el consagrado Mário Palmério correspondió a la ansiedad de los electores por un signo de modernidad capaz de suplantar el monopolio de la economía agraria que, en aquel momento de inestabilidad, parecía definitivamente condenada a la bancarrota. La presente investigación busca... (Resumen completo clicar acceso eletronico abajo) / Doutor

Dans Les Règles de l'art, Bourdieu propose une science des œuvres. A l'aide des concepts de champ, d'habitus, d’espace des possibles, il tente de faire le lien entre la littéraire et le social. Son approche récuse toute tentation psychologisante et ferme la porte à toute explication du processus créatif en termes de génie, de sensibilité ou d’inspiration. La littérature est d’abord au carrefour des faits sociaux. Les textes sont des faits sociaux, comme apparition mais aussi comme expression. Ils ne sont ni à sacraliser ni à désacraliser. Bourdieu tente de rendre intelligible l’espace littéraire des auteurs. Il veut mettre en lumière ce qui rend l’œuvre d’art nécessaire, c’est-à-dire sa formule informatrice, son principe générateur, sa raison d’être. Il affirme qu'au fond l'écrivain, quelle que soit son orientation, n'a pas d'autres choix que d'être traversé par la sociologie de son époque. Il suggère même que tout effort de distanciation formelle, supposant que l'œuvre soit un ailleurs du réel, est signe de cette connaissance intuitive du réel lui-même. L’Education Sentimentale de Flaubert se prête particulièrement bien à ce paradigme analytique. En s’arrêtant sur la deuxième moitié du XIXe siècle, Bourdieu décrit la genèse et le processus d’autonomisation de l’espace littéraire qui entérine le fonctionnement du champ. Il essaie alors de montrer comment les règles sont articulées par/dans une configuration sociale, politique, économique, culturelle et quelle place nouvelle occupe, dans cette modernité, l'artiste. / I have used Pierre Bourdieu’s sociological approach as a critical tool for the study of literary texts. As a sociologist, Bourdieu is not satisfied with the notion that the literary text would be isolated from the world and considers the writer as a product of economic, social, religious or political circumstances that may be recovered through analysis. According to Bourdieu, the development of literature as an independent field goes hand in hand with the expansion of a liberal politics, a connection critics refuse to recognize as they will believe in the myth of inspired creation. Bourdieu retraces to the nineteenth century the moment when literature became independent and describes how twentieth-century literature is but a perpetuation of nineteenth-century literary myths. I also look at the ways the specialists of Flaubert responded to the publication of Les Règles de l’art as the book provoked heated debates when it was issued. I have especially examined the arguments of critics hostile to Bourdieu in order to demonstrate how such an emblematic figure as Flaubert embodies what is at stake when one questions the notion of literature. How can Bourdieu fit in literary studies? One has to be careful interpreting the title of Bourdieu’s book. Les Règles de l’art is no prescriptive book : Bourdieu is not the one who sets the rule nor does he suggest that there were no rules before the advent of the modern age. He is simply trying to show how, from the start of this period, the literary world is determined by specific social, political, economic and cultural conditions and questions the particular role played by the artist in this new state of things.