Esta pesquisa elege o materialismo histórico e dialético como método de análise das mudanças sofridas pelas relações de trabalho ao longo de determinado período da história do trabalho no Brasil, procurando problematizar e desnaturalizar os conceitos de contrato de trabalho, sujeito de direito, relação e subordinação jurídicas, e realizando uma crítica à doutrina juspositivista. Articula conceitos marxianos, marxistas e jurídicos, em razão da interdisciplinaridade do direito e da história, para compreender o fenômeno jurídico-trabalhista. Recorre aos conceitos de valor de uso e de troca, de formações econômicas pré-capitalistas, de modos de produção e de relações de produção para compreender a forma jurídica na sociedade capitalista brasileira em formação. / This research elects the historical and dialectical materialism as method of analysis of changes in labor relations over a given period of Brazil\'s labor history, trying to question and denaturalize the concepts of employment contract, subject of law, legal relation and subordination, and performing a critique of juspositivistic doctrine. The author articulates Marxian, Marxist and legal concepts, due to the interdisciplinary nature of Law and History, to understand the legal and labor phenomenon. The author also resorts to the concepts of use and exchange values, pre-capitalist economic formations, production modes and production relations, to understand the legal form in the Brazilian capitalist society in formation.

Cette thèse souhaite cerner la formation de la critique littéraire française, dans la seconde moitié du XIXe siècle, comme discours autonome et légitimé, en la restituant dans le riche dialogue qu’elle noue avec les sciences exactes, humaines et sociales de son époque. Notre intérêt se porte plus précisément sur l’étude des savoirs en circulation, des transferts lexicaux, notionnels et structurels, des emprunts de modèles et des influences au travers desquels la critique littéraire sonde son propre champ. Ces questionnements ne permettent pas seulement d’introduire la science et la littérature au sein d’un même système culturel en identifiant leurs interactions, mais mettent également en avant l’émergence d’une nouvelle idée de littérature autour de la logique du vivant. Pour ce faire, nous nous appuyons sur les apports méthodologiques du numérique. Le recours à un ensemble d’outils informatiques offre, d’une part, la possibilité d’échapper au cloisonnement disciplinaire, et, d’autre part, de traiter des corpus textuels de taille considérable en synchronie. / In this work we aim at defining the formation of the French literary criticism, during the second half of the 19th century, becoming an autonomous and legitimate discourse. To do so, we shall take into consideration the rich dialogue held between the French literary criticism and natural, human and social sciences of the time. We will especially concentrate on the circulation of knowledge, notional and structural lexical transfers, model reproductions and imitations, and influences that help the literary criticism build its own field of knowledge. These questions allow us to locate both science and literature in the same cultural field by identifying their interactions, but also to establish the emergence of a new perception of literature, seen through the logic of the living. Thus we will rely, for most of our results, on digital methods of investigation. By using digital tools, we shall not be confined to a determined disciplinary field, and may be able to work synchronically on large corpora.

La Troisième République a « mystifié » Beethoven. Elle en a fait un personnage de fiction, et l'a intégré au canon républicain français, en le dotant de toutes les valeurs morales et idéologiques qui fondent alors la construction de l'identité nationale. Ce travail vise à mettre en lumière le corpus particulier qui a contribué à la formation de ce mythe, en partie héritier du romantisme, mais aussi éminemment moderne. La critique musicale, la biographie, le roman, le théâtre, l'édition de vulgarisation et l'édition pédagogique sur Beethoven forment un ensemble organique, qui contribue au même but : la glorification du musicien de Bonn. Son image devient alors un matériau littéraire qui va former une véritable littérature beethovénienne, ainsi qu'une poétique, marquées par les emprunts multiples à l'épopée, à l'hagiographie, au roman-feuilleton, au roman picaresque et au drame bourgeois notamment. Cet ensemble composite tend pourtant à la standardisation, dans la mesure où se figent des motifs et des récits-types. Tout ceci contribue à faire de Beethoven le « héros de la conscience moderne ». L'idéologie républicaine l'élève comme figure d'identification et d'édification morale au même titre que les « classiques », de sorte que les intellectuels de l'entre-deux-guerres feront de ce nom un outil de sauvegarde des valeurs humanistes, face à la montée des périls. / The Third Republic « mystified » Beethoven. It turned him into a fictional character, and integrated him into the French republican canon, endowing him with all the moral and ideological values that then were at the root of the construction of national identity. This work aims to highlight a specific corpus, which contributed to the creation of the myth, which partly draws on Romanticism but is also eminently modern. Music criticism, biographies, novels, drama, popularization and educational works about Beethoven constitute an organic group of works, aiming at the glorification of the musician from Bonn. His image thus becomes a literary material, and contributes to building a beethovenian literature, and a beethovenian poetics, which borrows its aesthetics in particular from the epic, hagiography, serialized novels, picaresque novels and bourgeois drama. However this heterogeneous corpus tends towards standardization insofar as the narrative patterns somehow froze as commonplaces. All this leads to Beethoven being turned into the “hero of modern consciousness”. The republican ideology raised him to the rank of an icon both for identification and moral edification, in the same way as the “classics”. To the intellectuals of the interwar period he embodied humanist values and was a symbolic weapon against the rise of totalitarianism.

