A presente pesquisa procura discutir uma série de cantos da etnia Sateré Mawé, tendo como ponto de partida a produção e memória musical da liderança André Sateré Mawé, tuxaua da comunidade Waikiru Tarumã, localizada na cidade de Manaus, Amazonas. Para esse recorte, percorremos o repertório da música do Ritual da Tucandeira, de outras músicas de tradição oral, de cantos compostos pela tuxaua Nandia Sateré, mãe de André, bem como da produção autoral do próprio André, como expressão de uma música que concilia elementos da tradição Sateré Mawé (símbolos culturais e língua, por exemplo) com o contexto contemporâneo. Para isso, foi realizada uma etnografia de eventos musicais encontrados em campo, nos traçados geográficos e simbólicos que percorremos, entre os espaços da comunidade Waikiru (Manaus-Amazonas) e Monte Salém (Maués - Amazonas), além de outros espaços rituais e de reunião, constituindo o que chamamos de rede musical. Na pesquisa, procuramos desenvolver também uma reflexão sobre o lugar que a música indígena Sateré Mawé ocupa como expressão da música brasileira e sobre a relação entre homem e natureza nas sonoridades de cunho ritual, político e memorial. / The present research seeks to discuss a series of songs of the Sateré Mawé ethnic group, starting with the production and musical memory of the leadership André Sateré Mawé tuxaua of the community Waikiru Tarumã, located in the city of Manaus, Amazonas. In order to do this ethnographic cut, we go through the repertoire of the music of the Ritual of Tucandeira, other songs of oral tradition, songs composed by the tuxaua Nandia Sateré, André\'s mother, as well as authorial compositions of André himself, as an expression of a song that reconciles elements of the Sateré Mawé tradition (cultural symbols and language, for example) with the contemporary context. For this, an ethnography of musical events was carried out in the field, in the geographical and symbolic tracts that we visited, between the spaces of the community Waikiru (Manaus - Amazonas) and Monte Salém (Maués - Amazonas), besides other ritual and meeting spaces, constituting what we call musical network. In the research, we also try to develop a reflexion on the place that Sateré Mawé indigenous music occupies as an expression of Brazilian music and on the relationship between man and nature in ritual, political and memorial sounds.

Roman mémoriel, roman familial, roman d’apprentissage, autofiction… Voilà quelques concepts génériques qui m'ont guidé lors de l'élaboration de ce projet en recherche et création. Le point de départ a consisté en une quête identitaire, qui s’est résorbée en une recherche des origines, symbolisée par la figure de mon grand-père inconnu que j’ai tenté de démystifier. Car on m’a toujours dit qu’il avait écrit un roman, intitulé Orage sur mon corps, ce qui a provoqué chez moi diverses impressions et déformations imaginaires. Je croyais par exemple que mon grand-père, Émile, avait partagé les idées et l'état d'esprit qui circulaient durant les années 1940, alors que le Canada français connaissait une première vague de modernisation culturelle. Ces informations, malheureusement, ne se sont pas avérées tout à fait exactes. Et comme cette quête plus personnelle s'est achevée, non sans une certaine insatisfaction, mes recherches se sont poursuivies dans un essai portant essentiellement sur l'œuvre d'André Béland, auteur qui correspond, plus ou moins, à la figure mythique de mon grand-père. Cet essai ne vise pas à juger ni à réhabiliter l’auteur, mais simplement à jeter un peu de lumière sur son œuvre méconnue, parce que la « réappropriation identitaire se centre toujours aussi sur la transmission » (Régine Robin). / Memorial romance, family romance, bildungsroman, autofiction… These are the concepts that inspired me in this creative research project. The starting point was a quest for identity, linked to a quest of the origins, symbolized by my unknown grandfather, a figure that I tried to demystify. Younger, I heard he had written a novel, Orage sur mon corps, which stirred in me various impressions and thwarted imaginations. I thought for example that my grandfather, Emile, had shared the ideas and mindset that circulated during the 1940s, while French Canada lived its first wave of cultural modernization. This version of the story, unfortunately, was not quite accurate. As a result of my dissatisfaction, my research progressed through an essay focusing on the work of André Béland, an author who corresponds better to the mythical figure of my grandfather. This essay is not intended to judge or to lionize the character, but to shed some light on his neglected work.

