Made available in DSpace on 2019-03-30T00:19:08Z (GMT). No. of bitstreams: 0 Previous issue date: 2017-08-08 / Brazil is a multicultural country of continental dimensions, regional inequalities and historic management frailties. Administrative organs that protect cultural heritage do not communicate among themselfes, which results in overlaps, unnecessary and contradictory actions. Current Instruments for the protection of cultural heritage are out of date regarding contemporary understanding of what cultural heritage means, as well as very little or not at all integrated. Another issue is the lack of regulation of the National Culture System (SNC), which was incorporated to the 1988 Brazilian Constitution by the 71st Amendment, in 2012, and whose guideline is larger cooperation and management integration, as well as larger social participation in the development of cultural public policies. The present dissertation aims to investigate cultural heritage protection rights by integrated public initiatives, by Instruments for the protection of cultural heritage and by law improvement. The research methodology used was based on a bibliographical and documentary study, transversal with the human and social sciences, complemented with the study of the public policies, being a qualitative analysis. This work is divided in three sections. First section conceptually addresses culture, cultural heritage and ensuring of cultural rights. Second section addresses the Brazilian legal system for cultural heritage protection, and last section addresses systemic integration of instruments for the protection of cultural heritage. Amongst conclusions, the need for integration and cooperation between cultural heritage protection organs is a highlight. Furthermore, it is noticed that Brazilian National Cultural Heritage System (SNPC) is one of the most easily implementable subsystems, being a possible solution for part of the cultural heritage preservation policy issues, in addition to providing management improvement of actions and resources. The instruments for the protection of cultural heritage must be used in a technical, reasonable and integrated way, their use being considered because restrictive force is much needed and required for cultural heritage protection in real events. The need for preservation processes updating must be highlighted, correcting technical faults and gaps in classification delimitation guidelines. The possibility of integrated inspections, encompassing different organs from one or several states of the Brazilian federation, is also addressed, and could optimize resources and improve the protective network. Last, this work defends the idea of elaborating national general legislation for cultural heritage that is able to consolidate, update and systematize the current guidelines about the theme, establishing a SNPC that enables efficient cultural heritage management. Key words: Cultural Rights, Cultural Heritage, Instruments for the Protection of Cultural Heritage. Brazilian National Culture System. Brazilian National Cultural Heritage Protection System. / O Brasil é um país de dimensões continentais, multicultural, com muitas desigualdades regionais e fragilidades administrativas históricas. Os órgãos que atuam com a proteção ao patrimônio cultural o fazem de forma pouco integrada, o que muitas vezes resulta em sobreposições e contradições desnecessárias de suas ações. Os instrumentos acautelatórios existentes são defasados em relação ao que se entende por patrimônio cultural na contemporaneidade, sendo também pouco ou nada integrados entre si. Outro problema é a não regulamentação do Sistema Nacional de Cultura (SNC), que foi incorporado à Constituição da República Federativa do Brasil de 1988, por meio da Emenda Constituição nº 71, de 2012, que tem por diretriz uma maior cooperação e integração da gestão, bem como maior participação social no desenvolvimento das políticas públicas para a cultura. O presente trabalho tem por objetivo investigar os direitos relativos à proteção aos bens culturais, a partir da integração de ações do Poder Público, dos instrumentos administrativos de acautelamento e com base no aperfeiçoamento normativo. A metodologia de pesquisa utilizada foi embasada em estudo bibliográfico e documental, transversal com as ciências humanas e sociais, complementada com o estudo das políticas públicas, sendo a sua análise do tipo qualitativa. Esta pesquisa se divide em três seções. A primeira que aborda conceitualmente a cultura e o patrimônio cultural e a concretização dos direitos culturais. A segunda que trata do sistema normativo de proteção ao patrimônio cultural no Brasil; e a última que versa sobre integração sistêmica de proteção ao patrimônio cultural. Dentre as conclusões, ressalta-se a necessidade de integração e cooperação entre os órgãos acauteladores do patrimônio cultural. Ademais, constata-se que o Sistema Nacional do Patrimônio Cultural (SNPC) é um dos subsistemas do SNC mais viáveis de ser efetivado, podendo ser uma solução de parte dos problemas da prática preservacionista, além de proporcionar o aperfeiçoamento administrativo das ações e dos recursos. Os instrumentos acautelatórios devem ser utilizados de forma técnica, razoável e integrada, devendo ser considerado o seu uso em razão da força restritiva necessária para a proteção do bem cultural no caso concreto. É destacada a necessidade de atualização dos processos de acautelamentos, corrigindo atecnias e omissões de diretrizes sobre a delimitação do tombamento. É tratada a possibilidade da realização da fiscalização integrada entre os órgãos de um mesmo e de distintos entes da Federação, que poderia otimizar os recursos e aperfeiçoar a rede de proteção. Por último, é defendida a ideia da elaboração de uma norma geral para o patrimônio cultural que possa consolidar, atualizar e sistematizar a legislação temática, estabelecendo um SNPC que possibilite instrumentalizar uma gestão do patrimônio cultural eficiente. Palavras-chave: Direitos Culturais. Patrimônio Cultural. Instrumentos Acautelatórios. Sistema Nacional de Cultura. Sistema Nacional de Proteção do Patrimônio Cultural.

