[pt] A presente dissertação foi construída a partir de inquietações com relação aos projetos de cidade e construções de espaços que são produzidos por meio de fronteiras físicas e simbólicas. À luz de tais pontos, reconheço a Cidade do Rio de Janeiro como um espaço dotado de disputas socioespaciais que expõe, por meio de exceções e continuidades, opressões e resistências, imagens de uma cidade fragmentada e disputada. No intuito de aprofundar a análise acerca da imaginada Cidade Maravilhosa, proponho a utilização dos carnavais cariocas, tanto em uma perspectiva histórica, quanto em um viés de práticas carnavalescas mais contemporâneas, como lente de análise. Por meio da adoção da folia momesca como lente de análise, defendo que é possível tensionar a divisão espacial e social da cidade, trazendo para o centro da pesquisa noções como segregação espacial, ordem e desordem, controle e ideais de higienização. Considerando estas noções, enxergo o caso da pandemia do coronavírus (COVID-19) como um objeto de análise que permite explorar a natureza política destas categorias e, principalmente, o cruzamento entre essa crise sanitária e os carnavais do ano de 2022. Diante do exposto, a presente pesquisa busca compreender para o que e para quem o Rio de Janeiro é moldado. / [en] This dissertation was developed out of concerns about city projects and the construction of spaces that are produced through physical and symbolic borders. In light of these points, I recognize the city of Rio de Janeiro as a space endowed with socio-spatial disputes that expose, through exceptions and continuities, oppressions and resistances, images of a fragmented and disputed city. In order to deepen the analysis of the imagined Marvelous City, I propose using Rio s carnivals, both from a historical perspective and from the perspective of more contemporary carnival practices, as a lens for analysis. By adopting Carnival revelry as a lens of analysis, I argue that it is possible to put a strain on the spatial and social division of the city, bringing notions such as spatial segregation, order and disorder, control and hygienic ideals to the center of the research. Considering these notions, I see the case of the coronavirus pandemic (COVID-19) as an object of analysis that allows us to explore the political nature of these categories and, above all, the intersection between this health crisis and the carnivals of the year 2022. Considering the above, this research seeks to understand for what and for whom Rio de Janeiro is shaped.

[pt] Esta tese traz à tona histórias até então caladas, esquecidas, subestimadas ou vistas sobre novos prismas acerca da cena LGBTI+ do Rio de Janeiro a partir da década de 1950, quando os homossexuais (masculinos) começam a ser mais notados (e não apenas apontados) no espaço público da cidade, na época dos concursos de fantasias dos bailes carnavalescos da Praça Tiradentes. A partir de então, procurou-se mapear os principais espaços de convivência, eventos, costumes, gostos e códigos culturais dessa comunidade que fizeram do Rio uma metrópole bastante gay dos anos 1950 aos 1980, na vanguarda do tema no país. Tudo isso baseado em depoimentos de personalidades de destaque, pioneiros ativistas, mas também personagens anônimos cujas histórias são igualmente representativas, além de uma farta documentação, incluindo a da imprensa normativa e da nascente imprensa gay. Em meio a um contexto hostil, extremamente moralista e homofóbico, incluindo perseguições e estigmas diversos, tais depoimentos mostram a capacidade de resistência e superação de gays, lésbicas, travestis, transformistas, transexuais e bissexuais cariocas ou que escolheram a cidade para morar. Uma população que conseguiu, apesar de tudo, exercer com fervor sua maneira de ser neste período e está viva para contar e celebrar detalhes submersos de uma história que até então corriam o risco de ser apagados. / [en] This thesis brings to light stories that were previously silent, forgotten, underestimated or seen from new perspectives about the LGBTI+ scene in Rio de Janeiro from the 1950s onwards, when homosexuals (males) began to be morenoticed (and not just pointed out) in the city s public space, at the time of the costume contests at the carnival balls in Praça Tiradentes. From then on, we sought to map the main living spaces, events, customs, tastes and cultural codes of this community that made Rio a very gay metropolis from the 1950s to the 1980s, at the forefront of the topic in Brazil. All of this based on testimonies from prominent personalities, activist pioneers, but also anonymous characters whose stories are equally representative, in addition to abundant documentation including that of the normative press and the nascent gay press. In the midst of a hostile, extremely moralistic and homophobic context, including persecution and various stigmas, such testimonies show the capacity for resistance and overcoming of gays, lesbians, transvestites, transformers, transsexuals and bisexuals from Rio or who chose the city to live. A population that managed, despite everything, to fervently exercise its way of being during this period and is alive to tell and celebrate submerged details of a history that until then were at risk of being erased.