Célèbre dans l’histoire du théâtre pour avoir fondé en 1887 le Théâtre-Libre et ainsi révolutionné la mise en scène moderne, André Antoine a consacré la dernière partie de sa vie au cinéma, tournant huit films entre 1915 et 1922 pour la Société cinématographique des auteurs et gens de lettres, puis pour la Société d’éditions cinématographiques, avant de se consacrer à la critique, dramatique et cinématographique, dans plusieurs journaux. Cette dernière partie de sa vie laissa peu de traces dans l’histoire du cinéma et ses films, comme ses critiques et textes théoriques sur le cinéma, sont encore méconnus. Inspiré par les théories naturalistes d’Émile Zola, Antoine appliqua au nouvel art une méthode rigoureuse reposant sur l’expérience du milieu. Il se heurta ainsi aux tendances avant-gardistes qui gagnèrent le cinéma au début des années 1920. Or, c’est l’intérêt de cette valeur expérimentale de son cinéma, où priment la recherche, l’observation et l’expérience, que cette thèse met en lumière, en montrant les réseaux de convergence entre la méthode singulière d’Antoine et les pratiques et discours qui animèrent le cinéma au tournant de la Première Guerre mondiale, moment clef de sa légitimation en tant qu’art. Cette étude repose sur une analyse approfondie des films d’Antoine, de ses archives personnelles, des archives de production, et des nombreux écrits qu’il a produits sur le cinéma, entre 1915 et 1928, année de rupture dans un combat pour la reconnaissance de l’auteur de film qui opposa le metteur en scène aux cinéastes de la Première vague. / André Antoine’s place in theatre history is earned through his 1887 founding of the Théâtre-Libre and revolutionizing of modern mise en scène, but it is cinema that occupied the last part of his life as he made eight films between 1915 and 1922 for the Société cinématographique des auteurs et gens de lettres (“Film Society of Authors and Men of Letters”) and then for the Société d’éditions cinématographiques (“Society of Film Editions”), before devoting himself to theatre and film critic in several newspapers. These late years left few traces in film history, and both his films and his critical and theoretical writings remain largely unknown. Inspired by Emile Zola’s naturalist theories, Antoine took to the new art form a rigorous method based on the experience of environment. He clashed with avant-garde trends which were making their way to cinema in the early 1920s. This thesis highlights the experimental value of Antoine’s cinema, which gives a special role to research, observation and experience, by demonstrating the convergence of his special method with practices and discourse animating cinema at the turn of the World War I, a key moment of its legitimation as an art form. This study is based on in-depth analysis of Antoine’s films, his personal archives, production notes, as well as numerous texts he wrote on cinema between 1915 and 1928, the climactic year in the struggle for authorship recognition between Antoine and filmmakers of the First avant-garde.

