Cette thèse porte sur les représentations sociales. Fruit d’un bricolage conceptuel, ces représentations s’inspirent en partie des travaux de Serge Moscovici et de certains auteurs plus contemporains qui s’inscrivent dans son prolongement, dits de l’école française des représentations sociales, ainsi que d’auteurs anglo-saxons qui travaillent à partir de ce concept. Les écrits d’autres chercheurs, dont Stuart Hall, Richard Dyer et Jean-Michel Berthelot, qui adoptent dans des perspectives plus particulièrement liées aux Cultural Studies et à la sociologie ont également aidé à préciser notre façon d’envisager les représentations sociales et d’appréhender leur fonctionnement. Plus précisément, à la suite de Jodelet (1989), nous envisageons les représentations comme des « formes de connaissances socialement élaborées et partagées, ayant une visée pratique et concourant à la construction d’une réalité commune à un ensemble social » (p. 36). Ces représentations possèdent également d’autres particularités. Elles sont, d’après nous, constitutives ainsi que formées par des procédés langagiers qui rendent possibles des opérations. Ce concept nous permet d’étudier les représentations du point de vue de leur effectivité, soit de leur capacité à influencer les significations, à apporter un changement dans la manière d’interpréter une situation et, ce faisant, d’affecter les pratiques et d’induire une différence dans le monde. Ce questionnement au sujet des représentations se déploie sur un terrain qui nous semblait particulièrement riche pour en étudier le fonctionnement, soit celui de la politique qui, par ailleurs, se déroule actuellement dans un contexte de spectacularisation. Présenté comme un brouillage des genres entre divertissement et politique, ce phénomène est également lié à l’avènement de la celebrity politics, à la personnalisation et à l’évaluation, à l’importance prise par le style en politique ainsi qu’à la dramatisation, la fragmentation et la normalisation. Plus précisément, nous étudions les représentations dans un contexte de spectacularisation à partir de trois corpus documentant des événements aussi distincts que les fusions municipales en 2001, la montée en popularité de Mario Dumont et de l’ADQ en 2002 et 2003 ainsi que la série Bunker, le cirque, diffusée à la télévision de Radio-Canada à l’automne 2002. Ces corpus regroupent des textes de sources et de format variés, des textes de loi aux éditoriaux en passant par des dramatiques télévisuelles et des forums électroniques. Nous y avons effectué une analyse itérative et transversale des discours afin de mieux comprendre le fonctionnement des représentations dans un contexte de spectacularisation. Nos analyses ont démontré la variété des procédés et des opérations, telles que l’incontestabilisation, la projection, la localisation, l’amplification, la réduction et l’évaluation, qui permettent de modifier le sens et les enjeux des événements discutés. Les analyses ont également permis d’illustrer que les procédés et les opérations qu’ils rendent possibles balisent les frontières de l’objet et offrent un système classificateur. / This doctoral dissertation deals with social representations. Resulting from a conceptual bricolage, these representations are inspired, among others, by the work of Serge Moscovici and a number of more contemporary followers, also known as the French school of social representations, as well as some English authors exploring the same concept. The writings of other researchers, such as Stuart Hall, Richard Dyer and Jean-Michel Berthelot, which are rooted in a perspective related to Cultural Studies and to sociology, have also helped us define our own approach to social representations, and understand how they operate. More specifically, we consider representations, based on Jodelet (1989), as “socially constructed and shared forms of knowledge, having a practical goal and contributing to the production of a common reality for a social group” (p. 36). These representations also possess other characteristics. They are, according to us, constitutive, as well as shaped by language processes, which make possible a number of operations. This concept allows us to study representations from the perspective of their effectivity, meaning their capacity of influencing significations, of changing the way in which a situation is interpreted and, ultimately, of modifying practices and making a difference in the world. These questions with regards to representations unfold in a research field, politics in a context of spectacularization, which appeared to us especially rich for studying how they work. Presented as a confusion of genre between entertainment and politics, this phenomenon is also related to the advent of celebrity politics, to personalization and to assessment, to the growing place taken by style in politics, as well as to dramatization, fragmentation and normalization. More specifically, we have studied those representations in a context of spectacularization based on three corpuses documenting events as different from each other as city amalgamations in Quebec in 2001, the rise of Mario Dumont and the ADQ in 2002 and 2003, and the show Bunker, le cirque broadcasted on Radio-Canada television in the fall of 2002. These corpuses include texts of different formats coming from various sources, such as Acts, editorials, TV dramas and websites. We have conducted an iterative, inductive and cross-corpuses discourse analysis in order to better understand how representations work in a context of spectacularization. This analysis has demonstrated the variety of processes and operations, such as incontestabilization, projection, localization, amplification, reduction and assessment, which modify the meaning and stakes of the events selected. The analysis allowed us to illustrate that processes and operations made by representations define the limits of an object and offer a system of classification.

