This research investigated the Festival de Arte de São Cristóvão (FASC), sponsored by the Federal University Sergipe (UFS), between 1972 and 1995, which became the most important project of cultural extension of the University of that period, with estimated annual achievement and MEC FUNARTE and financial resources. From then examined the relationships of the Brazilian state with the promotion of culture, especially during the period of the military regime (1964-1985). We sought to further the study of the organization, implementation and impact of the Festival, identify the role of the military government in the field of culture, the uses to which it is made and the interests that drove such cultural policies; well, pay attention to the promotion of censorship, restraining cultural events considered |deviant|. Consideration was also analyzing ambiguities and sometimes contradictions in the relationship between such governments and the University in the context of surveillance, repression, but also financial investments and probable mutual favors. Was examined, finally, the different uses of the FASC, its various social implications and how it reflected on the changes in cultural policies processed in the context of democratization in post-1985. The notions of representation and appropriation, made in the area of cultural history, constitute the main theoretical contribution in building the research problem. The main sources used were based on the broad document collection on the FASC present in the Central Archive of the UFS, where it was possible to find large number of documents resulting from each issue as well as many newspaper clippings related to its effect. Moreover, also oral sources, from interviews with members of the organizing committees FASC were produced. / Esta pesquisa investigou o Festival de Arte de São Cristóvão (FASC), promovido pela Universidade Federal Sergipe (UFS), entre 1972 a 1995, que se tornou o mais importante projeto de extensão cultural da Universidade desse período, contando com uma proposta de realização anual e recursos financeiros do MEC e FUNARTE. A partir daí analisou-se as relações do Estado brasileiro com a promoção da cultura, especialmente durante a vigência do período militar (1964-1985). Buscou-se, ainda, no estudo da organização, execução e repercussão do Festival, identificar a atuação dos governos militares no campo da cultura, os usos que se faziam dela e os interesses que moviam tais políticas culturais; bem como, atentar para a promoção da censura, coibindo manifestações culturais consideradas desviantes . Procurou-se, também, analisar ambiguidades e por vezes contradições na relação entre tais governos e a Universidade, num contexto de vigilância, repressão, mas também de investimentos financeiros e prováveis favorecimentos mútuos. Examinou-se, por fim, os diferentes usos do FASC, suas diversas repercussões sociais e como refletiu sobre ele as mudanças nas políticas culturais processadas no contexto de redemocratização, no pós-1985. As noções de representação e apropriação, formuladas na área da história cultural, constituem o principal aporte teórico na construção da problemática da pesquisa. As principais fontes utilizadas partiram do largo acervo documental sobre o FASC presente no Arquivo Central da UFS, onde foi possível encontrar grande parte dos documentos decorrentes de cada edição, bem como diversos recortes de jornais relacionados à sua repercussão. Além disso, também foram produzidas fontes orais, a partir de entrevistas realizadas com membros das comissões organizadoras do FASC.

A pesquisa tem como objetivo compreender a relação entre cultura e direitos humanos estabelecida na produção normativa relativa ao Sistema Nacional de Cultura (SNC), de modo específico entre as 52ª e 54ª legislaturas do Congresso Nacional, bem como entender os impactos dessa produção na concretização dos direitos culturais por meio das políticas públicas de cultura. Desse modo, foi realizado um levantamento das propostas legislativas aprovadas ou ainda em tramitação que tratam da institucionalização e regulamentação do Sistema Nacional de Cultura e de seus componentes principais. A análise desses marcos legais é guiada pela concepção de cultura adotada nos mesmos e pelo tratamento que dão aos direitos culturais, em especial à promoção da diversidade cultural. O sentido abrangente de cultura adotado na legislação do Sistema Nacional de Cultura é analisado de maneira relacional ao conceito proposto por Raymond Williams no âmbito dos Estudos Culturais. Com efeito, as duas perspectivas buscam construir uma ampliação democrática no conceito de cultura para reconhecê-la como direito de todos. A ampliação do conceito de cultura operada pela legislação do Sistema Nacional de Cultura potencialmente oferece mais condições para a promoção da diversidade cultural e dos direitos cultuais como um todo. / This research aims at comprehending the relation between culture and human rights established by the regulatory production of the National Culture System (CNS), specifically between the 52rd and 54rh legislatures in the Brazilian National Congress, as well as understanding the impacts of this production in the achievement of cultural rights through public cultural policies. Thus, we conducted a gathering of legislative proposals which have been approved or are still in progress referring to the institutionalization and regulation of the National Culture System and its main components. The analysis of these legal frameworks was guided by the concept of culture adopted in the System and the treatment of cultural rights, particularly for promotion of cultural diversity. The comprehensive sense of culture adopted in the National Culture System legislation is analyzed by establishing relations with the concept proposed by Raymond Williams in Cultural Studies. Both perspectives aim at democratically expanding the concept of culture in order to recognize it as a right for all. The expansion of the concept of culture operated by the National Culture System legislation adds more potential to the promotion of cultural diversity and cultural rights as a whole.