Bénéficiant d'une relative prospérité, la province de Braga, dans le nord-ouest du Portugal, qu'on appelle traditionnellement le Minho, a vu fleurir, dans la seconde moitié du XVIIIe siècle, un nombre assez considérable et relativement homogène d'œuvres d'art fortement inspirées par l'ornementation rocaille parisienne et augsbourgeoise mais d'une indéniable originalité et d'une remarquable qualité. Loin de l'image d'un art collectif, anonyme et traditionnel, ce «rococo minhote» tire sa vitalité d'individualités créatrices qui peuvent s'exprimer dans la continuité, grâce, d'une part, à la virtuosité de tailleurs de pierre et de sculpteurs sur bois sachant donner vie à leurs projets d'architecture et de retables les plus difficiles, et, d'autre part, à la rivalité de quelques commanditaires soucieux d'actualité et de qualité esthétiques encouragés à l'ostentation par la présence successive de deux archevêques de sang royal à la tête de la province. Aux figures déjà connues mais reconsidérées de l'amateur André Soares (1720-1769) et du moine sculpteur Frère José Vilaça (1731-1809), viennent se joindre, plus ou moins hypothétiquement, celles du père António Soares da Silva (1716-1770), du jeune Carlos Amarante (1748-1815), plus connu pour sa très classique église du Bom Jesus, du sculpteur António da Cunha Correia Vale et d'un anonyme «maître de Labruja», parmi d'autres artistes plus ou moins obscurs ou actifs. / In the second half of the Eighteenth Century, numerous works of art of outstanding quality and of great originality have been created in the province of Braga, traditionally known as Minho, in the North-West of Portugal. Influenced by Rococo prints and books from Paris and Augsburg, their creators could refine continuously their design thanks to the virtuosity of stone and wood carvers who were able to give life to their most difficult projects and thanks to the rivalry of some patrons who were interested by novelty and quality in art, encouraged by the religious rulers of the province, two Archbishops that were sons of successive Kings. The leading figures, André Soares (1720-1769) and the monk sculptor Brother José Vilaça, have been known since long time, but are reconsidered, and new figures emerge: Father António Soares da Silva (1716-1770), the elder brother of André; the young Carlos Amarante (1748-1815), better known for his classical Bom Jesus church; the sculptor António da Cunha Correia Vale; and an anonymous '"Master of Labruja", between more or less obscurs craftsmen and more or Jess actives artists.

Le discours politique, à partir de 1770, période qui coïncide avec la crise parlementaire, est marqué par la récurrence des références à l’Antiquité : références positives aux modèles démocratiques, figures négatives des tyrans. Avec la Révolution, se produit une véritable saturation des références aux modèles politiques de l’Antiquité. Pourtant, les divisions des rangs révolutionnaires (modérés/girondins, jacobins/thermidoriens) entament peu à peu la crédibilité de ces modèles, dont l’oeuvre de Chateaubriand, l"’Essai sur les Révolutions" (1796, rééd. 1826), achèvera de manière systématique le démantèlement. Dans cette étude, nous nous proposons d’analyser les modalités de résurgence et de liquidation des modèles politiques antiques dans les oeuvres de Diderot ("Essai sur les règnes de Claude et de Néron") (1778 rééd. 1782), la poésie d’André Chénier postérieure au départ du poète à Londres en 1787, sa prose et ses ïambes, l’oeuvre dramaturgique du frère de celui-ci, Marie-Joseph Chénier, dans l’iconographie de David et enfin dans l’"Essai sur les révolutions" de Chateaubriand. / The political discourse in the 1770s, which coincides with the parliamentary crisis, is marked by arecurrence of references to the Antiquity with positive references to democratic models and negative figures of tyranny. These references reach a true peak with the French Revolution before the divisions between the revolutionary parties (moderate Girondists/radical Jacobins) gradually degrade their credibility. Texts of certain eliminated revolutionaries, such as that of André Chénier,demonstrate that decline. Chateaubriand’s "Essai sur les revolutions" (1796, reed. 1826) disintegrates, in a systematic manner, the political antique models, which henceforth, become perceived as triggers of revolutionary acts in the post-thermidorian period.This thesis investigates the modalities of the revival and the liquidation of the political antique models through diverse esthetical genres during the late XVIIIth and early XIXth centuries in Diderot’s "Essai sur les règnes de Claude et de Néron" (1782), the poetry and the prose of André Chénier, the theater of Marie-Joseph Chénier, David’s paintings and Chateaubriand’s "Essai sur les revolutions".