Cette thèse porte sur les représentations sociales. Fruit d’un bricolage conceptuel, ces représentations s’inspirent en partie des travaux de Serge Moscovici et de certains auteurs plus contemporains qui s’inscrivent dans son prolongement, dits de l’école française des représentations sociales, ainsi que d’auteurs anglo-saxons qui travaillent à partir de ce concept. Les écrits d’autres chercheurs, dont Stuart Hall, Richard Dyer et Jean-Michel Berthelot, qui adoptent dans des perspectives plus particulièrement liées aux Cultural Studies et à la sociologie ont également aidé à préciser notre façon d’envisager les représentations sociales et d’appréhender leur fonctionnement. Plus précisément, à la suite de Jodelet (1989), nous envisageons les représentations comme des « formes de connaissances socialement élaborées et partagées, ayant une visée pratique et concourant à la construction d’une réalité commune à un ensemble social » (p. 36). Ces représentations possèdent également d’autres particularités. Elles sont, d’après nous, constitutives ainsi que formées par des procédés langagiers qui rendent possibles des opérations. Ce concept nous permet d’étudier les représentations du point de vue de leur effectivité, soit de leur capacité à influencer les significations, à apporter un changement dans la manière d’interpréter une situation et, ce faisant, d’affecter les pratiques et d’induire une différence dans le monde. Ce questionnement au sujet des représentations se déploie sur un terrain qui nous semblait particulièrement riche pour en étudier le fonctionnement, soit celui de la politique qui, par ailleurs, se déroule actuellement dans un contexte de spectacularisation. Présenté comme un brouillage des genres entre divertissement et politique, ce phénomène est également lié à l’avènement de la celebrity politics, à la personnalisation et à l’évaluation, à l’importance prise par le style en politique ainsi qu’à la dramatisation, la fragmentation et la normalisation. Plus précisément, nous étudions les représentations dans un contexte de spectacularisation à partir de trois corpus documentant des événements aussi distincts que les fusions municipales en 2001, la montée en popularité de Mario Dumont et de l’ADQ en 2002 et 2003 ainsi que la série Bunker, le cirque, diffusée à la télévision de Radio-Canada à l’automne 2002. Ces corpus regroupent des textes de sources et de format variés, des textes de loi aux éditoriaux en passant par des dramatiques télévisuelles et des forums électroniques. Nous y avons effectué une analyse itérative et transversale des discours afin de mieux comprendre le fonctionnement des représentations dans un contexte de spectacularisation. Nos analyses ont démontré la variété des procédés et des opérations, telles que l’incontestabilisation, la projection, la localisation, l’amplification, la réduction et l’évaluation, qui permettent de modifier le sens et les enjeux des événements discutés. Les analyses ont également permis d’illustrer que les procédés et les opérations qu’ils rendent possibles balisent les frontières de l’objet et offrent un système classificateur. / This doctoral dissertation deals with social representations. Resulting from a conceptual bricolage, these representations are inspired, among others, by the work of Serge Moscovici and a number of more contemporary followers, also known as the French school of social representations, as well as some English authors exploring the same concept. The writings of other researchers, such as Stuart Hall, Richard Dyer and Jean-Michel Berthelot, which are rooted in a perspective related to Cultural Studies and to sociology, have also helped us define our own approach to social representations, and understand how they operate. More specifically, we consider representations, based on Jodelet (1989), as “socially constructed and shared forms of knowledge, having a practical goal and contributing to the production of a common reality for a social group” (p. 36). These representations also possess other characteristics. They are, according to us, constitutive, as well as shaped by language processes, which make possible a number of operations. This concept allows us to study representations from the perspective of their effectivity, meaning their capacity of influencing significations, of changing the way in which a situation is interpreted and, ultimately, of modifying practices and making a difference in the world. These questions with regards to representations unfold in a research field, politics in a context of spectacularization, which appeared to us especially rich for studying how they work. Presented as a confusion of genre between entertainment and politics, this phenomenon is also related to the advent of celebrity politics, to personalization and to assessment, to the growing place taken by style in politics, as well as to dramatization, fragmentation and normalization. More specifically, we have studied those representations in a context of spectacularization based on three corpuses documenting events as different from each other as city amalgamations in Quebec in 2001, the rise of Mario Dumont and the ADQ in 2002 and 2003, and the show Bunker, le cirque broadcasted on Radio-Canada television in the fall of 2002. These corpuses include texts of different formats coming from various sources, such as Acts, editorials, TV dramas and websites. We have conducted an iterative, inductive and cross-corpuses discourse analysis in order to better understand how representations work in a context of spectacularization. This analysis has demonstrated the variety of processes and operations, such as incontestabilization, projection, localization, amplification, reduction and assessment, which modify the meaning and stakes of the events selected. The analysis allowed us to illustrate that processes and operations made by representations define the limits of an object and offer a system of classification.