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / Since early times, human being felt the need of naming things, people and places, in order to organize, control and recreate the world around him. For that to happen, he resorts to the lexicon, through which develops a linguistic system, culminating in the production of a tangle of words that are common to each language. Thus, this study has as its aim determine the influence of a dominant religious ideology in choosing anthroponyms in the parish of St. Christopher, the oldest in the state of Sergipe, in the period 1883-1910. In order to do that, we used the books of registries of baptism are in the Church of Our Lady of Victory. Our methodology is the description and analysis of a considerable amount of manuscripts, showing, in the anthroponyms in question, that the choice of the individual's name is associated with some religious nature of the event, as the day of a saint's birth or by in search of divine protection. The theoretical and methodological foundations that support this research relate, first, the documentary analysis, the philological bias of textual criticism, in concepts covered by Berwanger and Leal (2008) Cambraia (2005), Samara (2005), Acioli (1994), Blanco (1987), Spina (1970), seeking assistance in other sciences, such as paleography, to carry out the semidiplomatic edition, in order to reconstruct the manuscripts by survey and categorization of names, easy to read and the understanding of the content. On the other hand, research permeates the field of Onomasiology, clarifying the association that man makes between words and things, using for this purpose, the teachings of Bakhtin (2006), Carvalhinhos (2007; 2008), Fiorin (2007), Martins (1991), Dick (1997; 1998), Bourdieu (1989; 2004), Guérios (1981), which to help you understand how they processed the appointment in the parish of Saint Kitts between the colonial and imperial periods, taking into account the historical facts revealed in the analyzed corpus, demonstrating the ideology of the Catholic Church as a power structure that strongly influenced, dictating and controlling thoughts and actions of people in the captaincy of Sergipe Del Rey. / Desde cedo, o homem sentiu necessidade de atribuir nomes às coisas, às pessoas e aos lugares, para organizar, controlar e recriar o mundo ao seu redor. Para que isso aconteça, ele recorre ao léxico, através do qual, desenvolve o seu sistema linguístico, culminando na produção de um emaranhado de vocábulos que são comuns a cada língua. Dessa maneira, este estudo visa reconhecer a influência de uma ideologia religiosa dominante na escolha dos antropônimos na freguesia de São Cristóvão, a mais antiga do Estado de Sergipe, no período compreendido de 1883 a 1910. Para tanto, foram utilizados os livros de batizados que estão no arquivo da Igreja Matriz Nossa Senhora da Vitória. A metodologia se configura na descrição e análise de uma quantidade considerável de manuscritos, demonstrando nos antropônimos em apreço que a escolha do nome do indivíduo está associada a algum evento de cunho religioso, seja pelo santo do dia do seu nascimento, seja por um pedido de proteção. Os fundamentos teórico-metodológicos que embasam esta pesquisa prendem-se, por um lado, à análise documental, pelo viés filológico da crítica textual, em conceitos abordados por Berwanger e Leal (2008), Cambraia (2005), Samara (2005), Acioli (1994), Blanco (1987), Spina (1970), buscando auxílio em outras ciências, como a paleografia, para a realização da Edição Semidiplomática, no intuito de reconstituir os manuscritos, mediante levantamento e categorização dos nomes, facilitando a leitura e a compreensão do conteúdo. Por outro lado, a investigação permeia o campo da Onomasiologia esclarecendo a associação que o homem faz entre as palavras e as coisas, recorrendo, para tanto, aos ensinamentos de Bakhtin (2006), Carvalhinhos (2007; 2008), Fiorin (2007), Martins (1991), Dick (1997; 1998), Bourdieu (1989, 2004), Guérios (1981), que ajudam a compreender a forma como se processou a nomeação na freguesia de São Cristóvão entre os períodos colonial e imperial, levando-se em consideração os fatos históricos revelados no corpus analisado, demonstrando a ideologia da Igreja Católica, como uma estrutura de poder que exerceu forte influência, ditando regras e controlando pensamentos e ações das pessoas na Capitania de Sergipe Del Rey.