[pt] O objetivo deste trabalho é investigar como o uso da tecnologia blockchain pode ajudar a inovar o Carnaval no Rio de Janeiro. A pesquisa de natureza exploratória foi realizada através de entrevistas com pessoas da área de tecnologia. Foram investigadas as aplicações e possibilidades da tecnologia blockchain para inovar a experiência do Carnaval carioca, com foco nos desfiles das escolas do Grupo Especial e Série Ouro. Dentre os principais resultados pode-se destacar que a tecnologia blockchain pode oferecer uma série de vantagens na venda de ingressos, na verificação de identidade, rastreamento de ativos, gerenciamento de pagamentos, votação e participação do público, compartilhamento de conteúdo, avaliação de desempenho, registro de patrocínios e parcerias, gerenciamento de filas e controle de acesso, tanto para os participantes quanto para os organizadores. De acordo com a pesquisa, os maiores desafios são o custo elevado, a necessidade de infraestrutura adequada, a falta de regulamentação, a falta de programas educacionais, a falta de conhecimento e compreensão sobre seus benefícios e aplicabilidade pode gerar resistência a sua adoção. / [en] The objective of this work is to investigate how blockchain technology can innovate the Carnival in Rio de Janeiro. Conducted through interviews with technology sector professionals, this exploratory research explored blockchain technology s applications and possibilities for innovating the Rio Carnival experience, with a focus on the parades of the Special Group and Gold Series schools. The main findings highlight that blockchain technology can provide numerous advantages in ticket sales, identity verification, asset tracking, payment management, voting and public engagement, content sharing, performance evaluation, record of sponsorships and partnerships, queue management, and access control for both participants and organizers. The research identifies the major challenges as high costs, the need for proper infrastructure, lack of regulation, absence of educational programs, and insufficient knowledge and understanding of its benefits and applicability, which may create resistance to its adoption.

Through the lens of the horror film and the fairy tale, this thesis explores the notion of the grotesque as a boundary phenomenon—a negotiation of what is self and what is other. As such, it locates the function that the monstrous and the grotesque have in the formation of a personal and social identity. In asking why we take pleasure in the perverse, I explore how permutations of guilt, victimhood, and desire can be actively rewritten, in order to construct a stable sense of self.

Cette thèse étudie le Carnaval de Salvador de Bahia (Brésil) et les festivités de l’Indépendance de Carthagène des Indes (Colombie) dans l’optique de saisir comment leurs différentes formes de manifestations provoquent des tensions politiques, économiques et culturelles au sein de ces deux villes d’Amérique latine. Cette thèse argue que les festivités impliquent des relations antagonistes entre une forme hégémonique de célébration — associée aux pratiques et aux discours des élites urbaines — et d’autres formes diverses, dissidentes, et souvent marginalisées de participation. Dans ce cas, le carnaval et les festivités de Salvador et de Carthagène ne sont pas seulement des espaces de rencontre culturelle à travers les symboles, la danse et la musique, mais aussi des espaces politiques dans lesquels les identités, et les relations de classes et « raciales » sont contestées et reconfigurées. De plus, ces célébrations créent une opportunité pour des groupes différents de déployer de vives critiques envers leur position économique et politique dans un contexte urbain plus grand, qui est renforcé par le tourisme industriel global et les interventions d’un Etat multiculturel. / This thesis studies the Carnival of Salvador de Bahia (Brazil) and the Independence Day Festivities in Cartagena de Indias (Colombia) in order to understand how different ways of celebrating give rise to political, economic, and cultural tensions in these two Latin American cities. This thesis argues that these festivities involve an antagonist relationship between an hegemonic form of celebration— associated with the practices and discourses of the urban elites— and other diverse, dissident, and often marginalized forms of participating. In this way, the carnival and festivities in Salvador and Cartagena are not only spaces of cultural encounter through symbols, dance, and music, but also political spaces in which identities, and racial and class relations are contested and reconfigured. Furthermore, these celebrations create an opportunity for different groups to raise harsh criticism to their own economic and political position in a broader urban context that is highly shaped by the global tourism industry and the interventions of the multicultural state.

