A presente dissertação versa sobre as relações entre as dimensões política e cultural na cultura política do movimento negro em Porto Alegre, bem como a contínua mobilização e estratégias travadas pelas entidades do movimento social negro através das suas diferentes formas organizativas. O objetivo deste estudo é analisar como são construídas as políticas culturais do movimento negro em Porto Alegre e examinar as estratégias de ação no interior das organizações. O estudo buscou construir uma análise sob uma ótica pós-colonial que contribua para as reflexões sobre as relações entre política e cultura verificando como os movimentos sociais tem ampliado a essa discussão a partir de suas ações. Para isso se construiu uma análise teórico-metodológica interdisciplinar, apoiada em literaturas que analisam a mobilização produzida pelos movimentos sociais latino-americanos. A coleta de dados combinou observação participante, entrevistas e análises de documentos produzidos pelas organizações investigadas a fim de reconstruir as bases em que se apoiam sua cultura política. Sendo assim, buscou-se descrever de forma analítica como a cultura negra e suas diferentes articulações tem contribuído para a luta antirracista promovida pelo movimento negro no Brasil. / This thesis examines the relationships between the cultural and political dimensions of the black movement political culture in Porto Alegre, as well as the continuous mobilization and strategies performed by black social movement organizations through its various organizational forms. The aim of this study is to analyze how black movement cultural policies are built and to investigate the strategies adopted internally by those organizations. The study has developed an analysis through a postcolonial perspective, contributing to the discussion on the relationship between politics and culture by observing how social movements have expanded such discussion through their actions. For that, a theoretical and methodological analysis supported by interdisciplinary literature shed attention to the movements produced by social movements in Latin-America. Data collection combined participant observation, interviews and analysis of documents produced by the organizations observed in the study to reconstruct the foundations supporting their cultural policies. So, an analytical description of how black culture and its diverse interfaces has contributed to the anti-racist figtht, as fought by black movement in Brazil, is presented.

A presente pesquisa compara o discurso da Secretaria de Estado da Cultura de São Paulo com o que a pasta de fato executa, ou seja, sua prática. A análise do discurso é feita com base na visão de cultura da secretaria e em seu entendimento acerca do termo política cultural. Este conteúdo é expresso em documento elaborado pela própria secretaria e na minuta do Plano Estadual de Cultura de São Paulo. Já a prática é analisada por meio de uma das políticas desenvolvidas pelo órgão: os convênios, instrumentos celebrados entre órgãos da Administração Pública ou entre estes e entidades sem fins lucrativos, visando a realização de projetos de vontade mútua e interesse público. Um importante mecanismo de fomento à cultura, no entanto, pouco discutido. São estudados os convênios firmados durante o período de um governo, 2011 a 2014, incluindo os instrumentos resultados de emenda parlamentar, portanto, de origem no Poder Legislativo, e os de escolha direta da secretaria, Poder Executivo. Especificamente, busca-se entender o que é um convênio; o perfil dos projetos conveniados; os valores investidos em projetos culturais, por meio de convênios; a distribuição dos convênios no estado; quais são as entidades e prefeituras conveniadas; quem são os deputados que destinam emendas parlamentares para a cultura etc. A análise permite observar a distância entre a teoria e a prática do órgão de cultura, uma vez que o estudo dos convênios demonstrou a ausência de uma política cultural definida, democrática e transparente; além da utilização da cultura, prioritariamente, como instrumento para se alcançar outros fins, diferentes dos expostos pela pasta em seu discurso. Distância grande é observada, também, em relação ao que a secretaria diz e faz e os anseios da sociedade civil, expressos por meio do plano de cultura. Enquanto a pasta tem a cultura como meio, a sociedade tem a cultura como fim. Além disso, o que a sociedade deseja, portanto, o que é de interesse público, não se faz presente, de maneira representativa, nos convênios celebrados. / This research compares the discourse of the Department of Culture of São Paulo State with what it really performs, its practice. Discourse analysis is based on the Department of Culture view about culture and its understanding of the term \"cultural policies\". This content is expressed in a document prepared by the Department itself and in the draft of the Cultural Plan of São Paulo State. The practice is analyzed through one of the policies developed by the Department: the agreements, instruments