L’émergence de la Chine dans le système international post-guerre froide pose un défi pour la position hégémonique des États-Unis et l’ordre mondial libéral. Lorsqu’ils tentent d’expliquer ce défi, les spécialistes tendent à se concentrer uniquement soit sur le hard power chinois (en particulier, sa puissance militaire) soit sur son soft power (l’attrait de sa culture et idéologie). Cette thèse développe un cadre d’analyse alternatif inspiré de la sociologie de Pierre Bourdieu, articulé autour de la notion de pouvoir symbolique. Elle conçoit la politique internationale en termes d’une lutte symbolique (entre, par exemple, une orthodoxie et une hétérodoxie) dont l’issue est déterminée par au moins trois facteurs cruciaux : contexte, capital et lieux communs. Ce cadre est appliqué à l’analyse du nouveau rôle de la Chine dans le monde depuis la fin de la guerre froide, lequel est indiscutablement l’un des développements les plus remarquables des relations internationales des temps modernes. La thèse démontre que la Chine ne défie pas l’hégémonie des États-Unis et l’ordre mondial libéral au sens conventionnel de la puissance matérielle ou de l’idéologie, mais plutôt au niveau symbolique. La thèse soutient que la conjonction des trois facteurs susmentionnés a été nécessaire à l’influence mondiale de la Chine : (1) la crise de légitimation des États-Unis (sur les plan économique, politique et idéologique), couplée à l’extraordinaire ascension de nouvelles puissances dans le système international comme la Chine, ont créé un contexte historique favorable ou « condition de possibilité »; (2) l’énorme capital symbolique accumulé par la Chine, en raison non seulement de son nouveau statut de grande puissance, mais aussi de son approche pragmatique des questions nationales et internationales, en a fait une source d’inspiration convoitée mondialement ; (3) la mobilisation stratégique par la Chine de son capital symbolique, sous la forme d’un ensemble de lieux communs ‘rhétoriques’, a grandement contribué à légitimer sa puissance, en particulier aux yeux des élites dirigeantes dans le monde en développement, dissimulant ainsi le caractère asymétrique et arbitraire de ses relations. Ensemble, ces trois éléments –contexte, capital, lieux communs– expliquent le pouvoir symbolique de la Chine, c’est-à-dire la perception selon laquelle, contrairement aux États-Unis, elle propose des réponses pertinentes et cohérentes aux problèmes d’organisation sociale, économique et politique de ce monde. L’ascension de la Chine remet ainsi en question le « méta-capital » des États-Unis, c’est-à-dire son monopole sur la production du capital économique, social, culturel et symbolique. L’accent mis sur cette dimension symbolique de la lutte pour définir et imposer la « vision légitime du monde social et ses divisions » révèle une rupture avec la pratique conventionnelle de la politique des grandes puissances, au profit d’une transformation pacifique du système international et d’une diplomatie symbolique. Cet accent sur le pouvoir symbolique ouvre des avenues prometteuses pour l’étude du changement et des sources d’autorité sur la scène politique mondiale, traditionnellement définie comme « anarchique ». / China’s rise within the international system in the post-Cold War era challenges the hegemonic position of the United States and the Western liberal order. In trying to explain this challenge, scholars tend to either focus on Chinese hard power (in particular, its military power) or on its soft power (the attractiveness of its culture and ideology). This thesis develops an alternative Bourdieu-inspired framework addressing symbolic power. It conceptualizes international politics in terms of a symbolic struggle (such as that between orthodoxy and heterodoxy) whose outcome is determined by at least three crucial factors: context, capital and commonplaces. The framework is applied to the analysis of China’s new world role, which is arguably one of the most remarkable developments in modern international relations. The thesis shows that China does not challenge U.S. hegemonic position and the Western liberal order in the conventional sense of material power or ideology, but rather at the symbolic level. The thesis argues that the combination of the three above-mentioned factors has been necessary to China’s worldwide influence : (1) the legitimation crisis of the United States (economically, politically and ideologically), paired with the extraordinary rise of new illiberal powers on the world scene such as China, created a favourable historical context or “condition of possibility”; (2) the huge amount of symbolic capital accumulated by China, not only because of its new status as a great power, but also because of the success of its pragmatic approach to national and international issues, made it become a source of inspiration for countries across the world; (3) the strategic mobilization by China of its symbolic capital, in the form of ‘rhetorical’ commonplaces, greatly contributed to legitimize its power, especially in the eyes of ruling elites in the developing world, thereby dissimulating the asymmetric and arbitrary nature of the Chinese power and relations. Together, these three components -context, capital, and commonplaces- explain the emergence of China as a symbolic power, i.e. the perception that, unlike the United States, China now has the authority to speak the truth and to define causes of and remedies for certain problems and crises. China’s rise challenges the Unites States’ ‘meta-capital’, that is, its monopoly on the production of economic, social, cultural, and symbolic capital. The focus on this symbolic dimension as a ‘weapon’ in the struggle to define and impose the “legitimate vision of the social world and its divisions” reveals a rupture in the conventional practice of great powers politics, pointing to a peaceful transformation of the international system and symbolic diplomacy. It shows that a focus on symbolic power opens promising avenues for the study of change and sources of authority in world politics, traditionally defined as “anarchic”.