Dissertação (mestrado)—Universidade de Brasília, Instituto de Ciências Sociais, Departamento de Sociologia, 2018. / Este trabalho buscou analisar as transformações no discurso da preservação que levaram à consolidação da proteção ao patrimônio cultural imaterial no Brasil. Para tanto, buscou compreender a trajetória do discurso da preservação de bens culturais de maneira mais ampla, apresentando sua origem na Europa do século XV quando este se alinhou a enunciados como passado, história, arte e autenticidade, ao surgimento da categoria patrimônio, que articulou enunciados como nação, história, arte e identidade nacional. A partir do século XX, a concepção de preservação ao patrimônio teve a Organização das Nações Unidas para a Educação, a Ciência e a Cultura (UNESCO) como principal espaço e agente no processo de sua ressignificação: propôs a noção de valor universal excepcional, passou a abranger os bens naturais, bem como atrelou diversidade a desenvolvimento no processo de preservação. A partir da década de 1990, a UNESCO incorporou uma nova gramática político-cultural, fruto das demandas por representação de minorias identitárias e luta por direitos diferenciais que articulou categorias como reconhecimento, diferença, diversidade cultural, representação e multiculturalismo que se consubstanciou, no início do novo milênio, na Convenção para a Salvaguarda do Patrimônio Cultural Imaterial e Convenção sobre a Proteção e Promoção da Diversidade das Expressões Culturais. No Brasil a trajetória da proteção a bens culturais remonta a criação do Serviço do Patrimônio Histórico e Artístico Nacional (SPHAN) na década de 1930, quando o discurso da preservação visou forjar a identidade nacional e sua civilização, valorizando sobretudo a herança europeia e os bens de “pedra e cal”. Além disso, verificou-se que o movimento folclorista também cunhou um discurso de preservação articulado à identidade nacional, porém voltado aos elementos da cultura popular, visando sua proteção através de documentação. A união dessas perspectivas de preservação ocorreu quando Aloísio Magalhães assumiu a presidência da SPHAN e trouxe a concepção de referência cultural para orientar a preservação de bens culturais. A partir da análise das atas do Conselho Consultivo do Instituto do Patrimônio Histórico e Artístico Nacional (IPHAN) foi possível compreender a forma como o discurso da preservação do patrimônio cultural imaterial se consolidou no Brasil, concluindo-se que este discurso é fruto de uma articulação da nova gramática político-cultural consagrada a partir da década de 1990 e utilizada pelos diversos grupos sociais que demandam representação e reconhecimento, bem como do resgate do conceito de referência cultural de Aloísio Magalhães. / This work aimed at analysing changes in the preservation discourse that consolidated the protection to intangible cultural heritage in Brazil. In order to do so, it searched for understanding the path the discourse of cultural goods’ preservation has traced, presenting its origin in Europe in the 15th century, when this discourse aligned itself with formulations as past, history, art and authenticity, with the urging of the heritage category, which articulated formulations like nation, history, art and national identity. As of the twentieth century, the heritage preservation concept had the United Nations Educational, Scientific and Cultural Organization (UNESCO) as the main agent in its resignification process: the organization proposed the idea of outsdanding universal value, which included natural assets, and linked diversity to development in the preservation process. From the 1990s onwards, UNESCO adopted a new political-cultural grammar, a result both of the demands for representation of identity minorities and of the fights for differentiated rights, which articulated entries like recognition, difference, cultural diversity, representation and multiculturalism. This new framework led to the Convention for the Safeguarding of the Intangible Cultural Heritage and the Convention on the Protection and Promotion of the Diversity of Cultural Expressions at the beginning of the new millennium. In Brazil, the protection of cultural goods started with the creation of the National Historic and Artistic Heritage Service in the 1930s, when the preservation discourse aimed at forging the national identity and its civilization, valuing especially European heritage