O presente trabalho pretende deter-se na análise da gestão cultural implementada pela Secretaria Municipal de Cultura da cidade de São Paulo - SMCSP, no período de 1989 a 1992. Analisar o Projeto Cidadania Cultural proposto pela então Secretária Marilena Chauí, e identificar as diretrizes de sua política pública para a cultura. Esse projeto pretendia criar mecanismos de autoorganização dos cidadãos paulistanos, para que estes fossem partícipes do fazer cultural. Constatou-se que, embora a cidade de São Paulo tenha sido transformada em um \"laboratório de experiências culturais\" do Partido dos Trabalhadores, com a intenção de substituir o \"clientelismo pluralista\" pelo \"participacionismo popular\", esse objetivo não foi alcançado. / This work concerns about the analysis of the cultural management implemented by the Secretaria Municipal de Cultura (Municipal Department of Culture) of São Paulo city - SMCSP, from 1989 to 1992. It intends to analyze the Projeto Cidadania Cultural (Cultural Citizenship Project) proposed by Secretary Marilena Chauí, and to identify the guidelines of her public policy on culture. This project aimed to create self-organization mechanisms for São Paulo\'s citizens, so those could be part of the cultural making-process. It was established that, although the city of São Paulo had been transformed into a \"laboratory of cultural experiments\" of the Workers Party, with the intention of substituting the \"pluralist clientelism\" for the \"popular participationism\", this goal has not been achieved.

Esta dissertação traz uma abordagem das questões sócio-históricas e culturais que nortearam a formação de inúmeras conceituações acerca da cultura brasileira durante as décadas de 1960 e 1970, e tem como objeto de pesquisa a vida e a obra do poeta Solano Trindade, suas atividades intelectuais, poéticas e teatrais. No aporte teórico do trabalho, as manifestações da cultura popular e as suas relações com as práticas culturais autenticadas pelos meios de comunicação de massa foram investigadas, com o intuito de trazer à luz as conseqüências desse encontro, os debates sobre as políticas culturais que surgiram na tentativa de controlar tais expressões, os focos de resistências e a configuração social pautada pela modernidade capitalista. A idéia de contribuir para uma noção de cultura, e como ela perpassou inúmeras definições na sociedade brasileira, atravessou a maioria das indagações durante as leituras e análise de dados que guiaram a redação. Revisar um período conturbado em termos de novos horizontes sociais e políticos no Brasil, nos permitiu avaliar uma realidade nem sempre clara para a maioria dos grupos sociais. / This dissertation brings socio-historical and cultural issues that guided the formation of many conceptualizations about the Brazilian culture during the 1960s and 1970s in Brazil, and aims to research the poet Solano Trindade\'s life and work, his intellectual, poetic and theatrical activies. In support of theoretical work, the popular culture manifestations and its relations with the cultural practices certified by the mass media were investigated in order to bring to light for the consequences of this meeting, the discussions about the cultural politics that have emerged in attempt to control such expression, the focus of resistance and social configuration lined by capitalist modernity. The idea of contributing to a sense of culture, and how it permeates many settings in Brazilian society, it crossed most of the inquiries during the readings and data analysis that guided the writing. To review a confused period in terms of new social and political horizons in Brazil allowed us to evaluate a fact not always clear to most social groups.

Esta pesquisa pretendeu compreender o processo de constituição, criação e desenvolvimento do Lycée Français ao Colégio Franco Brasileiro no recorte temporal que se inicia no ano de 1915 e termina no seu cinqüentenário, no ano de 1965, utilizando como fonte um repertório diversificado de documentos localizados em arquivos franceses e brasileiros. A construção deste repertório apontou que nosso objeto deveria ser focalizado sob três temporalidades distintas: Lycée Français, Liceu Franco- Brasileiro, e Colégio Franco-Brasileiro a partir de uma história institucional que se apresentou articulada em torno de três personagens centrais: Claude Alexandre Brigole, Georges Dumas e Renato Almeida, associados a cada um desses momentos. Procuramos entender a existência da instituição escolar situada nos contextos franceses e brasileiros ao longo do período analisado, acionando uma perspectiva meso de análise, que indicou olhar para o processo no movimento de escala macro e micro das relações entre educação e história franco-brasileira. / It is an object of this research to understand the process of constitution, creation and development of French Lyceum to Colégio Franco-Brasileiro in the time frame that starts in 1915 and ends in its 50th anniversary, in 1965, using a diverse repertoire of periodicals and archives Frenchs and Brazilians as information source. The elaboration of this compilation showed that our object should be focuses on three distinct temporalities: Lycée Français, Liceu Franco-Brasileiro and Colégio Franco-Brasileiro, starting from the institutions history focused on three major characters: Claude Alexandre Brigole, Georges Dumas and Renato Almeida, associated with each of these moments. This research seeks to understand the existence of the school located in the French and Brazilian contexts in the long time frame analyzed from a meso perspective, showing that the transition process in macro and micro scales of the relationship between education and French-Brazilian history must be observed.