Submitted by Jorge Silva (jorgelmsilva@ufrrj.br) on 2017-06-21T21:18:11Z No. of bitstreams: 1 2014 - C?sar de Carvalho Ismael.pdf: 4365455 bytes, checksum: 247293494dd734bbbb0f2c44014faa5d (MD5) / Made available in DSpace on 2017-06-21T21:18:11Z (GMT). No. of bitstreams: 1 2014 - C?sar de Carvalho Ismael.pdf: 4365455 bytes, checksum: 247293494dd734bbbb0f2c44014faa5d (MD5) Previous issue date: 2014-04-24 / FAPERJ / The purpose of this thesis is to recognize the aims and the historical, political and sociological implications that guided the life and work of Brazilian composer Ant?nio Carlos Gomes (1836-96), which at the apex of the abolitionist movement led to replacement of a black person by a native Brazilian as the main character of his opera Lo Schiavo [The Slave], finished in 1888; he thus repeated the same character utilized in O Guarani, composed eighteen years before. The text focused on the cultural and social relationship between the State and the composer?s artistic production linked to Brazil?s imperial politics; bearing this in mind, an effort was made to ponder the objectives and political implications that led Gomes to substitute a native Brazilian for a black character in The Slave. The research on the life and work of the Brazilian conductor is here conceived as a means for reflecting on the political-cultural ideas that emerged in late nineteenth-century Brazilian urban and educated society, such as Indianism, the greatest form of Brazilian romanticism, and on concepts such as ?patrimonialization? in the moment of the formation of a national social and historical thought. / O objeto central desta pesquisa foi reconhecer os objetivos e as implica??es hist?ricas, pol?ticas e sociol?gicas que nortearam a vida e a obra do compositor campineiro Ant?nio Carlos Gomes (1836-96), e que, mesmo no ?pice do movimento abolicionista, culminaram com a substitui??o do negro pelo ?ndio como personagem central de sua ?pera Lo Schiavo [O Escravo], finalizada em 1888, retomando assim a mesma personagem de sua ?pera O Guarani, composta dezoito anos antes. Enfocou-se neste trabalho a rela??o cultural e social entre o Estado e a produ??o art?stica do compositor vinculada ? pol?tica imperial, e, a partir disso, buscou-se refletir tamb?m acerca das rela??es sociais do maestro Carlos Gomes. A pesquisa acerca da vida e da obra do maestro campineiro ? aqui concebida como um meio para refletir sobre as ideias pol?tico-culturais que emanavam da sociedade brasileira urbana e instru?da da ?poca, como o indigenismo ? express?o m?xima do Romantismo brasileiro.