and “brick-and-mortar” goods. Besides, this study found that the folklorist movement also created a preservation discourse linked to the national identity. However, this discourse focused on popular culture, aiming at its protection through documentation. The union of these preservation perspectives occurred when Aloísio Magalhães became president of SPHAN and brought the concept of cultural reference to guide the cultural goods’ preservation. The analysis of the minutes of the National Institute of Historic and Artistic Heritage’s Advisory Committee allowed the understanding of how the discourse of intangible cultural heritage preservation consolidated itself in Brazil. This work concludes that this discourse is a result of the articulation of the new political-cultural grammar established in the 1990s and used by many social groups that demand representation and recognition. This discourse is also a recuperation of the cultural reference concept by Aloísio Magalhães.

The use of heritage as a state tool to construct national identity has been fervently explored (e.g. Daniels 1993 and Kohl 1998). However, the ways in which ethnic minority communities in multicultural societies, respond to the Authorised Heritage Discourse’ (AHD) (Smith 2006) as the product of nationalism is relatively under-researched (Caffyn and Lutz 1999, Waterton 2010). This dissertation focuses on the case study of the Miao ethnic minority’s cultural landscapes in China, which have been altered continuously by both the national and local powers that seek to construct collective identities. The dissertation asserts that ethnic minority heritage practices in multicultural societies need to be understood as being profoundly shaped by nationalist discourses and practices. My ethnographic research, of Langde, a Miao village founded in the 14th century, addresses historical and contemporary identity negotiations between the local and the national, the ethnic minority and the majority, but also the ways in which ethnic minority groups and the state strive to shape their collective identities through concrete heritage practices. Such construction has in turn reinforced the local Miao identity through everyday heritage practices. The AHD in China, which is a technology of nationalism, has been based on the assumption of the ‘superior’ cultural status of Han as the majority. Yet, conversely it is also entwined with how ethnic minority groups have actively shaped their own identities. By employing visual ethnography, this dissertation reveals a Communist vision of multiculturalism, which combines cultural hegemony and community empowerment. The dissertation concludes by proposing an expansion to the framework for understanding how the AHD of ethnic minority heritage is made and perceived. Looking at minority heritage’s entanglement with nationalism provides a window of understanding into how collective identities at national and local levels are negotiated and reconstructed.

Made available in DSpace on 2019-03-29T23:24:49Z (GMT). No. of bitstreams: 0 Previous issue date: 2010-03-23 / This study analyzes the National Culture Fund as one of the mechanisms provided by the National Program of Support to Culture - PRONAC for the projects, initiatives and programs funding. In this sense, it aims to demonstrate their role in the effectiveness of culture access advocated by the 1988 Federal Constitution. Therefore, it was necessary to initially expose the fundamental concepts that involve the legal-financial public funds background, highlighting the state existence and its regulatory role in the society. Therefore, it were defined the concepts of culture and cultural rights considering that the Fund is dedicated to them - highlighting the basic rules and public policies of the segment before and after the 1988 Federal Constitution. Subsequently, it was presented detailed study on the National Culture Fund, showing its role in the National Development and Cultural Incentive - PROCULTURA, contained in the bill being processed in Congress to replace the current Rouanet Law. It was also presented some statistics that surround the Fund, among which the specific to cultural funding by the National Culture Fund in Ceará, analyzing them in order to prove its effectiveness. As a result, it.s concluded that the National Culture Fund is important for ensuring the culture access. In this sense, it.s stated the need