De l'inscription dans la loi française de la reconnaissance de son statut d'auteur (le 11 mars 1957) à la publication de la définition légale de sa fonction au Journal Officiel (le 1er janvier 1984), une génération de chorégraphes a construit les contours, les modalités et les conditions d'un métier. Ce combat s’est traduit par un engagement syndical de longue haleine pendant les années 1960 et 1970. Réuni au sein du Syndicat national des auteurs et compositeurs (SNAC), un groupe de chorégraphes a travaillé à l’élaboration de rapports, d’enquêtes et d’études qui ont abouti à l’organisation professionnelle du champ chorégraphique, permettant ainsi à la « nouvelle danse française » qui lui succèdera dans les années 1980, d'obtenir une considérable visibilité esthétique et de marquer de son empreinte l'histoire culturelle et artistique. Rendre compte des progrès sociaux, comme des configurations et reconfigurations du métier de chorégraphe, c’est aussi rendre compte de la structuration du champ chorégraphique dans son ensemble. Cette thèse interroge l’historiographie juridique du droit d’auteur des chorégraphes pour clarifier la notion de statut d’auteur en danse. Elle propose une généalogie de la politique culturelle en danse pour démythifier l’idée d’un désert administratif et chorégraphique, constitutif de l’ère pré-Lang. Enfin, l’étude des différents projets de réglementation de l’enseignement de la danse permet de révéler les enjeux politiques et esthétiques qui ont contribué, pendant près de vingt-cinq années de négociation, à exacerber les oppositions au sein du champ chorégraphique. Ainsi, s’élabore une histoire administrative, réglementaire et politique de la danse en France qui éclaire une période de l’histoire contemporaine de la danse encore trop peu étudiée. / From the registration of an author status' recognition within the French law (March 11th, 1957), to the publication of its function's legal definition in the January 1st, 1984 Journal Officiel (official gazette of the French Republic), a whole generation of choreographers created the outlines, modalities and conditions of a profession. This struggle was the result of a long term trade union commitment between the years 1960 and 1970. Brought together under the National Syndicate of Authors and Composers (SNAC), a group of choreographers worked on drafting reports, surveys and studies which resulted in the professional organization of a choreographic field, thus allowing what was to become “the new 80s French dance” (nouvelle danse française) to obtain a substantial aesthetic visibility and to leave its mark within the cultural and artistic history. To give a full account of the social progress, such as configurations and reconfigurations of the profession of choreographer, is to also give a full account of the structuring of the choreographic field as a whole. This thesis questions the legal historiography regarding choreographers' copyright law in France (droits d'auteur) so that the notion of author's status in dance can be clarified. It suggests a genealogy of cultural politics in dance in order to demystify the idea of an administrative and choreographic deserted landscape, constitutive of the pre-Lang era (Jack Lang, French minister of culture). Finally, the study of the different projects on the regulation of dance education makes it possible to reveal political and aesthetic issues which, during a negotiation period of almost twenty five years, has contributed to the exacerbation of opposition within the choreographic field. Thus, an administrative, regulatory and political history of dance in France is able to develop, which reveals an era of contemporary history of dance still insufficiently researched.