Made available in DSpace on 2016-04-29T13:31:05Z (GMT). No. of bitstreams: 1 Alessandro de Oliveira Campos.pdf: 1766615 bytes, checksum: 08b7fb530838feed4c9dcb408eb2389d (MD5) Previous issue date: 2013-06-07 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This thesis conducts an investigation into identity in Latin America with an emphasis on the critical appropriation of tradition. It aims to think the construction of experiences of resistance in the manifestation of Capoeira Angola as part of the expression of Afro-Brazilian tradition and also experiences of resistance present in some indigenous groups of southeast Mexico as an Amerindian expression. This approach was conceptualized by what is here called afroamericalatinity. It is a dialogue that considers Afro-Latino plurality as a critical and creative force for the challenges of the contemporary world facing the interests and imprisonments of capitalism. The syntagm identity-morphing-emancipation developed by social psychologist Anthony da Costa Ciampa is the conceptual thread of this study that seeks to dialogue with contributions from Elias Canetti, Paul Ricoeur, Andre Comte-Sponville, François Julien, Subcomandante Marcos, Hampaté Bâ, Boaventura Souza Santos, and other thinkers considered as post-colonialists in Latin America. This investigation regarding the critical appropriation of tradition led to the affirmation of the individual's ability to freely choose to remain in the same tradition that reveals within itself contradictory, conflicting, and even oppressive elements. They are confrontations in order to understand the tradition as sameness, but also consider it as producing emancipatory meanings. It is to develop the ability to handle the disagreement which only seeks agreement, handling tradition as a possibility of space producer of affectivities with political and autonomous expressions. We seek, from a series of field observations in Brazil and Mexico, to note the ability to support the maintenance of tradition's residue in conflict with the emerging without rejecting it. It was of constant interest to investigate how what is conventionally called Latin America is investing in an emancipatory project considering its identity as metamorphosis / Esta tese de doutorado realiza uma investigação sobre a identidade na América Latina com ênfase na apropriação crítica da tradição. Busca-se pensar a construção de experiências de resistências na manifestação da Capoeira Angola como expressão de parte da tradição afro-brasileira e também experiências de resistências presentes em alguns grupos indígenas do sudeste mexicano enquanto expressão ameríndia. Essa aproximação se conceitualizou pelo que chamamos aqui de afroamericalatinidade. Trata-se de uma interlocução que considera a pluralidade afrolatina como força criativa e crítica para os desafios do mundo contemporâneo perante os interesses e aprisionamentos do capitalismo. O sintagma identidade-metamorfose-emancipação desenvolvido pelo psicólogo social Antônio da Costa Ciampa é o fio condutor conceitual desse trabalho que busca dialogar com as contribuições de Elias Canetti, Paul Ricoeur, Andre Comte-Sponville, François Julien, Subcomandante Marcos, Hampaté Bâ, Boaventura Souza Santos e outros pensadores considerados pós-colonialistas na América Latina. Essa investigação sobre a apropriação crítica da tradição levou a constatação da capacidade do indivíduo em escolher livremente permanecer na tradição mesmo que esta revele dentro de si elementos contraditórios, conflitivos e até mesmo opressivos. São enfrentamentos para compreender a tradição como mesmice, mas também considerá-la como produtora de sentidos emancipatórios. É desenvolver a habilidade para lidar com a discordância onde só se busca a concordância, manejando a tradição enquanto possibilidade de espaço produtor de afetividades com expressões políticas e autonomia. Objetivamos, a partir de uma série de observações de campo no Brasil e no México, notar a capacidade de suportar a manutenção do residual da tradição em conflito com o emergente sem rechaçá-lo. Foi de interesse constante investigar como o que se convencionou chamar de América Latina vem investindo em um projeto emancipatório considerando sua identidade como metamorfose

Made available in DSpace on 2016-04-27T17:27:05Z (GMT). No. of bitstreams: 1 Rafael Nogueira Furtado.pdf: 384686 bytes, checksum: e84e2fd015e90ee469256355a60fff28 (MD5) Previous issue date: 2013-11-08 / This work aims to investigate the relations between Foucault s analysis about Enlightenment and the concept elaborated by him of critique attitude. The analysis of Enlightenment backs itself on the Kant s text Was ist Aufklärung?, published at the year of 1874. It is intended to put in evidence the meaning of the notion called ontology of the present, which can be defined as permanent inquiring of the present. So that, this work tries to bring forward a discussion in which the knowledge and the power relationships developed in our society are confronted, making possible the emergence of forms of autonomy and liberty / Este trabalho procura investigar as relações existentes entre a análise realizada por Foucault sobre o Esclarecimento e o conceito por ele elaborado de atitude crítica. O Esclarecimento será tematizado tendo como ponto de apoio o texto de Kant Was ist Aufklärung?, publicado em 1874. Trata-se, no estabelecimento destas relações, de evidenciar o sentido daquilo que Foucault denominou ontologia do presente, isto é, um exercício de interrogação permanente da atualidade. O trabalho esforça-se por suscitar uma discussão, na qual as práticas de poder e saber que perfazem a história de nossas sociedades sejam confrontadas com a possibilidade de sua transformação, criando espaço para formas de autonomia e liberdade