signed between public administration bodies or between them and non-profit entities, aiming at the realization of projects of mutual will and public interest. An important mechanism for promoting culture, however, little discussed. The agreements signed during the period of a term, from 2011 to 2014, are studied including the results of parliamentary amendment, that originate in the Legislative Branch, and those of direct choice of the department, Executive Branch. Specifically, we seek to understand what an agreement is; the profile of the projects; the amounts invested in cultural projects, through agreements; their distribution in the state; which are the entities and municipalities involved in the agreements; who are the parliamentarians who propose amendments for culture etc. The analysis allows us to observe the distance between the theory and practice of the Department of Culture, since the study of the agreements showed the absence of a defined, democratic and transparent cultural policy; besides the use of culture, as an instrument to achieve other ends, different from those exposed by the Department in its speech. Great distance is also observed in relation to what the Department says and does and the aspirations of civil society, expressed through the Cultural Plan. While the Department perceives culture as a medium, society perceives culture as an end. Moreover, what society wants, therefore, what is of public interest, is not present, in a representative manner in the agreements

Trata do processo de criação e desenvolvimento do Centro Cultural da Juventude Ruth Cardoso (CCJ) e do impacto causado por suas ações junto à comunidade, particularmente junto ao seu público-alvo, utilizando para esta reflexão os conceitos de desenvolvimento cultural e de direitos culturais. O CCJ foi criado em 2006 com objetivo de atender as demandas dos jovens moradores das regiões de Brasilândia, Cachoeirinha, Freguesia do Ó e de toda a cidade de São Paulo. Partiu da criação de um equipamento cultural que tem como público-alvo os jovens entre 18 a 29 anos, que em geral não são o foco principal dos outros equipamentos mantidos pela prefeitura da cidade de São Paulo. Foi analisada a relação entre a cultura e a cidade, a partir da presença e distribuição dos equipamentos culturais no âmbito da Secretaria de Cultura da cidade de São Paulo, descritos aqui como pano de fundo. Apresenta o histórico do CCJ, sua criação, suas redes, objetivos, propostas e funcionamento, tendo como fonte de informação depoimentos colhidos junto aos gestores do CCJ, documentos e observação. Para analisar o público-alvo do CCJ, aborda-se o conceito de juventude, seus valores e suas expectativas. Traz uma pesquisa de usuários do CCJ que ajuda a traçar seu perfil, analisar o uso que fazem do equipamento e avaliar sua satisfação com as atividades e os acessos oferecidos. Os resultados obtidos demonstraram mudanças no perfil cultural destes jovens, a partir da freqüência ao CCJ, podendo-se admitir que espaços culturais próximos à comunidade contribuem de forma eficaz para o desenvolvimento cultural de seu público e para a democratização do acesso aos bens culturais. / This dissertation aims to analyze the process of creation and development of the Cultural Center for Youth Ruth Cardoso (Centro Cultural para a Juventude Ruth Cardoso, CCJ) and the impact caused by the actions of the CCJ in the community, particularly among its target audience, using in this reflection the concepts of \"cultural development\" and \"cultural rights\". The CCJ was established in 2006 in order to meet the demands of the young residents of the regions of Brasilândia, Cachoeirinha, Freguesia do Ó and of the city of São Paulo as a whole. The CCJ involved the creation of differentiated cultural facilities, focusing on the population aged 18 to 29 years, the general public that is not the main focus of the other facilities maintained by the Municipal Government of São Paulo. We analyze initially the relationship between culture and cities, focusing specially on the presence and distribution of cultural facilities within the Department of Culture (Secretaria de Cultura) of São Paulo, in order to achieve an overview of the characteristics of each of them. Subsequently we present the history of the CCJ, its creation, its networks, objectives and operation. These information were obtained from testimonies collected from the managers of the CCJ, documents and observation. Afterwards we make a discussion on the concept of youth and its expectations, and finally we deal with the analysis of the interviews applied to users of the CCJ, checking its characteristics, the uses of the facilities, and the evaluation of satisfaction, which indicates changes in the cultural profile of these young people in relation to their attendance of the CCJ. The results showed that differentiated cultural spaces and decentralization contribute effectively to the cultural development of its public and to the democratization of the access to cultural goods.