Jeanne d’Arc devient l’un des personnages clés de la fin du XIXème siècle. Façonnée et tiraillée, construite comme un symbole, elle est au cœur des enjeux politiques. C’est dans ce contexte que Camille Vallery-Radot réunit sa collection. Née en 1880 et contemporaine de cette période, elle s’est prise de passion pour Jeanne d’Arc et collectionne dès son enfance et jusqu’à sa mort en 1927 tout ce qui a trait à son héroïne, soit 10 000 documents. Sa collection s’apparente à un regard contemporain, et qui se veut en même temps exhaustif, de la période qui, progressivement, fait de la Pucelle un symbole fort de la Patrie. Elle témoigne de cette construction d’un mythe et d’un véritable culte lorsque Jeanne d’Arc devient le symbole de tout un peuple jusqu’à devenir ensuite un produit moteur pour le tourisme naissant. Le personnage de Jeanne d’Arc prend une place centrale dans les politiques culturelles qui commencent à se structurer à cette même période. A Rouen, la préservation et la valorisation du patrimoine lié à l’héroïne est au coeur de la démarche. Au-delà de sa fonction commémorative, l’enjeu de ce patrimoine devient aussi celui de l’attractivité d’un territoire. / By the end of the 19th century, Joan of Arc became one of the key character, shaped and raised as a symbol, she is at the core of political stakes. The Camille Vallery Radot's collection fits this context. She was born in 1880 and was contemporary of that period. She became passionate about Joan of Arc at the early age to her death in 1927. She collected everything she can find about her heroin, in total around 10 000 documents. This collection is a certain contemporary viewpoint, even exhaustive, of the period which will gradually built the Pucelle d’Orléans to a strong mother country symbol. Her collection witnesses the creation of myth and cult of Joan of Arc for the entire French population to become a product to rising tourism. Joan of Arc becomes the mainspring of cultural politics which arise at that time. In Rouen, preservation and development of patrimony linked to the heroin is deep in the heart of the procedures that leads not only to a commemoration, but also to a challenge of attractiveness issue.

Cette thèse traite de l’exposition du patrimoine d’origine catholique dans l’Espagne contemporaine. Elle a pour ambition d’étudier et de circonscrire les différents modes d’exposition de ce patrimoine — musée public, collection privée, musée d’art religieux, musée de confrérie, exposition temporaire etc. — et leur histoire. Les objets d’origine catholique semblent être dans les pays de tradition latine à la racine de la conception de patrimoine culturel. Pourtant, en Espagne, leur intégration dans l’héritage culturel national ne s’est pas déroulé sans heurts. Il est alors question dans cette thèse de retracer les deux trajectoires parallèles de patrimonialisation et de muséification et d’étudier dans quelle mesure elles se nourrissent et contribuent à définir l’objet religieux en patrimoine culturel national. Il est ainsi question de revenir sur les conditions de création des institutions par leurs différents acteurs : les pouvoirs publics, le clergé, ou encore les associations religieuses de laïcs. Enfin, il est question de voir comment politiques culturelle, d’évangélisation et touristique s’entremêlent, dans un pays où aujourd’hui encore les célébrations religieuses rythment le temps. Cette thèse s’articule autour de trois périodes chronologiques qui permettent de retracer les évolutions majeures de ces projets : une première période caractérisée par la confrontation entre le clergé et une classe intellectuelle et politique, à l’origine d’une politique sécularisatrice ; les années 1939-1970, temps de l’alliance entre l’Église et le régime franquiste ; et enfin la période 1970-2007, pendant laquelle on assiste à une politique conjointe de mise en valeur culturelle et touristique. / This thesis deals with the exhibition of catholic heritage in contemporary Spain. Its goal is to study and delineate the different ways in which this patrimony is exposed – public museum, private collections, religious art museums, guilds museums, temporary exhibition, etc. – and their history. Artifacts of catholic origin seem to be, in countries of Latin tradition, at the root of the conception of cultural heritage. Yet, in Spain, their integration into the national culturalheritage has not been entirely smooth. Therefore this thesis aims to chart the two parallel trajectories of patrimonialization and museumization and to study how they both take form and contribute to the definition of religious artifacts as part of the national cultural heritage. This thesis also tracks the conditions of creation of the institutions by their stakeholders: public authorities, clergy, as well as religious and secular associations. Finally, this thesis explores how cultural, evangelization and touristic policies intertwine in a country where religious celebrations still rhythm daily life. This study is based on three chronological periods to trace the main changes of these projects: the first period characterized by the confrontation between the clergy and the intellectual and political classes; the period between 1939 and 1970 when the Church and Franco’s regime allied; finally the period between 1970 and 2007 during which there is a joint policy to emphasize the cultural and touristic value of the religious heritage.