Orientadora: Profa. Dra. Adriana Capuano de Oliveira / Dissertação (mestrado) - Universidade Federal do ABC, Programa de Pós-Graduação em Ciências Humanas e Sociais, 2014. / O fluxo migratório de haitianos para o Brasil teve início após o terremoto que destruiu Porto Príncipe, capital do Haiti, e arredores em 2010. Em pouco tempo a cidade de São Paulo passou a figurar como destino de parte considerável dos imigrantes que entravam no Brasil através das fronteiras amazônicas. A Missão Paz, entidade mantida pelos missionários scalabrinianos na região central de São Paulo, passou a abrigar os imigrantes desde então. O entorno desta tornou-se um local de referência para os haitianos em São Paulo. Nesta região vivem muitos imigrantes e trabalham outros tantos, sendo possível notar o surgimento de comércios co-étnicos empreendidos por imigrantes haitianos. O alto custo de vida leva parte dos imigrantes a buscar locais alternativos à região central de São Paulo, como bairros afastados e cidades da região metropolitana, como Santo André, município onde a presente pesquisa foi desenvolvida. Além do custo do aluguel mais baixo, fatores como facilidade de locação dos imóveis e meios de locomoção, são levados em consideração pelos imigrantes, sendo possível observar que as comunidades estão se formando em regiões próximas às estações de trens. Na região do Grande ABC a comunidade haitiana mais representativa localiza-se no Núcleo Ciganos, próximo à estação Utinga da Companhia Paulista de Trens Metropolitanos. O trabalho de campo realizado nesta comunidade nos levou à percepção de fenômenos comuns a diversos fluxos migratórios, bem como a apreensão de signos particulares dos haitianos evangélicos, grupo o qual nos inserimos. As redes de contato entre os haitianos estão em constante expansão, consolidando rotas migratórias diversas. Já é possível observar imigrantes que partem do Haiti diretamente para Santo André, o que não existia há até pouco tempo atrás. Reve de Brezil, em crioulo haitiano, alude ao "Sonho Brasileiro" dos haitianos; sonho este repleto de fantasias que se desfazem com a realidade cotidiana dos imigrantes que aqui chegam. / The migration of haitians to Brazil began after the earthquake that destroyed Port Prince, capital of Haiti, and surrounding areas in 2010. In a short time the city of São Paulo has been integrated as destination of large part of immigrants who entered in Brazil through the amazon borders. The Missão Paz, supported by the scalabrini missionaries in downtown São Paulo, has housed the immigrants since then. The surroundings of this have become a reference site for haitians. In this region many immigrants live and some of them work, it is possible to note the emergence of co-ethnics trades undertaken by haitian immigrants. The high cost of living leads the immigrants to seek alternative sites regarding to São Paulo downtown, as outer boroughs and cities of the metropolitan area, such as Santo André, the county where this research was conducted. Besides cheap rent, factors such as ease for rental property and means of transportation are taken into consideration by immigrants; it is possible to observe that communities are forming in regions close to train stations. In the Grande ABC region, the most representative haitian community are located at the Núcleo Ciganos, near Utinga station from the metropolitan train company. The fieldwork in this community led us to the perception of common phenomena to various migration flows, as well as the seizure of particular signs of evangelical haitians, group which we immersed ourselves. Contact networks among haitians are constantly expanding, consolidating several migratory routes. It is possible to observe immigrants who depart from Haiti directly to Santo André, which did not exist in a very short time ago. Reve de Brezil in Haitian Creole, alludes to the "Brazilian Dream" of Haitians; this dream full of fantasies which break with the daily reality of the immigrants who arrive here.