Submitted by Renata Lopes (renatasil82@gmail.com) on 2018-09-20T12:23:12Z No. of bitstreams: 1 flaviacarvalhodossantos.pdf: 1715148 bytes, checksum: 8d3b3a1bad0d54e229909d7945245b96 (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2018-10-16T11:30:54Z (GMT) No. of bitstreams: 1 flaviacarvalhodossantos.pdf: 1715148 bytes, checksum: 8d3b3a1bad0d54e229909d7945245b96 (MD5) / Made available in DSpace on 2018-10-16T11:30:54Z (GMT). No. of bitstreams: 1 flaviacarvalhodossantos.pdf: 1715148 bytes, checksum: 8d3b3a1bad0d54e229909d7945245b96 (MD5) Previous issue date: 2018-07-30 / O presente texto, desenvolvido no âmbito do Mestrado Profissional em Gestão e Avaliação da Educação Pública (PPGP) do Centro de Políticas Públicas e Avaliação da Educação da Universidade Federal de Juiz de Fora (CAEd/UFJF), compreende um caso de gestão que analisa o setor de cultura do campus avançado de Governador Valadares da UFJF (UFJF-GV), implantado em 2012, por meio do Programa de Apoio a Planos de Reestruturação e Expansão das Universidades Federais (Reuni). A partir das observações no cotidiano profissional, com o trabalho de produção cultural dentro do setor de Comunicação, Cultura e Eventos (CCE), foi possível identificar problemas que dificultam o planejamento e a efetivação de ações de cunho artístico-cultural no campus. A dificuldade encontrada na UFJF-GV apresenta-se como algo comum às instituições públicas de educação superior, limitando o papel das universidades de garantirem que seus estudantes tenham acesso à produção e à apreciação de ações de cunho cultural, estando assim na contramão de um projeto de país que visa o desenvolvimento integral dos cidadãos. O objetivo geral deste trabalho foi analisar as principais barreiras no desenvolvimento de projetos e ações de cultura na UFJF-GV. Os objetivos específicos foram apresentados como: (I) descrever os fatores que dificultam o desenvolvimento das atividades culturais na UFJF-GV; (II) analisar a perspectiva dos gestores da Pró-Reitoria de Cultura da Universidade Federal de Juiz de Fora (UFJF) e da Diretoria Geral do campus avançado sobre a gestão cultural no campus de Governador Valadares, bem como as demandas da comunidade acadêmica no campo cultural e (III) propor um Plano de Ação Educacional (PAE) coerente com a realidade do campus avançado e que possibilite o desenvolvimento de atividades culturais de forma bem sucedida. Para isso, foi aplicado um questionário sociocultural junto aos estudantes da UFJF-GV. Por meio da aplicação do instrumento, identificamos a carência de formação no campo artístico-cultural dos discentes, bem como uma demanda relevante para a prática de ações de cunho cultural, tendo em vista que a atual formação acadêmica tem se limitado às questões tecnicistas. Também foram realizadas entrevistas com os gestores da UFJF-GV e da Pró-Reitoria de Cultura da UFJF. Entre as principais questões identificadas pelas entrevistas está a indefinição da responsabilidade pela gestão do trabalho cultural no campus avançado, bem como o déficit de recursos e de servidores atuando na área. A partir desses diagnósticos, o Plano de Ação Educacional propõe a realização de sete ações que visam, entre outras coisas, minimizar os impactos da formação tecnicista imposta às universidades públicas, bem como a criação de um planejamento que defina responsabilidades e ações a serem executadas pela área cultural do campus avançado. De um modo geral, o plano busca intervir nas lacunas identificadas com a pesquisa e com as entrevistas, contribuindo para que a UFJFGV cumpra a sua missão como instituição de ensino e espaço de promoção à diversidade e à cultura, cooperando, assim, para o desenvolvimento regional. / The present text, developed in the scope of the Professional Master in Management and Evaluation of Public Education (PPGP) of the Center for Public Policies and Education Evaluation of the Federal University of Juiz de Fora (CAEd / UFJF), comprises a management case that analyzes the (UFJF-GV), implemented in 2012 through the Support Program for Restructuring and Expansion of Federal Universities (Reuni). From the observations in the professional daily life, with the work of cultural production within the sector of Communication, Culture and Events (CCE), it was possible to identify problems that make difficult the planning and the accomplishment of actions of an artistic and cultural nature in the campus. The difficulty found in the UFJF-GV is something common to public institutions of higher education, limiting