Made available in DSpace on 2016-04-28T14:16:34Z (GMT). No. of bitstreams: 1 Erivelton Alves Bizerra.pdf: 8926443 bytes, checksum: 178bf86156f6b57ad9075f66503b1aac (MD5) Previous issue date: 2008-10-07 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Alberto Santos Dumont (1873-1932) is well known in Brazil and France for his pioneer contributions to the development of the airplane. However, before that, he also helped to develop the technique of balloon flight, obtaining important results of directed flight using motorized airships. This works analyses his contribution to this field. This dissertation presents, first, an historical account of the invention of balloons, from the early Chinese flying lights to the introduction of hot-air and hydrogen balloons in Europe, in the 18th century. Next, this work analyses the issue of balloon flight control. After the first manned flights, in 1783, there was a strong interest for this invention and there were several proposals of controlling its flight. The first attempts of flying motorised balloons, which attained a moderate success, were made in 1852, using a heavy steam machine. Other attempts were made afterwards, using several kinds of motors (including electrical ones), but they did not attain practical results. In the late 19th century, Santos Dumont began to develop airships driven by internal combustion engines (such as those used by automobiles) and obtained good results. In 1901 he was awarded the Deutsch de la Meurthe Prize, when he demonstrated the control of a motorised balloon that was able to make a flight round the Eiffel Tower. Finally, this dissertation analyses Santos Dumont s scientific and technical knowledge, as well the technical difficulties involved in the control of airships, at that time / Alberto Santos Dumont (1873-1932) é muito conhecido, no Brasil e na França, por seus trabalhos pioneiros sobre aviação, mas também desenvolveu, antes disso, a técnica de vôo em balões, obtendo importantes resultados na dirigibilidade com aparelhos dotados de motor. Este trabalho analisa sua contribuição neste campo. Esta dissertação apresenta primeiramente um histórico da invenção dos balões, desde as luzes voadoras chinesas até a introdução de balões de ar quente e de hidrogênio na Europa, no século XVIII. Em seguida, a dissertação analisa a história da dirigibilidade dos balões. Logo após os primeiros vôos tripulados, em 1783, surgiu um enorme interesse pelo invento e foram propostas formas de proporcionar-lhe dirigibilidade. As primeiras tentativas, com algum grau de sucesso, de balões dotados de motores ocorreram em 1852, utilizando uma máquina a vapor. Houve depois algumas poucas tentativas, utilizando motores de vários tipos (inclusive elétricos), mas não foram obtidos bons resultados. Nos últimos anos do século XIX, Santos Dumont iniciou o desenvolvimento de balões movidos por motores de combustão interna (como os de automóveis) e conseguiu bons resultados. Em 1901, obteve o Prêmio Deutsch de la Meurthe, demonstrando o controle de um balão motorizado que contornou a Torre Eiffel. Por fim, a dissertação analisa os conhecimentos científicos e técnicos de Santos Dumont, bem como as dificuldades técnicas que era necessário superar para conseguir controlar o vôo dos balões, na época