to adapt their format in order to make effective the right of culture access. Keywords: cultural rights, culture national fund, culture access / Este trabalho analisa o Fundo Nacional da Cultura como um dos mecanismos disponibilizados pelo Programa Nacional de Apoio à Cultura - PRONAC para o financiamento de projetos, ações e programas. Nesse sentido busca-se demonstrar seu papel na efetividade do acesso à cultura preconizado pela Constituição Federal de 1988. Para tanto, foi necessário inicialmente expor as noções fundamentais que envolvem o arcabouço jurídico-financeiro dos fundos públicos, destacando nos entremeios a existência do Estado e seu papel regulador da sociedade. Por conseguinte, foram delimitados os conceitos de cultura e direitos culturais visto que o Fundo é dedicado a estes destacando-se a fundamentalidade de suas normas, bem como as políticas públicas do segmento antes e depois do advento da Constituição Federal de 1988. Posteriormente, apresenta-se estudo pormenorizado acerca do Fundo Nacional da Cultura, ressaltando seu papel no Programa Nacional de Fomento e Incentivo à Cultura PROCULTURA, constante no projeto de lei em trâmite no Congresso Nacional que visa substituir a atual Lei Rouanet. Apresentam-se ainda alguns números que circundam o Fundo, dentre eles os pertinentes ao financiamento cultural pelo Fundo Nacional da Cultura no Ceará, analisando-os, a fim de comprovar sua efetividade. Como resultado, conclui-se que o Fundo Nacional da Cultura é importante para a efetivação do acesso à cultura. É nesse sentido que se afirma a necessidade de adequação dos seus contornos a fim de tornar efetivo o direito de acesso à cultura. Palavras-chave: Direitos culturais. Fundo Nacional da Cultura. Acesso à cultura.

<p> This project arose from the desire to minister in the dominantly multicultural community of Renton, Washington. The project utilized interviews to reveal common factors that would enable gospel communication across several cultures: Filipino, Caucasian, African American, and Chinese. The scale used to develop the common factors included disquieting experiences, amorphous cultural zones, conception of &ldquo;beyondness,&rdquo; phenomenological triggers, soteriological metaphors, second faith, thickness of the cultural border, and the Hofstede cultural typology. </p><p> A variety of techniques were used to conceptualize the research such as cultural analysis, sociological and psychological approaches, and human resource theory in order to drive a multi-disciplinary understanding of the topic. Additionally, Meyer&rsquo;s Culture Map provided a business perspective on communicating, evaluating, persuading, leading, deciding, trusting, disagreeing and scheduling. The combination of the data gathered from the interview transcripts and the models allowed for a variety of conclusions, including that multicultural gospel communication is possible so long as the gospel communicator remains sensitive to differences among people. The project also yielded a set of eight best practices for effective multicultural gospel communication.</p><p>

When performing music in front of a live audience place factors in greatly, both for musicians and audiences. It is often something most people don’t think of, but it’s essential for having a memorable and safe experience, according to your expectations as either musician or audience member. But what happens when there is a disconnection between place and musician/audience? In 2014 the city of Umeå was announced as that years European capital of culture. To get that title the municipality of Umeå had used the cities great number of active musicians to be rewarded with the title of capital of culture. However, these local musicians did not get to take part in this celebration and were unrepresented in the year long program. Also, in combination with the lack of representation, a couple of beloved  local venues used for live music where either moved away from central Umeå or closed down. This led to a period of musicians either having a hard time to play live shows, or playing liveshows on stages where they could perform their music as intended. The lack of an obvious scene for live music also led to difficulties of attracting audiences because of having shows in places around town where people never had experienced live music before.   Keywords: Local music, music scenes, place, representation, culture politics.