Made available in DSpace on 2016-04-26T18:10:40Z (GMT). No. of bitstreams: 1 Renata Rodrigues Marques.pdf: 4329600 bytes, checksum: d26166a18953be6666a697cfb3f0fe50 (MD5) Previous issue date: 2010-06-01 / The objective of this research is to investigate a process of creation in the performing arts, from the point of view of communication networks. The study was based on the discussion generated by an examination of the process, namely the design of idealization of the show, reports, references used (articles, stories, movies, books, pictures and music), audio-visual equipment for meetings, drafts, notes, e-mail traffic, road scenes, diagrams, photos and program performance. The limits of choice in studying the process of assembly Guilt is Science? held by Art and Science on Stage, was due to the quality and availability of the records. The research aims to propose a reading of semiotics as it was the journey of creating this installation art, focusing on communication issues, as well as how it gets the relationship with science. To analyze the corpus was used the methodology of critical process that is characterized by theoretical and critical follow the paths of production, through a phenomenological approach. It is an empirical treatment given to the contents of the documents. The relations between these indices are raised hypotheses that, during the research, are tested. The study is developed from the concept of creation and network construction, as well as discuss by Cecilia Salles, understanding which is the theoretical line Peircean semiotics in dialogue with thinkers of culture (Edgar Morin and Jerusa Ferreira); the study also speaks to the actress and performing arts researcher Thelma Lopes / O objetivo desta pesquisa é investigar um processo de criação, no campo das artes cínicas, sob o ponto de vista das redes comunicativas. O estudo partiu da discussão gerada pela análise dos documentos de processo, ou seja, o projeto da idealização do espetáculo, relatórios elaborados, referências utilizadas (artigos, reportagens, filmes, livros, imagens e músicas), material áudio-visual de encontros realizados, rascunhos, anotações, e-mails trocados, roteiro de cenas, diagramas, foles e programa do espetáculo. A delimitação da escolha pelo estudo do processo da montagem 'A Culpa é da Ciência?', realizada pelo 'Núcleo Arte Ciência no Palco', aconteceu devido à qualidade e à disponibilidade destes registros. A pesquisa pretende apresentar uma proposta de leitura semiótica de como se deu o percurso de criação desta montagem artística, com foco nas questões comunicativas, assim como no modo como se deu a relação com a ciência. Para analisar o corpos foi utilizada a metodologia da critica de processo que se caracteriza pelo acompanhamento teórico-crítico dos percursos de produção, por meio de uma abordagem fenomenológica. É dado um tratamento empírico aos índices dos documentos dos processos estudados. No estabelecimento de relações entre esses índices, são levantadas hipóteses que, no decorrer da pesquisa, são testadas. O estudo é desenvolvido a partir do conceito de criação como rede em construção, assim como é discuto por Cecilia Salles, entendimento que tem como fundamentação teórica a semiótica de linha peirceana, em diálogo com pensadores da cultura (Edgar Morin e Jeitosa Ferreira); o estudo também dialoga com a atriz e pesquisadora das artes cênicas Thelma Lopes

Este estudo versa sobre a situação problemática em torno da produção de tabaco com o intuito de compreender as mudanças no cenário da fumicultura a partir das críticas e das transformações no ambiente, sob o aporte das discussões institucionalistas. Diante disso, o objetivo desse estudo é analisar as críticas e as transformações em torno da produção do tabaco e as justificações, com vistas a compreender se essas promoveram mudanças ou reafirmações institucionais. Primeiramente buscou-se identificar os dispositivos das críticas locais e globais, bem como as transformações que geram o ambiente de incerteza ao qual está inserida a fumicultura atualmente. Para isso foram realizadas entrevistas com 28 famílias agricultoras produtoras de tabaco e com representantes de entidades envolvidas com o setor, que associadas à coleta de dados nos meios digitais, foram analisadas a partir da compreensão teórica e metodológica da Sociologia da Crítica e do Institucionalismo de Veblen. Ao estabelecer a correlação entre as críticas da rede antitabaco e dos agricultores fumicultores, observou-se que há descontinuidades nas gramáticas, as quais provocam o distanciamento de atores que poderiam atuar conjuntamente