the role of universities to ensure that their students have access to the production and appreciation of cultural actions, thus being against a project country that aims at the integral development of citizens. The general objective of this work was to analyze the main barriers in the development of projects and actions of culture in the UFJFGV. The specific objectives were presented as: to describe the factors that hinder the development of cultural activities in the UFJF-GV; to analyze the perspective of the managers of the UFJF's Pro-Rectory of Culture, the General Directorate and the UFJF-GV students on cultural management at the Governador Valadares campus; and propose a plan of intervention consistent with the reality of the advanced campus and that enables the development of cultural activities in a successful way. For this, a sociocultural questionnaire was applied to the students of UFJF-GV, which identified the lack of training in the cultural artistic field of the students, as well as a relevant demand for the practice of cultural actions, considering that the current formation has been limited to technical issues. Interviews were also conducted with the managers of UFJF-GV and the UFJF's Department of Culture. Among the main issues identified by the interviews are the lack of definition of the responsibility for the management of cultural work in the advanced campus, as well as the deficit of resources and servers working in the area. Based on these diagnoses, the Educational Action Plan proposes to carry out seven actions that aim, among other things, to minimize the impacts of technical training imposed on public universities, as well as the creation of a plan that defines responsibilities and actions to be carried out by the advanced campus cultural area. In general, the plan seeks to intervene the gaps identified with the research and interviews, contributing to the UFJF-GV fulfilling its mission as an educational institution and space for the promotion of diversity and culture, thus cooperating for development regional level.

Cette thèse étudie un corpus de livres et d’expositions de photographies qui abordent les questions d’identité sociale, ethnique et nationale [en Grande-Bretagne]. Elle procède à une historicisation du champ photographique en s’intéressant au contexte social et politique de production et de diffusion des images, et en particulier aux politiques culturelles. Elle considère photographies et expositions comme des discours et pratiques qui contribuent à la formation des identités collectives. Le genre des photographies, et notamment le documentaire, est discuté au fil de l’étude, en lien avec la problématique de l’identification. En s’attachant aux rapports entre représentations, identités collectives, culture et pouvoir, l’analyse s’inscrit dans la lignée des cultural studies, dont quelques auteurs, comme Stuart Hall ou Paul Gilroy sont régulièrement évoqués. Il ressort que la photographie se fait le témoin et l’agent d’une dissolution des identités collectives dans les années 1990, en interrogeant l’identité nationale et ses vecteurs et en revendiquant un plus grand pluralisme culturel. Pour aborder la question sociale, devenue moins centrale, elle rompt avec le documentaire classique et la figure du photographe engagé. Par ailleurs, une photographie noire se structure autour d’Autograph-ABP. Lorsqu’une New Britain (jeune, créative et multiethnique) est promue par les travaillistes, la photographie en révèle les dissonances. Néanmoins, en entrant dans le domaine de l’art contemporain, le médium devient aussi l’objet des politiques culturelles multiculturalistes et se fait parfois source d’ethnicisation et d’essentialisation des identités. Après 2001, lorsque le multiculturalisme est critiqué, la photographie enregistre la diversité de la société britannique et démonte les stéréotypes qui visent particulièrement musulmans et réfugiés. Elle est aussi force de proposition dans la recherche de nouvelles formes de cohésion. Des pratiques documentaires collaboratives sont expérimentées pour un renouveau de la citoyenneté. La capacité de la photographie à explorer le rapport entre territoire et citoyens lui permet aussi d’inventer d’autres modes d’identification collective ancrés dans l’expérience quotidienne. / This thesis is based on a corpus of photography books and exhibitions dealing with social, ethnic, and national identities in Britain. It adopts a historicizing perspective by analysing the political