Chow Pui-ha. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2004. / Includes bibliographical references (leaves 213-219). / Abstracts in English and Chinese. / Prologue --- p.1-3 / Chapter Ch. 1 --- "Theorizing Space, Body,ower andlay" --- p.4 / Chapter I. --- The Interrelations of Space and Body --- p.5-13 / Chapter II. --- Theower oflay and Leisure --- p.13-19 / Chapter III. --- Leisure in Modernity --- p.19-21 / Chapter IV. --- Researchroblematic: Leisure andowerlay --- p.21-22 / Chapter Ch. 2 --- Operationalisation --- p.23 / Chapter I. --- The Site of Study: Hong Kong Cultural Centre --- p.24-30 / Chapter II. --- Institutionalower at Cultural Centre --- p.30-33 / Chapter III --- Theoretical Framework --- p.34-38 / Chapter IV --- Research Questions --- p.39-41 / Chapter V. --- Methodology --- p.41-46 / Chapter VI. --- Research Implications --- p.46-48 / Chapter Ch. 3 --- hallocratic Bodyspace --- p.49 / Chapter I. --- The Representational Spaces: Aublic Toilet or a Culturalalace? --- p.50-61 / Chapter II. --- Spatialractices:erforming Arts/erformative Culture --- p.62-70 / Chapter III --- Performative Leisure and Disenchanted body --- p.71-78 / Chapter IV. --- olitical Economy of the Body andolitical Economy of Music --- p.78-80 / Chapter V. --- Enchanted Body in the Center?. --- p.81 -83 / Chapter VI. --- The Representation of Space: Elitist Discourse --- p.84-87 / Chapter VII. --- Thehallocartic Bodyspace of the Elitist Culturalalace --- p.87-91 / Chapter CH. 4 --- Embryonic Bodyspace --- p.92 / Chapter I. --- Representational Space: the Garden and the Open Theatre --- p.93-97 / Chapter II. --- Spatialractices: Compositionalerformances --- p.98-109 / Chapter III. --- Re-created Body and Leisure Societies --- p.109-121 / Chapter IV. --- Embryonic Bodyspace --- p.122-126 / Chapter V. --- The Representation of Space: the Repression of Revolution --- p.126-129 / Chapter VI. --- Institutionalised Embryonic Bodyspace --- p.129-136 / Chapter CH. 5 --- Contested Bodyspace --- p.137 / Chapter I. --- Sectioned Lifeworlds --- p.138-141 / Chapter II. --- Civility as the Logic of Centrality --- p.141-149 / Chapter III. --- Dialectic of Order and Disorder and the Logic of Civility --- p.149-153 / Chapter IV. --- ower atlay --- p.153-155 / Chapter CH. 6 --- Body-City and City Spectacle --- p.156 / Chapter I. --- The Logic of Civility and City Imaginary --- p.157-159 / Chapter II. --- Spectacularization of City --- p.159-162 / Chapter III. --- Event Capital and Hong Kong Identity --- p.163-173 / Chapter IV. --- Mainland Tourists as the City Spectacle of Hong Kong --- p.173-181 / Chapter V. --- "City spectacle, Spatial Order andower Negotiation" --- p.181-184 / Chapter CH. 7 --- Conclusion:olitics oflay on Body-City --- p.185 / Chapter I. --- lay as Tactic --- p.186-187 / Chapter II. --- hallocratic and Embryonic Bodyspaces --- p.188-190 / Chapter III. --- Leisure Relations --- p.190-191 / Chapter IV. --- Creative City and City Citizenshi --- p.191 -200 / Chapter VI. --- lay as Lifeolitics --- p.200-207 / Chapter VII. --- Conclusion --- p.207-208 / Appendix 1: Renowned artists and groupsresented in HK Cultural Centre --- p.209-210 / Appendix 2: The Meaning of the Eighteen Buildings Presented in a Symphony of Lights --- p.211-212 / Bibliography --- p.213-219

With entertainment as its principle part, the cultural market began to develop in the early 1980s and became to be the first sign of cultural industries in Shenzhen. Some cultural enterprises developed in the background of the "Spiritual Civilization Construction" from the late 1980s to the early 1990s and printing, videos, cultural tourism, animation and cartoon started to grow up in Shenzhen. The government began to pay some attentions to cultural industries in the early 1990s and the scale of cultural industries in Shenzhen had grown up with the development of some important sectors. In the context of "Famous Modern Cultural City Construction" in the late 1990s, Shenzhen developed cultural industries further, cultural industries had produced economic benefits properly, the industrial structure had became pluralistic and the cultural industries developed intensively on a large scale, but faced many problems. Cultural industries in Shenzhen has met a new epoch since 2000 because of the implementation of the strategy of "Found the City on a Cultural Basis" and the orientation of cultural industries as the fourth economic support industry, not only both of its competitiveness and general strength and its economic contribution rate has enhanced a lot, but also cultural industries in Shenzhen leads mainland relatively. Some distinguishing features have been taken shape in printing, media, entertainment, cultural tourism, animation and cartoon, advertising, art and crafts, design, even though there are many problems and challenges in these fields. The development of cultural industries in Shenzhen could not do without the Hong Kong factor. Although the ideas of the development of cultural industries are different in Shenzhen and Hong Kong, they could cooperate closely. The "shop in the front and factory at the back" operation model had been and will still be the most practical cooperative model for two sides and printing, design, digital entertainment and cultural entertainment may