Twentieth century modernity has provoked multiple problems ranging from environmental degradation to human rights violations. Globally, diverse communities of people have organized to promote, not just reactive reforms, but a fundamental alteration of the foundational worldview underlying these issues. Radical activists committed their work to promoting an alternative ethos based on egalitarian, democratic, and ecologically-wise concepts. An array of methodologies emerged from these endeavors. More radical political groups focused on cultural tools to engage people in the construction of an alternative worldview. Radical activists utilized two forms of cultural politics: prefigurative politics, the physical presentation of an envisioned future and direct theory, the constant interaction between theory and practice. Within the artistic community, Ecological Artists centered their practice on cultural activism, creating publicly accessible, site-specific collaborative pieces that illuminate and utilize ecosystem principles to promote an eco-wise worldview. The concept of utilizing cultural production as a method for achieving social transformation has only recently been analyzed within the social movement discipline. Artists rarely utilize social movement vocabulary, or the term "activism" to describe their practices. To date, no correlation between artistic production and social movement strategies has been made. I argue in this thesis that Ecological Artists are cultural activists who simultaneously developed strategies and methods similar to those being worked out by radical social movement activists. While prefigurative politics and direct theory are terms defined within social movement discipline, the cultural activities are similar. Political activists' internal organization and external political work, prefigurative of an envisioned future and the result of constant interaction between theory and practice, correlates to the necessary collaborative organizations of Eco-Art and the physical presence of the work, a manifestation of the constant interaction between ecosystem theory and artistic practice. In this thesis I analyze the work of Ecological Artist Ruth Wallen as a form of cultural activism. I argue that the intention, execution, and content of her work are forms of prefigurative politics and direct theory. Ruth Wallen has been practicing Eco-Art for twenty years. Her work is focused on the heart of Eco-Art, its intention to produce an eco-wise future through artistic practice.

Contemporary Italian philosopher, Gianni Vattimo (1991), has described ‘the end of history’ as a motif of our times. While neo-liberal conservatives such as Francis Fukuyama (1992) celebrated triumphantly, and perhaps rather prematurely after the fall of the Berlin Wall, ‘the end of history’ in the ‘inevitable’ global acceptance of the ideologies of free market capitalism and liberal democracy, methodological postmodernists (including Barthes, Derrida, Baudrillard, Lyotard, and Foucault), mobilised ‘the end of history’ throughout the later half of the twentieth century as a symbol of a crisis of confidence in the discourse of modernity, and its realist epistemologies. This loss of faith in the adequacy of representation has been seen by many positivist and empiricist historians as a threat to the discipline of history, with its desire to recover and reconstruct ����the truth���� of the past. It is argued by defenders of ‘traditional’ history (from Appleby, Hunt, & Jacob, 1994; R. J. Evans, 1997; Marwick, 2001; and Windschuttle, 1996; to Zagorin, 1999), and some postmodernists (most notably, Jenkins, 1999), that if we accept postmodern social theory, historical research and writing will become untenable. This study re-examines the nature of the alleged ‘threat’ to history posed by postmodernism, and explores the implications of postmodern social theory for History as curriculum. Situated within a broadly-conceived critical-reconceptualist trend in curriculum inquiry, and deploying a form of historically and philosophically oriented ‘deconstructive hermeneutics’, the study explores past attempts to mount, and future possibilities for, a curricular response to the problem of historical representation. The analysis begins with an investigation of ‘end of history’ discourse in contemporary theory. It then proceeds through a critical exploration of the social meliorist changes to, and cultural politics surrounding, the History curriculum in New South Wales (NSW), Australia, from the Bicentennial to the Millennium (1988-2000), a period that marked curriculum as a site of contestation in a series of highly public ‘history wars’ over representations of the nation’s past (Macintyre & Clark, 2003). It concludes with a discussion of the missed opportunities for ‘critical practice’ within the NSW History curriculum. Synthesising insights into the ‘nature of history’ derived from contemporary academic debate, it is argued that what has remained uncontested in the struggle for ‘critical histories’ during the period under study, are the representational practices of history itself. The study closes with an assessment of the (im)possibility of History curriculum after ‘the end of history’. I argue that if History curriculum is to be a critical/transformative enterprise, then it must attend to the problem of historical representation. / PhD Doctorate