Esta dissertação parte da incerteza quanto ao futuro da Coleção Rossini que atualmente encontra-se sob a guarda da Secretaria Municipal de Cultura de São Paulo e indisponível para pesquisa. Diante dessa situação buscou-se realizar uma revisão do Museu de Folclore Rossini Tavares de Lima desde 1947, quando a coleção começou a ser formada, até 2010, ano de sua transferência para o Pavilhão das Culturas Brasileiras. O objetivo é identificar os momentos-chave de mudança na política institucional, bem como os seus impactos na salvaguarda e no uso social da Coleção Rossini, de modo a contribuir para uma reflexão crítica acerca do processo que levou à atual situação. Ao longo desse período a coleção passou da esfera privada à esfera pública, o que confere características peculiares à sua história, colocando-a como testemunha da instabilidade das políticas culturais do Estado. Do ponto de vista das fontes, essa dissertação baseia-se na história oral e no levantamento de matérias publicadas na grande imprensa, visando cobrir lacunas e esclarecer pontos obscuros da história institucional, que de outro modo não poderiam ter sido problematizados. A pesquisa realizada aponta para a proeminência de Rossini Tavares de Lima nos debates sobre as culturas populares e tradicionais no Brasil e constata a ampla difusão do tema na imprensa entre as décadas de 1940 e 1960. Confirmou-se, ainda, a existência de disputas entre folcloristas e cientistas sociais pela constituição de um campo de saber específico para o estudo das culturas populares, como indicado pela bibliografia. Por fim, revela-se o potencial questionador desse tipo de coleção em relação às narrativas hegemônicas no campo do patrimônio e da constituição da memória da cultura brasileira. / This dissertation departs from the uncertainty regarding the future of Coleção Rossini [Rossini Collection], which at the moment is under care of São Paulo City Cultural Secretary, and is unavailable for research. In the face of this limitation, the proposal was to make a revision of the Museu de Folclore Rossini Tavares de Lima [Rossini Tavares de Lima Folklore Museum] from 1947, when this collection started to be assembled, until 2010, the year of its transference to the Pavilhão das Culturas Brasileiras [Brazilian Cultures Pavilion]. The purpose here is to identify key-moments of change in the institutional policy, as well as their impacts on the protection and the social use of the Rossini Collection, in a way that contributes to a critical reflection on the process that led to the current situation. Through this period the collection passed from private to public domain, what granted it particular features related to its history, placing it as a testimony of the instability of state cultural policies. As for the sources, this dissertation is based on oral history and on a survey of stories published in the mainstream media, aiming at filling gaps and shedding light on obscure points of the institutional history, which otherwise would not be problematized. The accomplished research pointed to Rossini Tavares de Lima\'s prominence on debates around traditional and popular cultures in Brazil, and verified the widespread diffusion of this subject in the press between the 1940s and 1960s. It has also been confirmed the existence of a dispute between folklorists and social scientists over the constitution of a field of knowledge specialized in the study of popular cultures, as the bibliography suggests. Finally, it reveals the questioning potential of this kind of collection toward the hegemonic narratives in the fields of heritage and the constitution of the memory of Brazilian culture.