em contrariedade às ações das empresas fumageiras, visto que um dos principais atores que a rede antitabaco busca proteger com esse movimento é o agricultor familiar. Nesse contexto de incertezas em que os agricultores vêem-se compelidos a refletir sobre suas ações, foi possível identificar as respostas às críticas e, assim, compreender quais são as instituições que vêm sustentando a fumicultura no Rio Grande do Sul, como segundo objetivo específico. Como um dos principais resultados desta análise, observou-se que as instituições não são acionadas separadamente, sendo interligadas em forma do que chamamos de uma rede institucional, pois quando uma das interpretações é questionada, as outras são acionadas como fundamento para dizer que são esses argumentos que justificam a produção de tabaco para essas famílias. Diante desse cenário, o terceiro objetivo buscou analisar se esses movimentos promoveram mudanças ou reafirmação das instituições que vêm sustentando a cadeia produtiva do tabaco. Analisando as respostas da rede em defesa do tabaco centralizada na ABIFUMO, foram identificadas mudanças nas ações das empresas fumageiras, principalmente de forma semântica, a partir de operações midiáticas e alianças com órgãos governamentais e organismos internacionais, de forma a requalificar o SIPT e, assim, reafirmando as instituições que sustentam a fumicultura. Nesse contexto, os agricultores familiares produtores de tabaco reagem de forma heterogênea às críticas e aos estímulos do ambiente. Corroborando com as reafirmações das empresas, um grupo de produtores vem transformando a produção de acordo com as exigências de qualificação das empresas fumageiras. Por outro lado, identificou-se outros produtores que rumam no sentido da não mudança, mantendo a produção de tabaco mesmo com o descontentamento em relação a ela. Por fim, algumas famílias modificaram suas interpretações e condutas sobre o tabaco, categorizadas em três grupos que apresentam trajetórias diferentes de conduta. Diante do que se apresenta como uma mudança na conduta das empresas fumageiras como forma de manutenção da cadeia produtiva do tabaco, no sentido de diminuir o número de produtores em busca dos mais qualificados para as novas exigências, muitos produtores de tabaco vêm sendo excluídos dessa cadeia produtiva, necessitando encontrar novas maneiras de sobreviver no meio rural. É nesse ponto que se torna frutífero para os processos de desenvolvimento rural, que a academia e as instâncias governamentais compreendam a realidade a partir de como os atores a interpretam, mudando as suas estratégias heterogêneas e desconexas que vêm promovendo o distanciamento e a descrença do agricultor com relação ao governo, mas aproximando as gramáticas e, assim, compreendendo as reais necessidades dos agricultores familiares. / This study deals about the problematic situation around tobacco production in order to understand the changes in the scenario of tobacco farming from the critiques and changes in the environment, under the contribution of institutionalist discussions. Therefore, the objective of this study is to analyze the critiques and transformations around tobacco production and the justifications, in order to understand if these promoted institutional changes or reaffirmations. Firstly, we sought to identify the mechanisms of local and global critique, as well as the transformations that generate the uncertainty environment to which tobacco farming is currently inserted. For this purpose, interviews were conducted with 28 tobacco-producing families and representatives of entities involved with the sector, which were associated with the collection of data in digital media and were analyzed from the theoretical and methodological understanding of the Sociology of Critique and Institutionalism of Veblen. When establishing the correlation between the critiques of the anti-tobacco network and the tobacco farmers, it was observed that there are discontinuities in the grammars, which cause the distancing of actors who could act together in opposition to the actions of the tobacco companies, since one of the main actors that the anti-tobacco network seeks to protect with this movement is the family farmer. In this context of uncertainties in which farmers are compelled to reflect on their actions, it was possible to identify the answers to the critiques and, thus, to understand which are the institutions that have been supporting tobacco growing in Rio Grande do Sul, as a second specific objective. As one of the main results of this analysis, it was observed that institutions are not triggered separately, being interconnected in the form of what we call an institutional network, because when one of the interpretations is questioned, the others are triggered as a basis for saying that they are Arguments justifying the production of tobacco for these families. Given this scenario, the third objective sought to analyze whether these movements promoted changes or reaffirmation of the institutions that have been supporting the tobacco production chain. Analyzing the network's responses to tobacco control centralized at ABIFUMO, changes were identified in the actions of tobacco companies, mainly