and social contexts for the production and circulation of photographs, with special attention to cultural policies. Photographs and exhibitions are studied as narratives and practices that contribute to the formation of collective identities. The genre of photographs, and especially the notion of documentary, is discussed throughout the work, as a corollary to the question of identification. With a focus on representations, collective identities, culture and politics, this study lies in the field of cultural studies and regularly summons some of its prominent figures like Stuart Hall or Paul Gilroy. It shows that photography both documented and helped the dissolution of collective identities at the end of the 1990s, by questioning national identity and its representations, and by advocating greater cultural pluralism. As the social question became less prominent, photography departed from traditional social documentary forms and from the figure of the committed photographer. Parallel to this, in the wake of Black Arts, Black Photography was institutionalized with the creation of Autograph-ABP. It is also argued that when the New Labour party promoted a New Britain, some photographs acted as a magic mirror, revealing dissonances in the brand new narrative of a young, creative, multi-ethnic Britain. However, as photography entered the realm of contemporary art, it also became subject to the multiculturalist policies of the period and sometimes turned into a source of ethnicisation and essentialization. After 2001, as multiculturalism was questioned, photography kept documenting the diversity of British society and helped debunk stereotypes, especially those associated with Muslims and refugees in Britain. Finally, the late 2000s are analysed as a period when new modes of social cohesion are explored through photographic practices. Collaborative documentary projects are experimented to re-engage citizens. New photographs documenting the relation between people and territory in Britain seem to suggest that collective identification may rather be found in shared everyday experience.

Cette thèse pose un regard critique sur la dimension politique de la scène contemporaine de théâtre au Québec, dans une perspective comparative avec celle allemande, avec une attention particulière pour les villes de Montréal et Berlin. L’autrice y explore, dans la mise en scène, les gestes et les stratégies qui permettent à l’artiste de prendre position politiquement par le théâtre, soient le recours au réel, la traduction, l’adaptation et l’ironie. La mise en relation entre Berlin et Montréal se traduit dans chacun de ces gestes, mais aussi de façon générale, dans le rôle historique et symbolique que joue l’Allemagne chez les artistes de théâtre au Québec. L’analyse prend pour objet un corpus susceptible d’être diffusé dans le réseau international des arts vivants, composé de six productions récentes ("Le NoShow" (2013) du collectif Nous Sommes Ici et du théâtre du Bunker, "Fear" (2015) de Falk Richter, "100% Montréal" (2017) de Rimini Protokoll, "Macbeth" de Shakespeare monté en 2016 par Angela Konrad, "Ein Volksfeind" de Henrik Ibsen monté en 2012 par Thomas Ostermeier et "Dans la République du bonheur" de Martin Crimp monté en 2015 par Christian Lapointe). L’approche privilégiée, inspirée de l’expérience comme conseillère dramaturgique de l’autrice, est celle de l’intermédialité. Ainsi, les dimensions politiques des oeuvres sont étudiées dans la forme que prend leur propos, dans les esthétiques et les traditions convoquées par les choix de la mise en scène, ainsi que dans les mécanismes déployés pour établir une relation avec le public. L’approche intermédiale implique aussi de mettre en relation ces éléments avec leur contexte de production, du fonctionnement institutionnel des théâtres aux modes de financement qui en permettent la réalisation, en passant par le subtil rapport de force qui régit le milieu des arts de la scène. En prenant soin de cerner les contradictions au sein des oeuvres étudiées, cette thèse esquisse une approche critique des politiques de la scène contemporaine de théâtre, dans une démarche au plus près de la pratique. / This thesis offers a critical perspective on the political aspects of contemporary theatre in Quebec by using a comparative perspective with German theatre, with a particular focus on the cities of Montreal and Berlin. The author explores staging methods, gestures, and various strategies used by theatre artists to adopt