Nesta dissertação, analisamos as experiências de luta e de conflito desenvolvidos por um grupo da Ação Católica, a Juventude Operária Católica (JOC), entre os anos de 1954 a 1964 no município de Santo André, no ABC paulista. Observamos as relações daquele grupo com a hierarquia eclesiástica da diocese em que estavam inseridos e com outras organizações de operários com os quais se relacionavam. Aquele momento apresentava um cenário mundial onde a União Soviética, comunista, e os Estados Unidos da América, capitalista, mostravam-se como grandes potências e procuravam marcar suas influências sobre as demais nações do mundo. No Brasil visualizávamos a participação do capital internacional na indústria e a expansão das tensões sociais na cidade e no campo. A Igreja Católica, no afã de evitar a expansão do comunismo e de reafirmar seu poder de influência na sociedade, pautou-se na Doutrina Social Católica e arregimentou a ação social do laicato através do programa da Ação Católica. / In this search, we analyze the experiences of fight and conflict developed by a group of the Action Catholic, the Juventude Operária Católica (Catholic Laborers Youth, JOC), among the years 1954 to 1964, in the city of Santo Andre, on ABC of São Paulo. We observed the relations of the group with the ecclesiastical hierarchy of the diocese where they were inserted and with others organizations of laborers with which they related. That moment presented a world-wide scene where the Soviet Union, communist, and the United States of America, capitalist, revealed as great powers and looked for to mark its influences on the others nations of the world. In Brazil we visualized the participation of the international capital in the industry and the expansion of the social tensions in the city and the countryside. The Church Catholic, to prevent the expansion of the communism and to reaffirm its power of influence in the society, used the Social Doctrine Catholic and congregated the social action of the secular through the program of the Action Catholic

Les recherches entreprises sur Olivier Messiaen présentent encore de nombreuses lacunes bien que cet artiste figure parmi les compositeurs les plus connus et les plus influents du XXe siècle. Puisant à des sources primaires négligées dans les Archives nationales, la Médiathèque du CNSMDP, la fondation Sacher et des collections privées, cette thèse se penche sur trois aspects mal connus de cette figure phare de la modernité : la formation musicale de Messiaen au Conservatoire national de Paris pendant les années 1920 et les liens de sa musique avec les traditions pédagogiques de cet établissement, le développement de sa technique d’emprunt, de transformation et de juxtaposition des musiques préexistantes dans son œuvre pendant les années 1930 et 1940 et, enfin, ses expériences dans les domaines de la musique microtonale et de la musique concrète. Ce travail met en évidence plusieurs œuvres oubliées du compositeur et reconsidère notre compréhension de sa manière de composer. / Despite his place of privilege among the best-known and most influential composers of the twentieth century, the state of current research on Olivier Messiaen leaves much room for development. This study focuses on three understudied aspects of this major modern figure drawing from neglected primary sources in the French National Archives, the Mediathèque of the Paris Conservatory, the Sacher Stiftung, and private collections, notably 1º Messiaen’s eductation at the Paris Conservatory during the 1920s and the relationship of his music to the institutions pedagogical traditions, 2º the development of Messiaen’s technique of borrowing, transforming and juxtaposing pre-existing music in his compositions during the 1930s and 1940s, and finally, 3º Messiaen’s experimentation in the domains of microtonal music and musique concrète. The current study brings to light many of the composer’s forgotten or lesser-known works and reconsiders our understanding of how he composed.