Depuis plus de trente ans, l’intervention culturelle des villes n’a cessé de se développer et de se diffuser au travers du territoire national. Multiplication des structures, des projets, création régulière de délégations politiques adéquates ; la culture est un secteur qui a largement bénéficié du dynamisme impulsé par la décentralisation. Parallèlement, les modèles politiques locaux ont évolué avec la montée en puissance de « projets de territoires », englobant les différents secteurs, dont la culture, dans une politique globale. Si elle n’a pas eu de peine à trouver une place dans ces politiques, une idée aussi large et polymorphe que celle de « culture » a nécessairement vu ses contours évoluer. Dès lors plusieurs questions se posent. Quelle place les collectivités font-elles à l’héritage de la politique culturelle française « inventée » en 1959 ? Entre adhésion et opposition au modèle national, comment les politiques culturelles locales se construisent-elles ? Enfin, qu’est-ce qui « fait culture » pour des élus locaux le plus souvent éloignés des réseaux politiques ou des fédérations d’élus à la culture et qui ne peuvent compter que sur leur expérience et leur territoire pour s’approprier leur délégation ?C’est cette appropriation de la notion de culture que ce travail se propose d’explorer, au moyen d’outils issus du corpus de la sociologie des organisations. Le récit des élus à la culture sera mis en perspective avec celui des autres acteurs culturels, mais aussi du corpus de la sociologie de la culture en France, et plus largement de la notion de culture en sciences humaines. Cette confrontation aura pour objectif d’observer les processus « d’entrée en culture » par les élus locaux, la construction des convictions, des orientations politiques des objectifs et des résultats attendus, parfois éloignés des représentations les plus attendues mais nécessitant toute l’attention des acteurs culturels. Au fil des situations et à travers ces démarches, différentes facettes de la notion de culture apparaîtront, et permettront d’observer, à défaut d’une définition unique ce qui fonde la notion de culture dans les politiques locales françaises. / For more than thirty years, cultural involvement by cities has developed constantly and has spread across the nation. Facilities and projects have multiplied and appropriate political delegations have been created regularly: culture is a sector that has widely benefitted from the dynamism driven by decentralization.At the same time, local political models have developed with the rise in power of “territory projects”, encompassing difference sectors including culture within an overall political framework. Although it can scarcely be found within these policies, an idea as large and polymorphic as “culture” has naturally changed form.From that moment, many questions arise. What space do collectivities make for the heritage of the French cultural policy “invented” in 1959? Between adhering to and opposing the national model, how are local cultural policies constructed? Finally, what does culture “do” for local elected official, who are usually far removed from political networks and cultural federations of elected officials and who can only rely on their experience and their territory to appropriate their delegation? This appropriation of the notion of culture is what this work will explore, using tools of the sociological corpus of the organizations.The narrative of elected officials of culture will be put into perspective along with the narrative of other cultural stakeholders, but also in the sociological corpus of culture in France, and more widely, in the notion of culture to be found in human science.This confrontation will aim at observing the process of “entering into culture” by local elected officials, the construction of convictions, political alignment of objectives and expected results, which are sometimes far from the most expected representations but which require the full attention of cultural stakeholders. Through situations and through these procedures, different facets of the notion of culture will appear and will help us, for lack of a single definition, observe what the notion of culture initiates in French local politics.

La IIIe République offre une vocation didactique au musée institué en lieu d'enseignement qui édifie le citoyen républicain. Le régime fédère un réseau muséal dont l'objectif est la suppression des multiples musées de province au bénéfice des seuls musées français gardiens des collections nationales. En même temps qu'elle contribue au courant historiographique actuel de renouvellement de l'histoire des collections par l'approche de ses acteurs, cette étude des 263 conservateurs des musées de province, inspectés dans le cadre de la Commission extra-parlementaire des musées de province de 1905, aboutit à leur inscription dans le processus de professionnalisation des conservateurs de musée. Pour ses acteurs de la patrimonialisation, préserver et transmettre les collections muséales, signifie appliquer la vocation didactique du musée, lieu d'enseignement corollaire de l'école. Il s'agit notamment de dispenser, au musée, une leçon d'histoire locale se rattachant à l'écriture de l'histoire de la nation. Empreints d'une conscience patrimoniale acérée, et profondément impliqués dans les sociabilités artistiques locales, les conservateurs de musées de province œuvrent dans l'intérêt des collections se confortant à de nombreuses contraintes tant budgétaires que matérielles ou politiques. Leurs méthodes de travail, adaptées aux nouvelles exigences de l'Administration des Beaux-Arts se spécialisent à un moment où, s'élabore la science des musées dite « muséologie ». Leur expérience est alors reconnue par l'ensemble des conservateurs des musées de province et des Musées nationaux. Le conservateur des musées de province républicains est un conservateur de musée professionnel. / The Third Republic enabled French museums to become a place of cultural education similar to that of schools. A national, federated network of museums was established for national collections of art in the early 20th Century, during the rise of provincial museums. The French state sought to display a self-legitimizing, civic-mindedness and to teach lessons of history of the Nation and national heritage to its citizens. More than an institutional history of the rise of provincial museums, this study demonstrates the involvement of the curators of provincial museums in the development of that policy and shows how it led to the creation of an organized profession. Utilizing the report of the parliamentary commission for French museums created in 1905, 263 curators in charge of state sponsored long-term loans were identified and studied. Involved in the safeguarding of patrimony, they belonged to numerous provincial academies and local scholarly societies. At the museum, they provided a local history lesson related to French national history. They had to cope with locally specific issues, particularly financial restrictions and local politics, but succeeded in fashioning a new way of working that was agreed to by ail colleagues in provincial institutions as well as French national museums, such as the musée du Louvre, when museology was created.