political stances through theatre such as : the use of the real, translation, adaptation, and irony. The connection between Montreal and Berlin is highlighted through various gestures but also through the historical and symbolic role Germany has long held for Québécois theatre artists. This analysis will take into account a corpus of recent productions subject to international presentation : ("Le NoShow" (2013) from the artist collective Nous Sommes Ici and the Bunker theatre, "Fear" (2015) by Falk Richter, "100% Montréal" (2017) by Rimini Protokoll, Shakespeare’s "Macbeth" staged in 2016 by Angela Konrad, "Ein Volksfeind" by Henrik Ibsen staged in 2012 by Thomas Ostermeier and "Dans la République du bonheur" by Martin Crimp staged in 2015 by Christian Lapointe). Drawing on the author’s own experiences working as a dramaturg in Quebec, the thesis adopts an intermedial approach in order to explore the political aspects of the aforementioned works ; thus, it looks at what traditions are conveyed and what aesthetics are deployed through staging, as well as a host of other mechanisms, whose aim it is to garner audience sympathies. This intermedial approach will also shed a light on those elements by using the context of production, the institutional operations of theatres as to how they are financed, and the power relationships within the performing arts sector. By determining the contradictions in the studied works, this thesis will critique the politics of contemporary theatre through a practical methodology.

Notre étude porte sur le programme d’appui à la création en arts visuels contemporains du Conseil des arts et des lettres du Québec (CALQ). La question soulevé habituellement ce type de programme qui s’appuie sur l’évaluation par les pairs est la suivante : les décisions sont-elles « biaisées »? Mais derrière cette question, il y a en a une autre, plus fondamentale : sur quels critères se base l’évaluation? Nous nous intéressons à comprendre le rapport entre l’évaluation de la qualité artistique et l’attribution de bourses. Plus spécifiquement, nous cherchons à analyser comment sont déterminées la qualité et la valeur d’une candidature en arts visuels, sur quels types d’arguments et de critères s’appuie l’évaluation artistique et par quels moyens cette dernière pourra créer une iniquité entre les candidats. Il s’agit donc d’une recherche qui relève de la sociologie de l’art, mais d’une sociologie qui prend en compte le contexte institutionnel et dont l’objet sont les valeurs qui sous-tendent l’évaluation artistique, dans le cadre d’une organisation autonome de subvention des arts. Dans cette perspective, les valeurs artistiques ne se définissent pas ex nihilo mais in situ, dans des situations (ex. comités d’évaluation) et dans un contexte institutionnel précis (le CALQ). L’évaluation de la qualité artistique s’inscrit donc dans des dynamiques sociales concrètes et particulières qu’il nous revient d’observer et d’analyser minutieusement. Notre attention portera spécialement sur les mécanismes de prise de décision et à la construction collective des jugements. / Our study focuses on the Conseil des Arts et des Lettres du Québec (CALQ) program to support the creation of contemporary visual arts. The question that usually rises about this type of programs, which are based on peer review, is: are the decisions "biased"? But behind this question, there is another more fundamental: what criteria the evaluations are based on? We are interested in understanding the relationship between the artistic quality assessment and the fellowships. More specifically, we seek to analyze how are determined the quality and value of an application in visual arts, what types of arguments and criteria sustain an artistic assessment and by which means the latter may create inequity between candidates. Therefore our research is related to the sociology of arts; nonetheless we take into account the institutional framework and the values that underlie the artistic assessment in the context of an autonomous arts’ funding organization. In this perspective, artistic values are not defined ex nihilo but in situ, in concrete situations, such as the evaluation committees, and in a specific institutional context, the CALQ. The artistic quality assessment is built into concrete and particular social dynamics, which compel us to observe and analyze them carefully. In this sense, our attention will particularly address the mechanisms of decision-making and the collective judgments.