be the most potential cooperative fields. In Conclusion, cultural industries in Shenzhen is moving from the fringes to the mainstream; cultural industries in Shenzhen had developed in a unique way; the general developmental level of cultural industries in Shenzhen still lags other industries; the development of cultural industries in Shenzhen has not been supported strongly by the whole society; the fundamental contradiction of cultural industries in Shenzhen is between cultural industries' economic attribution and ideological attribution and will continue to be the context of the development of cultural industries in Shenzhen; the government has controlled the upstream of the cultural industries chain, so the development of cultural industries in Shenzhen must take full advantage of the government resources; cultural industries in Shenzhen should focus on "industries" now; cultural industries in Shenzhen should take the Hong Kong factor seriously and make full use of it. / 王為理. / 呈交日期: 2005年8月. / 論文(哲學博士)--香港中文大學, 2006. / 參考文獻(p. 244-268). / Cheng jiao ri qi: 2005 nian 8 yue. / Adviser: Kwok Siu-tong. / Source: Dissertation Abstracts International, Volume: 67-07, Section: A, page: 2711. / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Electronic reproduction. [Ann Arbor, MI] : ProQuest Information and Learning, [200-] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Electronic reproduction. Ann Arbor, MI : ProQuest dissertations and theses, [200-] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstracts also in English. / School code: 1307. / Lun wen (Zhe xue bo shi)--Xianggang Zhong wen da xue, 2006. / Can kao wen xian (p. 244-268). / Wang Weili.

Esta tese tem por objetivo contribuir para a definição e desenvolvimento do conceito de \"negociação cultural\", compreendido como categoria teórico-metodológica orientadora de processos de mediação voltados à apropriação da cultura escrita. Foram estudados três dispositivos culturais cujas ações estão relacionadas à mediação da escrita em contextos diversos: o Centro Educacional e Cultural Kaffehuset Friele, localizado na zona rural de Minas Gerais; a Estação do Conhecimento Einstein-Paraisópolis, em Paraisópolis, segunda maior favela da cidade de São Paulo, e a Biblioteca Pública Louise Michel, localizada em um bairro da periferia de Paris/França, com forte concentração de imigrantes. Foi utilizada metodologia colaborativa, processo de construção científica baseado na interlocução entre saberes e fazeres científicos e \"da ação\", adotando-se, porém, perspectiva que não reduz ou sobrepõe uns aos outros. Os resultados mostram que, reconhecendo e incorporando a seus conceitos e processos os conflitos provocados pelas divergências e/ou assimetrias existentes entre os diferentes sujeitos, grupos, segmentos, categorias, matrizes socioculturais (leitores/não-leitores, tradição oral/cultura escrita), os dispositivos estudados, diferentemente de outros do mesmo teor, mais que instâncias de controle e/ou de difusão, são instâncias de negociação cultural, envolvendo sujeitos, textos e contextos em processos ativos, complexos e afirmativos de apropriação de informação e cultura, incluída aí - mas não exclusivamente - a cultura escrita. O conceito de negociação cultural aponta, portanto, para perspectivas novas, tanto em relação à apropriação da cultura escrita, como da cultura em geral. Dá mostras, ao mesmo tempo, de poder contribuir para a redefinição indispensável de práticas e conceitos de mediação cultural e seus paradigmas. / This thesis aims to contribute to the definition and development of the concept \"cultural negotiation\", understood as a theoretical-methodological category guiding the mediation processes used to suit the written culture. Three cultural devices were studied and their actions are related to the writing mediation in three different contexts: Kaffehuset Friele Educational and Cultural Center, located in Minas Gerais rural area; Einstein Knowledge Station, in Paraisópolis, the second largest slum located in Sao Paulo City, and Louise MIchel Public Library, located in greater Paris/France, which has a large amount of immigrants. Collaborative methodology has been used, in other words, a scientific construction process based on the dialogue between scientific knowledge and \"action\", adopting, however, a perspective that does not reduce or overlap one another. The results indicate that by acknowledging and incorporating their concepts and processes, the conflicts caused by divergences and/or asymmetries between the different individuals, groups, segments, categories, sociocultural matrix (readers/non-readers, oral tradition/written culture), the studied devices, unlike others of the same content are, rather than instances of control and/or dissemination, they are instances of cultural negotiation involving subjects, texts and contexts in active, assertive and complex processes of information and cultural appropriation, including - but not exclusively - written culture. The concept of cultural negotiation, therefore, points out to new perspectives concerning written culture, as well as cultural appropriation as a whole. Simultaneously, it indicates to be able to contribute to redefine essential practices and concepts of cultural mediation and its paradigms.