in a semantic way, from media operations and alliances with government agencies and international organizations, in order to requalify the SIPT and, thus, , Reaffirming the institutions that support tobacco farming. In this context, family farmers producing tobacco react heterogeneously to criticism and environmental stimuli. Corroborating with the reaffirmation of the companies, a group of producers has been transforming the production according to the qualification requirements of the tobacco companies. On the other hand, other producers were identified who are moving towards non-change, maintaining tobacco production even with dissatisfaction with it. Finally, some families modified their interpretations and behaviors on the tobacco, categorized in three groups that present different trajectories of conduct. Faced with what is presented as a change in the behavior of tobacco companies as a way of maintaining the tobacco production chain, in order to reduce the number of producers in search of the most qualified for the new requirements, many tobacco producers have been excluded from this chain Need to find new ways of surviving in rural areas. It is at this point that it becomes fruitful for the processes of rural development that the academy and government agencies understand the reality from how the actors interpret it, changing their heterogeneous and disconnected strategies that have been promoting distancing and disbelief of the farmer With respect to government, but approaching grammars and thus understanding the real needs of family farmers.

Tomando as revistas como a Tatuí e a Número, analisa-se aqui as relações presentes nas suas produções de crítica de arte circuladas por meio de publicações auto-organizadas. Colocam-se questões sobre a atuação na prática de escrita de crítica de arte e seu possível caráter experimental nos anos 2000. Considera-se um contexto de crescimento da profissionalização e suas implicações nas práticas teóricas em diálogo com as práticas do trabalho de arte. Procuramos investigar também, nesse processo da difusão de discussão crítica, o pensamento sobre os circuitos e as instituições como possíveis locais ambivalentes de tensão e de amplificação. As estratégias de tais publicações observam a criação de seus espaços de interlocução possíveis, considerando tal contexto muitas vezes caracterizado como o de crise da potencialidade de contribuição da crítica. / Taking the Tatuí and Número magazines, we analise here the relations on the production of art criticism on circulation via selforganised publications. Posing questions on the practice of art writing and its possible experimental character on the 2000’s. Considering a rising profissionalization context and its implications on theoretical practices dialoging with art work practices. We also seek to investigate, on this process of profused critic discussion, the thinking of circuits and the institutions as ambivalent places of tension and amplification. The publication estrategies observe the creation of their possible interlocution spaces, conidering such context as one often characterized as the of crisis on the potencial critical contribution.

Conservée dans quatre langues différentes, la Chronique de Morée relate la naissance et le premier siècle d’existence de la principauté française d'Achaïe ou de Morée – territoire correspondant à la presqu'île du Péloponnèse –, l’une des réalisations durables (1205-1460) ayant suivi l’occupation de Constantinople et des provinces byzantines au cours de la quatrième croisade. La thèse vise à produire une nouvelle édition de la version française de la chronique selon le manuscrit conservé à Bruxelles (Bibliothèque Royale 15702, env. 1400), unique témoin en français. Le nouveau texte critique, offert dans une approche plus sensible aux problèmes de la philologie matérielle par rapport à la précédente édition (Jean Longnon, 1911), est accompagné d'une étude linguistique, un glossaire, une description codicologique, un commentaire au texte et des index, ainsi que d’une introduction qui présente le status quaestionis sur la datation et la langue du prototype à l’origine des quatre versions conservées. / The Chronicle of Morea, preserved in four different languages, tells of the foundation and the first century in the history of the French principality of Achaia or Morea, a territory corresponding to the Peloponnese peninsula. This was one of the longest lasting French dominions (1205-1417), established in the wake of the occupation of Constantinople and the Byzantine provinces during the Fourth Crusade. The thesis consists of a new critical edition of the French version of the chronicle based on the manuscript preserved in Brussels (Bibliothèque Royale 15702, approx. 1400), the only witness in French. Compared to the previous edition (Jean Longnon, 1911), the new critical text is informed by an increased awareness of issues raised by material philology. It includes a linguistic study, a glossary, a codicological description, a commentary to the text and indexes and an introduction which presents the status quaestionis on the dating and the language of the prototype at the origin of the four extant versions.