Mardi Gras draws millions of tourists to New Orleans yearly, contributing to the economy of the city. Visitors soon discover the thrill of catching "throws" tossed to paradegoers by members of parade organizations' riding floats. For tourists and locals alike, throws become the cultural currency of New Orleans during Carnival. Beads, doubloons, coconuts, cups and other throws develop an inherent value, enticing crowds. People esteem throws enough to compete for them, with varying levels of intensity, along parade routes and on the streets of the French Quarter. The purchase of throws by Carnival krewes also brings revenue into New Orleans. Scholars have written many studies on Mardi Gras, including studies on individual organizations, tourism and economy. However, no study examines the history of Mardi Gras throws. This thesis seeks to fill that void, and establishes an earlier date for the first time beads were thrown from floats.

Ce travail est consacré à l’étude du personnage allégorique de la Folie sur la scène de l’Académie Royale de Musique entre 1697 et 1718. Qu’il soit suggéré ou personnifié, ce caractère féminin est abondamment présent dans les spectacles de cette période. A la fin du règne de Louis XIV, la Folie fait peu à peu son entrée à l’Opéra. Entourée de Momus, du Carnaval, de Bacchus, de l’Amour et des personnages de la commedia dell’arte, la Folie « ramène les tendres Jeux », « chasse la Raison cruelle » et invite sans cesse à « goûter les charmes de la vie ». En accédant à l’Opéra, cette figure extravagante et enjouée signale une évolution de ton qui préfigure le changement de mœurs associé à la Régence. Mais au-delà de la philosophie hédoniste qu’elle dispense, quel est le sens caché des paroles de la Folie ? Faut-il voir dans la présence de ce personnage une remise en cause de l’ordre établi, de la politique sociale et de l’austérité marquant la fin du règne ? Son utilisation permet-elle, sous la couverture d’une « maladie de l’âme », de critiquer la politique et les mœurs de Louis XIV ? Qui se cachent derrière le discours subversif de la Folie ? Quel est le rôle de cette figure dans les débats esthétiques de l’époque ? Cette recherche explore le rôle, ainsi que le traitement musical, dramatique et scénique d’une telle figure à travers l’étude d’ouvrages créés à l’Opéra. Nous proposons ici un portrait physique, moral et social de la Folie, à la lumière de multiples documents musicaux, textuels et iconographiques de l’époque, et présentons différents traits de caractère du personnage et plusieurs thèmes qui lui sont liés afin de comprendre les raisons de sa présence à cette époque. / This work is devoted to the study of the allegorical figure of Folly on the stage of the Académie Royale de Musique between 1697 and 1718. Suggested or personified, this female character is abundantly present in the spectacles of this period. At the end of the reign of Louis XIV, Folly appears little by little at the Opera. Surrounded by Momus, Carnival, Bacchus, the god of love and the characters of the commedia dell'arte, Folly "brings back the soft Games", "banishes the cruel Reason" and continually invites to "taste the charms of life”. By accessing the Opera, this extravagant and playful figure indicates a change of tone that foreshadows the changing attitudes of the Regency. But beyond the hedonistic philosophy that she provides, what is the hidden meaning of Folly’s words? Should we see a calling into question of the established order, the social policy and the austerity marking the end of the reign? Does its use allow, under the cover of a “disease of the soul”, to criticize the policy and manners of Louis XIV? Who hides behind the subversive speech of Folly? What is the role of this figure in the aesthetic debates of the period? This research explores the role, as well as musical, dramatic and scenic treatments of such a figure through the study of works created at the Opera. We propose here a physical, moral and social portrait of Folly, in the light of multiple musical, textual and iconographic documents of the time, and present different character traits and several themes that are related to it in order to understand the reasons for its presence at this time