Os estudos sobre a diversidade cultural na Organização do Conhecimento estão imbricados na temática do local/global. Em uma sociedade da informação globalizada, aspectos culturais e éticos adquirem grande relevância nas discussões sobre as implicações da utilização de sistemas de organização do conhecimento em escala global/local. Enquanto produtos culturais, os sistemas de organização do conhecimento expressam valores, que podem ser analisados do ponto de vista das garantias sobre as quais tais sistemas se constituem. As garantias estão sempre presentes em sistemas de organização o conhecimento, embora nem sempre sejam aplicadas de modo consciente e sistemático, ou mesmo apresentadas de modo transparente para os usuários dos sistemas. Desse modo, o objetivo desta pesquisa é analisar o conceito de garantias como ferramenta teórico-metodológica que, em suas diversas formas, pode contribuir para a incorporação da diversidade cultural às práticas da Organização do Conhecimento. Parte da hipótese de que formas de garantias estão sendo desenvolvidas e/ou reformuladas para permitir a elaboração de sistemas organização do conhecimento que incorporem a diversidade cultural como valor ético. Discute os conceitos de cultura, diversidade cultural, globalização e sociedade da informação como elementos-chave em estudos voltados para as dimensões cultural e ética da Organização do Conhecimento. Discute os pressupostos teóricos dos conceitos de garantia, garantia literária, garantia cultural e garantia ética. Identifica demais formas de garantias propostas na literatura da área para verificar o contexto de uso das garantias, a precisão conceitual dos termos e identificar suas possíveis inter-relações por meio da análise de artigos publicados em periódicos acadêmicos e da construção de um glossário com os termos identificados. Verifica que as discussões de conceitos já estabelecidos, como os de garantia cultural e garantia do usuário, e a formulação de outras garantias, tais como a garantia autopoiética ou a garantia do ponto de vista podem ser relacionadas à incorporação da diversidade cultural às práticas da Organização do Conhecimento. / Research about cultural diversity in Knowledge Organization is connected to the theme local/global. In a globalized information society, cultural and ethical aspects come to the fore in discussions about the implications of using knowledge organization systems in a global/local scale. As cultural products, knowledge organization systems embody values which can be analyzed from the standpoint of the warrants on which they are based. Warrants are always present in knowledge organization systems, even though they are not always applied consistently and systematically, or even made transparent to the users of such systems. Thus, the objective of this research is to analyze the concept of warrants as a theoretical and methodological tool which, in its various forms, may contribute to the integration of cultural diversity to knowledge organization practice. The research is based on the hypothesis that forms of warrant are being developed and/or reconceptualized to allow for the design of knowledge organization systems in which cultural diversity is integrated as an ethical value. It discusses the concepts of culture, cultural diversity, globalization and information society as key elements in research about the ethical and cultural dimensions of Knowledge Organization. It discusses the theoretical framework of the concepts of warrant, literary warrant, cultural warrant and ethical warrant. It identifies other forms of warrant in the literature to analyze their context of use, their conceptual accuracy and potential inter-relations through a survey of the terms in conceptual papers to write a glossary. It was noted that research about more established concepts, such as cultural warrant and user warrant, and the development of other warrants, such as autopoietic warrant or viewpoint warrant are related to the integration of cultural diversity in knowledge organization practice.