Die Echtzeitmusikszene ist eine zeitgenössische Musikszene, die Mitte der 1990er in Berlin entstanden ist. Seitdem entwickelte sie sich in eine umfangreiche, musikalisch vielfältige, lokale, aber auch extrem internationale Musiker-Community, mit dem Schwerpunkt auf improvisierter und experimenteller Musik. Der Begriff ‚Echtzeitmusik‘ markierte zunächst die Abgrenzung der jungen von der älteren Generation der Berliner Improvisatoren. Die jüngeren Musiker entwickelten bald eine besondere Klangästhetik sowie die Praxis des Improvisierens, was oft als ‚Berlin Reductionism‘ bezeichnet wird. Sich selbst identifizierten sie vor allem mit dem Begriff ‚Composer-Performer‘. Die musikalischen Entwicklungen in der Echtzeitmusik Szene lassen sich innerhalb der Traditionen der Freien Improvisation einerseits und der Cageschen Kompositionstheorie andererseits kontextualisieren. Ausserdem wurden die Entstehung der Szene, ihre Entwicklung und Existenz stark von den einzigartigen räumlichen, sozialen und ökonomischen Bedingungen in Berlin nach der Wende beeinflusst und bestimmt. Die Echtzeitmusik Szene ist ein Beispiel für ein hoch autonomes Feld der Kulturproduktion, in dem das sogenannte symbolische Kapital (Reputation) die wichtigste Kapitalart und ein Machtmittel darstellt. Die Verteilung des symbolischen Kapitals in der Szene manifestiert sich in einer auf den ersten Blick versteckten Hierarchie. Die Mitglieder der Szene teilen eine gemeinsame symbolische Ebene und nehmen an einem klar strukturierten und organisierten Szeneleben teil. Sowohl soziale als auch musikalische Handlungen der Szeneakteure zeigen gewisse Gemeinsamkeiten und Regularitäten, die mit Bourdieu’s Habitus-Begriff erklärt werden. Der Szenediskurs spielt eine wichtige Rolle in den Prozessen der Identifikation, Distinktion und Gemeinschaftsbildung, als auch in der Regulierung der Praxis in der Szene dadurch, dass es als ein Orientierungspunkt für die Insider, aber auch für die Aussenstehenden dient. / The Echtzeitmusik scene is a contemporary music scene that emerged in Berlin in the mid-1990s and evolved into an extensive and musically diverse local, yet extremely international community of musicians, who are involved in improvised and experimental music. The term ‘Echtzeitmusik’, literally meaning ‘real-time music’, marked the distinction between the younger and older generation of Berlin improvisers. The younger musicians had soon developed a specific sound aesthetic and approach to improvising, often labeled as ‘Berlin Reductionism’, and identified themselves as ‘composer-performers’. The musical developments in the Echtzeitmusik scene can be contextualized within the traditions of both Free Improvisation and John Cage’s compositional theory; on the other hand, the scene’s emergence, development and existence have been strongly influenced by the unique spatial, social and economic context of the post-wall Berlin from the early 1990s until today. The Echtzeitmusik scene is an example of a highly autonomous field of cultural production, in which the most important type of capital and means of “power” is the so-called symbolic capital (reputation), based on the musicians’ cultural capital (e.g. musical skill and individuality) and even more on their social capital (social relations). The distribution of symbolic capital within the scene is manifested in its, at first sight hidden, hierarchy. The members of the scene share a common symbolic level and take part in a clearly structured and organized scene-life. Both social and musical actions of the scene’s members show commonalities and regularities, which are explained by Bourdieu’s concept of habitus. The scene’s discourse plays an essential role in the processes of identification, distinction and community-making, as well as regulating the practice within the scene, by serving as a point of orientation on the inside and towards the outside.