O tratado de contraponto, Arte Explicada de Contraponto, do lisboeta André da Silva Gomes, destaca-se na produção teórico-musical brasileira como uma obra que articula o ensino musical europeu, especialmente o português, com aquele praticado no Brasil durante o período colonial. Seu autor, quarto mestre-de-capela da Sé de São Paulo desde 1774, certamente apropriou-se dos principais modelos pedagógicos em voga na segunda metade do século XVIII, em Portugal. A única cópia encontrada de seu tratado recebeu estudos que contribuíram para a divulgação e explicação da maior parte dos preceitos dessa obra, demonstrando seu possível alcance, adquirido ao longo do século XIX. Apesar disso, a questão sobre sua recepção teórica manteve-se aberta, contendo problemas referentes aos modelos teóricos que pudessem ser verificados na obra. O objetivo geral deste trabalho é primeiro, realizar uma consolidação bibliográfica a respeito do ensino teórico-musical em Portugal ao longo dos séculos XVII e XVIII, por um lado, e, vasculhar o caminho teórico encontrado nos tratados musicais europeus que versassem, de modo explícito, sobre as regras de contraponto e as regras do acompanhamento, a fim de se verificar quais desses modelos poderiam ser identificados na obra de Silva Gomes. Como metodologia e, também, delineamento da amplitude do trabalho, elencamos os principais tratados portugueses que se encaixam em uma dessas duas categorias mencionadas, complementados oportunamente por autores espanhóis e italianos, em sua maioria. Através de análises comparativas entre os discursos desses tratados e a obra teórica de Silva Gomes, pudemos verificar a manutenção de certos cânones do ensino de música, provenientes da tradição do contraponto, e enxergar novas possibilidades de interpretação do conteúdo da Arte Explicada, através dos manuais de acompanhamento. Estes, por sua vez, sugerem caminhos aos estudos sobre a recepção teórica brasileira, pautados na tradição de ensino napolitana, cujos modelos possuíram livre trânsito entre os compositores e professores portugueses desde o século XVIII / The treatise on counterpoint Arte Explicada de Contraponto, by Lisboan André da Silva Gomes, stands out in Brazilian theoretical writings as a work which articulates European music teaching, especially Portuguese, with that conducted in Brazil during colonial period. Its author, fourth chapel master of São Paulo\'s cathedral, since 1774, certainly absorbed the main pedagogic models of Portugal in the second half of the 18th century. The only copy found of his treatise has been analyzed in few studies, which contributed to the diffusion and offered explanations for most of its precepts, demonstrating its potential range, acquired along the 19th century. However, its theoretical reception was kept open, presenting some problems regarding the possible theoretical models that could be mapped within the work. The general objective of the present work is, at first, to achieve a bibliographic consolidation concerning music theory teaching in Portugal along 17th and 18th centuries, on one hand, and on the other, to scavenge the theoretical path found in European music treatises that discuss explicitly the rules of counterpoint and accompaniment, in order to verify what are the models which could be identified within the work by Silva Gomes. As methodology and also for bounding the reach of the work, we listed the central Portuguese treatises that fit in one of the above categories, further complemented, majorly, by Spanish and Italian authors. Through comparative analyses between the discourses of such treatises and the theoretical work by Silva Gomes, we were able to verify the abiding of certain canons of music teaching, originated from the tradition of counterpoint, and to look into new possibilities of interpreting the content of Arte Explicada through manuals on accompanying. Those, in turn, suggest directions to further studies about Brazilian theoretical reception, rooted in Neapolitan tradition of teaching models, which transited freely among Portuguese composers and music teachers since the 18th century.