Dans la foulée de leur colonisation de l’Amérique aux XVIIe et XVIIIe siècles, les Français ont dressé des inventaires des ressources du territoire occupé ou convoité. Apte à décrire toute cette richesse, l’histoire naturelle devint ainsi un savoir colonial par excellence et l’un des rouages centraux de la « machine coloniale » française. Aussi, le legs textuel de cette activité est-il considérable et diverses perspectives s’y expriment : un entreprenant colon, par exemple, ne verra pas les ressources de la Louisiane de la même façon qu’un officiel métropolitain de passage ou qu’un botaniste en mission. Mais le regard colonisateur est largement partagé et tous ces textes, ou presque, font acte d’appropriation des plantes, minéraux et animaux américains. La place ménagée aux indigènes et aux esclaves – qu’ils soient d’origine autochtone ou afro-américaine – comme acteurs dans le processus de création de savoir est variable selon le contexte et l’auteur. Ce mémoire se penche sur un petit nombre de textes éloquents tirés du corpus de l’histoire naturelle des colonies d’Amérique continentales françaises. Sont étudiés de près quatre auteurs qui ont œuvré ou qui ont été de passage au Canada (Kalm), en Guyane française (Barrère) et en Louisiane (Le Page du Pratz et Dumont de Montigny). Nous examinons dans un premier temps les différents contextes d’acquisition de savoirs. Par la suite, l’analyse portera sur leurs inventaires respectifs des ressources coloniales, puis leur façon de traiter leurs sources. Finalement, nous concluons cette recherche sur les manières dont ces naturalistes-écrivains transmettront à leurs lecteurs européens leurs connaissances nouvellement acquises et la portée de la diffusion que leurs écrits connaîtront. / Following their colonization of America in the 17th and 18th centuries, the French drew up inventories for the resources of the occupied or coveted territory. Being able to describe all this wealth, natural history thus became the ultimate colonial knowledge and one of the central cogs of the French Colonial Machine. Also, the textual legacy of this activity is considerable and various points of view are taken into account: an enterprising settler, for example, will not see Louisiana’s resources in the same way as a travelling metropolitan official or a botanist on assignment. However, the colonial perspective is widely spread and all these texts, or almost all of them, are evidence of the appropriation of American plants, minerals and animals. The position of indigenous people and slaves – whether of indigenous or African-American origin – as actors in the process of knowledge creation depends on the context and the author’s stance. This thesis focuses on a small number of compelling texts from the natural history corpus of the French mainland colonies in America. Four authors who worked in or visited Canada (Kalm), French Guiana (Barrère) and Louisiana (Le Page du Pratz and Dumont de Montigny) are studied in depth. We first examine the different contexts of knowledge acquisition. Subsequently, we analyze the colonial resources inventories available at that time and how the sources are managed. Lastly, we conclude by looking at how these naturalist writers transmit to their European readers their newly acquired knowledge and the impact that their work will have.

Ce mémoire traite globalement de l'influence de la musique populaire sur la création de nouvelles musiques d'art, et plus spécifiquement de l'influence du true norwegian black metal (TNBM) sur quatre de mes compositions récentes. Dans la première partie du chapitre I, nous exposons les aspects musicaux et extramusicaux des principales périodes du black metal afin de bien comprendre la genèse du TNBM. Dans la seconde partie du chapitre I, nous abordons spécifiquement le TNBM de la même façon. Dans le chapitre II, nous démontrons concrètement, à l'aide de plusieurs exemples, les modes d'influence des musiques du TNBM sur les quatre musiques à l'étude. Ces types d'influence sont au nombre de cinq : les caractères propres au TNBM, ses caractéristiques structurelles, les techniques d'écriture employées, la gestion des hauteurs et les techniques instrumentales typiques. Je dresse un portrait sommaire en conclusion des enjeux importants de ma musique à venir : la musique de timbre et l'accessibilité de la musique d'art à un large public.