Notre étude porte sur le programme d’appui à la création en arts visuels contemporains du Conseil des arts et des lettres du Québec (CALQ). La question soulevé habituellement ce type de programme qui s’appuie sur l’évaluation par les pairs est la suivante : les décisions sont-elles « biaisées »? Mais derrière cette question, il y a en a une autre, plus fondamentale : sur quels critères se base l’évaluation? Nous nous intéressons à comprendre le rapport entre l’évaluation de la qualité artistique et l’attribution de bourses. Plus spécifiquement, nous cherchons à analyser comment sont déterminées la qualité et la valeur d’une candidature en arts visuels, sur quels types d’arguments et de critères s’appuie l’évaluation artistique et par quels moyens cette dernière pourra créer une iniquité entre les candidats. Il s’agit donc d’une recherche qui relève de la sociologie de l’art, mais d’une sociologie qui prend en compte le contexte institutionnel et dont l’objet sont les valeurs qui sous-tendent l’évaluation artistique, dans le cadre d’une organisation autonome de subvention des arts. Dans cette perspective, les valeurs artistiques ne se définissent pas ex nihilo mais in situ, dans des situations (ex. comités d’évaluation) et dans un contexte institutionnel précis (le CALQ). L’évaluation de la qualité artistique s’inscrit donc dans des dynamiques sociales concrètes et particulières qu’il nous revient d’observer et d’analyser minutieusement. Notre attention portera spécialement sur les mécanismes de prise de décision et à la construction collective des jugements. / Our study focuses on the Conseil des Arts et des Lettres du Québec (CALQ) program to support the creation of contemporary visual arts. The question that usually rises about this type of programs, which are based on peer review, is: are the decisions "biased"? But behind this question, there is another more fundamental: what criteria the evaluations are based on? We are interested in understanding the relationship between the artistic quality assessment and the fellowships. More specifically, we seek to analyze how are determined the quality and value of an application in visual arts, what types of arguments and criteria sustain an artistic assessment and by which means the latter may create inequity between candidates. Therefore our research is related to the sociology of arts; nonetheless we take into account the institutional framework and the values that underlie the artistic assessment in the context of an autonomous arts’ funding organization. In this perspective, artistic values are not defined ex nihilo but in situ, in concrete situations, such as the evaluation committees, and in a specific institutional context, the CALQ. The artistic quality assessment is built into concrete and particular social dynamics, which compel us to observe and analyze them carefully. In this sense, our attention will particularly address the mechanisms of decision-making and the collective judgments.

Le classement des institutions pastorales peules du yaaral et du degal (Delta intérieur du Niger) à la liste des chefs-d’œuvre du patrimoine oral et immatériel de l’humanité de l’UNESCO est au fondement d’une interrogation sur les modalités de l’appropriation et de l’application des politiques internationales du patrimoine culturel immatériel. Dans un contexte de décentralisation politique et de transformations des sociétés agro-pastorales, le croisement des enjeux contemporains du pastoralisme transhumant à l’application du programme de sauvegarde conçu selon les nouvelles normes patrimoniales de la protection de la diversité culturelle, de l’implication des populations et du développement durable, alimente une réflexion sur les pratiques politiques de la tradition et de l’appartenance. Les interactions entre ce système politique et symbolique d’usage du passé et les représentations et pratiques ordinaires, parfois conflictuelles, du bien classé, révèlent les relations de pouvoir relatives à la gestion des identités et à l’exploitation du foncier entre l’État malien et divers acteurs. Le croisement et le recyclage mutuel de stéréotypes sur le pastoralisme peul mobilisés dans des stratégies contradictoires à des échelles locales, nationales et globales produisent une scène originale des fêtes de transhumance. Une lecture continuiste entre tradition et patrimoine dans laquelle celui-ci serait une forme extravertie et institutionnalisée de la tradition rend compte du caractère historique des processus de patrimonialisation et de leur inscription dans une histoire longue marquée par des usages et des reformulations dynamiques des symboles culturels. / The proclamation of the yaaral and degal pastoral institutions (Inner Niger Delta) on the UNESCO’s list of “masterpieces of the oral and intangible heritage of humanity” is the basis for the study of the forms of appropriation and implementation of international intangible heritage policies. In a context of political decentralization and transformation of agro-pastoral societies, the intersection of contemporary challenges of transhumant pastoralism with the application of a safeguarding program developed according to the new patrimonial standards for the protection of cultural diversity, the involvement of populations and sustainable development, fuels consideration of political practices of tradition and belonging. The interactions between this political and symbolic system of use of the past and ordinary representations and practices of the listed item, sometimes conflicting, reveal power relationships relative to the management of identities and land exploitation, between the Malian State and miscellaneous actors. The intersection and mutual recycling of stereotypes about fulɓe pastoralism mobilized in contradictory strategies at local, national and global scales, produce an original stage for transhumance festivals. Considering the continuum between tradition and heritage, in which heritage would be an extroverted and institutionalized form of tradition, highlights the historical nature of heritagization processes and their inclusion in a long history marked by uses and dynamic reformulations of cultural symbols.