À partir de l'exemple du phénomène des batucadas en France et en Europe, cette thèse propose d'explorer des processus d'appropriations culturelles de modèles musicaux brésiliens, en particuliers ceux du samba enredo carioca, du samba- reggae bahianais et du maracatu recifense. L'ethnographie, entreprise entre 2000 et 2010, se compose de nombreux récits de vie et entretiens semi-directifs réalisés auprès d'amateurs de percussions brésiliennes et de musiciens professionnels (français et brésiliens) ; d'observations de pratiques musicales en Europe et au Brésil ; de participations de l'ethnographe à des projets artistiques dans le sud de la France. À rebours d'une approche historique de l'objet diffusé, ce travail propose de restituer des parcours d'appropriations en partant de l'émergence et du déploiement de la batucada en France. Sont abordés plusieurs champs de l'appropriation musicale : la forme instrumentale de la batucada, les modèles brésiliens, et les postures artistiques vis-à-vis de ces modèles qui révèlent une recherche commune d'une pratique culturelle « populaire », vivante et festive. Des représentations idéalisées du Brésil, de ses musiques et de ses carnavals semblent répondre à cette quête. Les voyages vers les sources musicales au Brésil tendent à devenir une étape importante de l'appropriation musicale européenne et leur observation permet de mettre en exergue les enjeux sociaux et culturels entre Brésiliens et étrangers autour des transmissions musicales (...) Enfin, l'appropriation de la batucada permet d'ouvrir un débat général sur l'appropriation culturelle dans le contexte de la mondialisation. / Using the example of the batucada phenomenon in France and Europe, this thesis explores the processes of cultural appropriation of Brazilian musical models, in particular those of Rio's samba enredo, Bahia's samba-reggae and Recife's maracatu. The ethnographic fieldwork, conducted during the first decade of 2000, is composed of: numerous life stories and semi-structured interviews with French and Brazilian amateur percussionists and professional musicians, observations of musical practices in Europe and Brazil, and participating observations in the framework of artistic projects in the South of France. Rather than taking a historical approach of the diffusion of objects, this work analyzes the trajectories of the appropriations of batucada in France, from its emergence to its spread. Several fields of musical appropriation are broached: the instrumental form of the batucada, the Brazilian musical models, and the artistic positions taken regarding these models which reveal a common quest for a “popular”, lively and festive cultural practice. Idealized representations of Brazil, its music and its carnivals seem to respond to this quest. Travels to the musical sources in Brazil appear as an important step in the Europeans’ musical appropriation. Observation of these travels allows underscoring the social and cultural stakes of musical transmissions between Brazilians and foreigners. Lastly, the appropriation of batucada enables enlarging a general debate on cultural appropriation in a context of globalization.