L’objet de cette thèse consiste à décrire le processus et les techniques de composition utilisées par Claude Debussy à la fin de sa vie. À partir d’une réflexion préliminaire sur la situation et les conditions des pratiques compositionnelles de Debussy, plusieurs éléments du processus créateur et un certain nombre de techniques de composition peuvent être illustrés, en se fondant sur une analyse des esquisses qui conservent la trace du travail créateur. Ces dernières prennent la forme de ratures, interprétables grâce aux outils que fournit la critique génétique. Le corpus considéré embrasse plusieurs avant-textes d’œuvres composées durant l’été 1915, En blanc et noir pour deux pianos, les Douze études pour piano et la Sonate pour violoncelle piano, auxquelles s’ajoute la Sonate pour violon et piano, composée entre 1916 et 1917. Les documents les plus intéressants des dossiers génétiques, porteurs de traces abondantes du processus créateur, ont fait l’objet de transcriptions diplomatiques. Ces dernières ne constituent pas des facsimilés normalisés, mais offrent une représentation du manuscrit dans sa dimension à la fois spatiale et temporelle, tout en le reliant au devenir de l’œuvre. Ces transcriptions sont au fondement des analyses par lesquelles sont envisagés trois grands angles d’approche que la lecture des esquisses a fait émerger : la genèse des idées, les techniques de composition appliquées au matériau et la gestation de la forme musicale. La notion d’idée musicale permet d’explorer d’abord la constitution du projet musical, souvent cristallisé autour d’un élément extra-musical, puis le rapport entre l’invention mélodique et le processus de composition et, enfin, la construction des phrases musicales. Les techniques de composition mises en lumière se structurent par couples complémentaires : l’ellipse et l’interpolation, l’harmonie et le rythme, la duplication et la variation. La forme musicale est abordée selon deux problèmes apparents dans les esquisses : premièrement, la relation entre les fonctions formelles et leur mobilité, propre à l’œuvre in statu nascendi ; deuxièmement, la difficulté spécifique des zones conclusives. Cette « visite » de l’atelier de Debussy permet de faire l’hypothèse d’une méthode de composition reposant sur les catégories dégagées par l’analyse que d’autres travaux pourront étayer, nuancer ou préciser. / This dissertation describes the compositional process and the techniques used by Claude Debussy at the end of his life. Starting from a preliminary thought on the status of Debussy’s compositional practices, several features of the creative process and some compositional techniques may be highlighted, by analysing the sketches which record the traces of the creative work. These traces appear as crossings-out, which can be interpreted with the tools given by the genetic criticism. The corpus includes several avant-textes from works composed during the summer 1915, En blanc et noir for two pianos, the etudes for the piano, and the cello sonata plus the violin sonata, composed between 1916 and 1917. From the most pertinent documents, that are part of the genetic files and carry many traces of the creative process, diplomatic transcriptions have been realised. They do not constitute facsimile, nor normalised transcriptions; they rather represent the manuscript in terms of time and space, linking it also to the achieved work. These transcriptions form the basis of the analysis through which three perspectives are considered: the genesis of the ideas, the compositional techniques applied to the material, and the gestation of the musical shape. The notion of musical idea allows exploring first the constitution of a musical project, often focused on an extra-musical element, then the relationship between the melodic invention and the compositional process, and, lastly, the building of musical phrases. The compositional techniques go in complementary pairs: the ellipse and the interpolation, the harmony and the rhythm, the duplication and the variation. The musical shape is approached from two points of view: first, the relationship between the formal functions and their mobility, peculiar to the work in progress; second, the specific difficulty located in the conclusion areas. This ‘guide tour’ from Debussy’s studio leads up to hypothesise that there is a compositional method, relying on the categories identified by the analysis, and that further studies can support, moderate and precise.