Cette thèse porte sur le film de reconstitution historique réalisé en Roumanie pendant la période communiste et vise à analyser les enjeux politiques et culturels de la mise en scène du passé national. La compréhension de cette problématique passe d’abord par la mise en exergue des différentes logiques qui ont présidé l’action étatique à l’égard de la culture et en particulier de la cinématographie tout au long de la période communiste. Nous envisageons d’analyser les conditions économiques, politiques et idéologiques de la production cinématographique, les directives concernant la thématique générale et l’orientation que le parti tente d’imprégner au cinéma. Afin de compléter le tableau des relations sociales, cette étude cherche à mettre en évidence également les positions prises par les créateurs et les bureaucrates en rapport avec une politique ou une autre, les résistances, les convenances et les collaborations. Dans un second temps, cette étude envisage la restitution des processus socioculturels qui ont donné naissance aux films historiques. Il nous intéresse de comprendre la conception interne de chaque œuvre, les forces sociales qui se mettent en route, les positions idéologiques du parti, des artistes, des bureaucrates ou des historiens, les mécanismes de prise de décision. Nous essayons de mettre en corrélation la vision des créateurs avec la position des historiens et celle du parti à travers la focalisation ciblée sur les différents niveaux d’écriture cinématographique ainsi que sur les opérations de négociations souterraines pour défendre une vision ou une autre. Enfin, le troisième niveau d’analyse s’intéresse au décryptage du film, en tant que produit artistique complexe réunissant trois formes d’expression (l’image, le dialogue et le son) dans le but de dégager les significations politiques ou culturelles de la mise en scène du passé. Nous étudions les représentations cinématographiques des mythes historiques, leur évolution des 1960 aux années 1980 et l’apport spécifique du cinéma dans leur reproduction. / The subject of this PhD dissertation is the historical reconstructions films produced in Romania under communist rule and more precisely between 1960 and 1989. It analyses the social and cultural significance of the representation of national past but also the social and political aspects involved in the production process. In order to understand these research objectives our approach we stress first various logics which chairing the state action towards the culture and in particular towards the cinematography. We intend to analyze the economic, political and ideological conditions of the film production, the directives concerning the general thematic and the orientation that the party tries to induce to the cinema. To complete the picture of social relationships, this study tries to emphasize the stand taken by the creators and the bureaucrats towards different policies, the resistances, the liking, the collaborations. Second, this study envisages the restoration of the sociocultural processes that gave birth to the historic movies. We try to understand the internal conception process of every work, the social dynamics, the ideological positions of the party, the artists, the bureaucrats or the historians and the decision-making mechanisms. We try to correlate the vision of the creators with the position of the historians and the party through a targeted focus at the various levels of film writing as well as at the operations of subterranean negotiations in order to defend a vision or another. Finally, the third level of analysis, is interested in the deciphering of the movie as a complex artistic product combining three forms of expression (image, language and sound) aiming at reveal the political and cultural meanings of past reconstruction. We study the film representations of the historic myths, their evolution from the 1960 to 1980s and the specific contribution of the cinema in their reproduction.