Cette thèse étudie le Carnaval de Salvador de Bahia (Brésil) et les festivités de l’Indépendance de Carthagène des Indes (Colombie) dans l’optique de saisir comment leurs différentes formes de manifestations provoquent des tensions politiques, économiques et culturelles au sein de ces deux villes d’Amérique latine. Cette thèse argue que les festivités impliquent des relations antagonistes entre une forme hégémonique de célébration — associée aux pratiques et aux discours des élites urbaines — et d’autres formes diverses, dissidentes, et souvent marginalisées de participation. Dans ce cas, le carnaval et les festivités de Salvador et de Carthagène ne sont pas seulement des espaces de rencontre culturelle à travers les symboles, la danse et la musique, mais aussi des espaces politiques dans lesquels les identités, et les relations de classes et « raciales » sont contestées et reconfigurées. De plus, ces célébrations créent une opportunité pour des groupes différents de déployer de vives critiques envers leur position économique et politique dans un contexte urbain plus grand, qui est renforcé par le tourisme industriel global et les interventions d’un Etat multiculturel. / This thesis studies the Carnival of Salvador de Bahia (Brazil) and the Independence Day Festivities in Cartagena de Indias (Colombia) in order to understand how different ways of celebrating give rise to political, economic, and cultural tensions in these two Latin American cities. This thesis argues that these festivities involve an antagonist relationship between an hegemonic form of celebration— associated with the practices and discourses of the urban elites— and other diverse, dissident, and often marginalized forms of participating. In this way, the carnival and festivities in Salvador and Cartagena are not only spaces of cultural encounter through symbols, dance, and music, but also political spaces in which identities, and racial and class relations are contested and reconfigured. Furthermore, these celebrations create an opportunity for different groups to raise harsh criticism to their own economic and political position in a broader urban context that is highly shaped by the global tourism industry and the interventions of the multicultural state.

Le carnaval, symbole de la culture festive de l’Europe du Moyen Age, a aujourd’hui largement disparu. L’impact de la Réformation a souvent été questionné, sans être étudié : quel rôle Luther et les siens ont-ils joué dans cette évolution? Dans l’Empire, le carnaval est d’abord utilisé comme un instrument au service de l’entreprise de déstabilisation et de désacralisation de l’Église romaine. Dès 1520, Luther lui emprunte un langage bas, propice à la satire et cohérent avec le principe du sacerdoce universel. Les carnavals moquent l’Église comme un élément malsain de la société, et favorisent la révolution religieuse en présentant le retour à l’ordre comme celui de la réforme de l’Église folle. Pourtant, à mesure que la puissance de destitution du carnaval se révèle et que les clercs protestants se mettent à le définir comme la fête de la fausse Église, les Églises luthériennes basculent contre le carnaval. Dès lors, prédicateurs et réformateurs cherchent des solutions pastorales et liturgiques pour le supplanter. Théoriquement, ces efforts sont épaulés par l’action des autorités temporelles. Mais il faut du temps pour que celles-ci s’approprient leur charge, et surtout pour qu’elles considèrent le carnaval comme un élément nuisible à la société, à rebours des traditions de diplomatie et de cohésion civique qu’il assumait jusqu’alors. Ce combat contre carnaval, qui mène peu à peu à son interdiction par les Églises luthériennes, exprime le refus d’une culture profane préexistant à la Réformation. La lenteur et la difficulté à éradiquer le carnaval s’expliquent à la fois par son ancrage coutumier et son aspect protéiforme. / Carnival, which was emblematic of the festive culture in mediaeval Europe, has disappeared to a large extent today. The question of the impact of the Reformation has often come up without being studied: what part did Luther and his followers play in this evolution? In the Holy Roman Empire carnival was first used as a means for destabilizing the Roman Catholic Church and taking away its sacred aura. As early as 1520 Luther adopted its low-level language, which was most suitable for satire and consistent with the principle of universal priesthood. Carnivals make fun of the Catholic Church as an unwholesome component of society and favor the religious revolution in presenting the restoration of order as the fruit of the reformation of a « foolish » Church. However,as the carnival subversive power was being revealed and the Protestant clerics started defining it as the feast ofthe false Church, Lutheran churches turned against it. Since then, preachers and reformers did try and find pastoral and liturgical ways of supplanting it. In theory, these efforts were supported by the action of the temporal authorities. But the latter were a long time taking on their responsibility and moreover considering carnival very harmful to society, against its traditional diplomatic and civic cohesion role. This long-term fight against carnival which leads progressively to its banning by the Lutheran churches expresses the refusal of a profane culture preexisting to Reformation. The reasons why it took such a long time to eradicate carnival are both its rooting inancient custom and its protean character.