Submitted by Renata Lopes (renatasil82@gmail.com) on 2016-10-21T14:27:07Z No. of bitstreams: 1 paulosergiodesouzaesilva.pdf: 1090684 bytes, checksum: d15ed66c04972a6e95368718a4466112 (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2016-10-25T12:36:16Z (GMT) No. of bitstreams: 1 paulosergiodesouzaesilva.pdf: 1090684 bytes, checksum: d15ed66c04972a6e95368718a4466112 (MD5) / Made available in DSpace on 2016-10-25T12:36:16Z (GMT). No. of bitstreams: 1 paulosergiodesouzaesilva.pdf: 1090684 bytes, checksum: d15ed66c04972a6e95368718a4466112 (MD5) Previous issue date: 2008-05-27 / O estudo ora apresentado resulta de uma pesquisa que teve como propósito analisar as Políticas Culturais na década de 1995-2005, no estado de Minas Gerais, a partir das políticas públicas de preservação do patrimônio cultural, em especial, aquelas voltadas para os conjuntos documentais custodiados pelas instituições arquivísticas. A hipótese central do tema proposto é de que, apesar de os Arquivos públicos contarem com estruturas de apoio jurídico-financeiro, estas entidades serviram exclusivamente para a adequação deste equipamento cultural (no caso, os Arquivos) às novas exigências do mercado cultural, especialmente regulado pelas Leis de Incentivo à Cultura, não se prestando, portanto, a impulsionar novos espaços de interlocução entre o Estado e a Sociedade Civil. Contudo, facultaram em alguma medida o “acesso à cultura e à informação arquivística a públicos pouco familiarizados” com o universo dos arquivos. Partimos do pressuposto de que um aumento da visibilidade dos Arquivos configurou-se, sobretudo em razão das ações previstas no novo ordenamento jurídico brasileiro, a partir da Constituição de 1988, que “garantiu ao cidadão o direito constitucional de acesso à informação, assegurando tal prática como dever do Estado; a publicidade de suas ações, caracterizando um processo de transparência administrativa e; ao considerar os Arquivos como importante suporte da memória”. É também foco de investigação nesta pesquisa compreender os limites e a efetiva participação da sociedade civil, qualificada aqui como Associações Culturais e Sociedade de Amigos do Arquivo, uma vez que essas entidades se prestam como estruturas de apoio à gestão das instituições culturais, especialmente no que se refere à parceria entre estas entidades e os Arquivos Públicos, que se multiplicando a partir da década de 1990, promoveram certa dinamização na ação cultural dessas instituições. / The actual study is the result of a research which aims at analyzing the Cultural Politics of the last decade of the twentieth Century, more precisely 1995-2005 in Minas Gerais State focusing the Public Politics for the Preservation of Cultural Heritage, espacially those related to the collection of documents preserved in archival institutions. The main hypothesis is that although Public Archives count with juridical-financial support those entities have served exclusively for its adapting to the new demanding of the cultural market. That market is regulated, in special by the “Laws of Cultural Support” and therefore they do not serve as a stimulator to new interlocution between the State and the Civil Society. Nevertheless those laws allow in some measure the access to culture and archival information to publics that are not very familiarized with the archival universe. Our thesis is that an increase in the visibility of the Archives was the result of the actions previewed in the new Brazilian Juridical Ordinances starting on the 1988 Constitution. It has guaranteed to the Citizens the Constitutional Right of access to information assuring this practice as a duty of the State; as well as the publicity of its actions, administrative transparency and; on considering the Archives as an important support of memory. It is also an investigation focus of this research to understand the limits and the effective participation of Civil Society, characterized here as Cultural Associations and the Society of Friends of the Archives, as far as those entities work as structures of support in the management of Cultural Institutions. In particular considering them in reference to the partnership between those entities and the Archives. Its multiplying since the decade of 1990 have promoted certain dynamism in those institutions.