The diploma thesis entitled "Experience Economy. Danish Approach to the Cultural and Creative Industries" is primary concerned with mega-trend of experience economy in Denmark. Main purpose of this work is to analyze and intruduce specific Danish approach to the Cultural and Creative Industries. Author used diachronic and synchronic analysis. First chapter characterizes historical economic development of Denmark's state. Following chapter is focused on historical background of experience economy and on Danish approach to this concept. Third chapter discusses influence of Danish socioeconomic environment on Danish approach to experience economy. In the next chapter author analyzes Danish government's role in the development of this concept. Last chapter shows economic impacts of experience economy concept in Denmark.

The Lower Mainland of British Columbia is growing rapidly resulting in a dramatic alteration of the landscape. Associated with this growth is the loss of community heritage structures and properties. This destruction is occurring at a rapid rate even though conservation mechanisms, tools and strategies exist. This thesis examines the practice of heritage conservation and identifies the heritage conservation tools that are presently being utilized by a number of selected Lower Mainland municipalities. It then outlines the necessary conditions that a community must possess for existing conservation tools to be effective. A literature review of existing heritage conservation statutes was conducted to identify the statutory tools available for conservation purposes. The primary method of investigation involved interviewing 13 prominent heritage professionals from the Provincial Government, selected Municipal Governments, and the private planning sector. The survey allowed the author to generate a ‘tools chest’ of mechanisms available for conservation purposes. In total 23 conservation tools were identified from both the literature review and survey. Research indicated that the perceived responsibility for heritage conservation in British Columbia rested with local governments. To date these governments have had limited success in ensuring long term management and protection of heritage properties within their jurisdictions. Conservation tools presently being applied to manage these community resources are limited in scope and applicable only under specific ownership conditions. In general, local governments are under utilizing the conservation tools available to them. Reasons for this may include the lack of political and public support, in addition to, monetary and time restraints directed for this purpose. This study concludes with recommendations for local governments and the planning profession regarding the direction which these groups should embark on with future conservation activities. / Applied Science, Faculty of / Community and Regional Planning (SCARP), School of / Graduate

The aim of the diploma thesis is to evaluate how and to what extent the Vysočina Region fulfils recommendations of the National Cultural Policy of the Czech Republic for years 2009 to 2014. Subsequently, the general cultural concept will be proposed for regions, based on a survey of conceptual sources of individual regions. Results of the survey will be submitted to the Ministry of Culture as one of the basic sources for the creation of a new government policy. The author of the thesis uses primarily methods of comparison and expert interviews.

The purpose of this paper is to investigate and increase the understanding of a present function of today´s public library in a societal context. My aim is to examine how the role of the public library is discussed in Swedish media between 2012 – 2019. I want to get a broader understanding of the public library as a physical place and a space, through the theoretical frameworks of Raber´s ideological model. The theoretical frameworks are used in this study to examine these questions: How is the public library as a room discussed in present Swedish media? The functions of the public library of today is many, how is the different themes actualized in the library as a meeting place? What consequences does the debate contribute regarded to the picture of the public library and is it connected to the work for the legitimacy of the public library? The research field within Library and Information Science (LIS) is interdisciplinary with many references to social science theories. My qualitative study of content analysis builds upon theories of generating social capital. The aspect of the library as a space for inclusiveness and belongingness is a subject that is clearly stated in my study. My conclusion is that Raber´s social strategy is the dominant curse in the debate of the functions of the Swedish public libraries in present media. The legitimacy within the function as the hegemonic literacy discourse meets the legitimacy of the library as an open meeting place in my study.