O presente estudo foi desenvolvido para verificar se o bioensaio Trad-MCN, desenvolvido com inflorescências de Tradescantia pallida cv. Purpurea pode discriminar riscos clastogênicos em diferentes locais e épocas na cidade de Santo André-SP, contaminada por diferentes tipos de poluentes, determinar se as variações da freqüência de micronúcleos podem ser explicadas por fatores ambientais característicos da região e verificar se o potencial acumulador de elementos químicos de T. pallida pode ser usado para mapeamento de fontes emissoras de poluentes contendo metais e outros compostos tóxicos. Vasos com a planta foram expostos em locais com alta contaminação por ozônio (Capuava e Escola), em locais com maior emissão veicular (Centro e Parque Celso Daniel) e em uma área supostamente pouco contaminada (Parque do Pedroso). Durante o período de setembro de 2003 a setembro de 2004, vinte inflorescências jovens foram colhidas quinzenalmente e a freqüência de micronúcleos (MCN) foi estimada. Durante o período de maio a junho de 2004, folhas em diferentes posições nas inflorescências da planta foram colhidas para determinação da concentração de elementos químicos, entre os quais metais pesados, pelo método da ativação de nêutrons. As condições ambientais observadas foram suficientemente estressantes para promover o aumento da freqüência de micronúcleos. O bioensaio Trad-MCN identificou forte risco clastogênico em áreas com maior emissão veicular. Entretanto, a freqüência de micronúcleos em Capuava e no Centro não foram preditas somente por poluentes atmosféricos da região. Condições climáticas extremas, como temperaturas mínima e máxima, baixa umidade relativa do ar e baixa precipitação contribuíram para a intensificação da formação de MCN. Para um sistema eficiente de biomonitoramento é recomendável minimizar os efeitos dos fatores climáticos. A análise por ativação de nêutrons identificou um evidente acúmulo foliar de elementos importantes para biomonitoramento da poluição aérea, tais como: Ba, Ce, Co, Cr, Cs, La, Rb, Sb, Sc e Zn. Verificou-se que a concentração dos metais nas folhas inseridas nas inflorescências não teve relação com a formação de micronúcleos, porém, eles foram marcadores de locais específicos, auxiliando no mapeamento das fontes poluidoras de cada região estudada. A concentração de Ba foi mais elevada nas folhas provenientes das áreas centrais, podendo ser considerado marcador de emissão veicular e La e Zn destacaram-se na área industrial da cidade, sendo considerados marcadores da emissão do pólo petroquímico. Considerando as condições em que foi desenvolvido o presente estudo, a análise das concentrações foliares de elementos tóxicos, foi mais adequada para mapear fontes de emissão de poluentes na atmosfera de Santo André. / The present study aimed at verifying if the Trad-MCN assay, developed with inflorescences of Tradescantia pallida cv. Purpurea might discriminate clastogenic risks among sites and periods at the Santo André city, contaminated by different air pollutants, determining if the variations in the frequency of micronuclei can be explained by environmental factors that characterize the stress situation in each site and verify if the accumulator potential of chemical elements of T. pallida may be used to indicate pollutant sources containing metals or other toxic compounds. Potted plants were exposed in sites characterized by high air contamination by ozone (Capuava and School) and in sites reached by high vehicular emissions (Downtown and C. Daniel Park). From September/2003 to September/2004, twenty young inflorescences were be-weekly collected from each site and the frequencies of micronuclei (MCN) were estimated. From May/2004 to June/2004, leaves of T. pallida inserted in different positions on the inflorecences were collected to determine the concentrations of chemical elements, by instrumental neutron activation analysis, among them heavy metals. The environmental conditions were stressing enough to promote an increase of chromosomal breakages in pollen mother cells of inflorescences of T. Pallida. The Trad-MCN assay identified strong clastogenic risks at the sites reached by vehicular emissions. However, the frequency of micronuclei at Capuava and Downtown could not be only predicted by pollutants that characterized the air contamination in both sites. More extreme climatic conditions, mainly low and high temperatures, low relative humidity and low rainfall, intensified the formation of MCN. Therefore, the biomonitoring system should be improved in order to minimize this negative influence of climatic factors. The neutron activation analysis identified an evident leaf accumulation of important elements for biomonitoring air pollution, such as: Ba, Ce, Co, Cr, Cs, La, Rb, Sb, Sc and Zn. There was no relation between the concentrations of metals in the leaves inserted in the inflorescences and the frequency of micronuclei, however, the metal accumulation could discriminate specific sites, contributing to the mapping of polluted sources in each region studied. Leaf concentrations of Ba were higher in central areas, so that they can be considered markers of vehicular emissions. La and Zn were evidently accumulated in leaves from the industrial areas of the city, being considered indicators of emissions from the petrochemical pole. Taking in account the conditions in which the present study was developed, the analysis of leaf concentrations leaves of toxic elements was more adequate to map emission sources of air pollutants in Santo André.