O presente trabalho tem como objetivo a análise de obras da arquitetura moderna brasileira de base carioca, construídas em concreto armado no período compreendido entre 1935 e 1960. É inegável que a construção teve destaque entre os vários componentes que levaram a arquitetura moderna brasileira ao reconhecimento internacional. Dentro do período citado, o Brasil figurou como líder do universo da arquitetura moderna, onde a exploração da plasticidade potencial do concreto armado foi aplicada com grande êxito. As soluções adotadas pelos arquitetos brasileiros tiveram grande repercussão, a começar pelo edifício da Associação Brasileira de Imprensa dos Irmão Roberto da sede do Ministério da Educação e Saúde Pública (hoje conhecido como Palácio Gustavo Capanema) que deixaram perplexos arquitetos do mundo inteiro. Marcos da nova arquitetura no país, estes exemplares foram objeto de inovações expressivas e bem-sucedidas também no seu projeto estrutural. Para se fazer a análise das construções brasileiras, é importante estudar as origens do concreto armado e suas aplicações desde o seu surgimento, passando pela descrição de patentes registradas (ou apenas estudadas) na Europa e Estados Unidos, sem esquecer de precisar nomes e datas, fundamentais para substanciar a reivindicação de influências e precedências. Em um segundo momento, estuda-se a chegada do concreto armado no Brasil, e as obras iniciais, além de registrar as primeiras construtoras e a elaboração das primeiras normas. Nos anos 30 o concreto armado é agente da verticalização e da indústria da construção civil, domínio este comprovado através de dados técnicos e sócio-econômicos. A última parte está dedicada para a análise das obras, onde Affonso Eduardo Reidy, Álvaro Vital Brasil, Lúcio Costa, MMM Roberto e Oscar Niemeyer são os autores dos projetos. Analisados sob o aspecto de sua concepção estrutural e construtiva, os exemplares são divididos em categorias e dentro destas ordenados por cronologia de projeto e execução, onde são apresentados além do texto escrito, ilustrações das obras em andamento, finalizadas e desenhos originais e/ou elaborados por este autor, através de levantamento ou pesquisa. / The purpose of this essay is the analysis of works of the Brazihan modem architecture with carioca base, built in reinforced concrete in the period between 1935 and 1960. It is undeniable that the construction had prominence among the several components that took the Brazihan modem architecture to the international recognition. Inside of the mentioned period, Brazil represented as leader of the universe of the modem architecture, where the exploration of the potential plasticity of the reinforced concrete was applied with great success. The solutions adopted by the Brazihan architects they had great repercussion, to begin for the building of the Brazilian Association of Press of the MMM Roberto of the headquarters of Ministry of Education and Pubhc Health (known as Palácio Gustavo Capanema) that left perplexed architects of the whole world. Signal of the new architecture in the country, these copies were object of expressive and successful innovations in your structural project. To do the analysis of the Brazilian constructions, it is important to study the origins of the reinforced concrete and your applications from your appearance, going by the description of registered patents (or just studied) in Europe and United States, without forgetting of needing names and dates, fundamental to nourish the revindication of influences and precedences. In a second moment, it is studied the arrival of the reinforced concrete in Brazil, and the initial works, besides registering the first builders and the elaboration of the first norms. In the thirties the armed concrete is agent of the verticalization and of the industry of the building site, domain this proven through data technicians and socioeconomic. The last part is dedicated for the analysis of the works, where Affonso Eduardo Reidy, Álvaro Vital Brasil, Lúcio Costa, MMM Roberto and Oscar Niemeyer are the authors of the projects. Analyzed under the aspect of your structural and constructive conception, the copies are divided in categories and inside of these ordered by project chronology and execution, where they are presented besides the written text, illustrations of the works in process, concluded and drawings original or elaborated by this author, through rising or researches.

O presente trabalho tem como objetivo a análise de obras da arquitetura moderna brasileira de base carioca, construídas em concreto armado no período compreendido entre 1935 e 1960. É inegável que a construção teve destaque entre os vários componentes que levaram a arquitetura moderna brasileira ao reconhecimento internacional. Dentro do período citado, o Brasil figurou como líder do universo da arquitetura moderna, onde a exploração da plasticidade potencial do concreto armado foi aplicada com grande êxito. As soluções adotadas pelos arquitetos brasileiros tiveram grande repercussão, a começar pelo edifício da Associação Brasileira de Imprensa dos Irmão Roberto da sede do Ministério da Educação e Saúde Pública (hoje conhecido como Palácio Gustavo Capanema) que deixaram perplexos arquitetos do mundo inteiro. Marcos da nova arquitetura no país, estes exemplares foram objeto de inovações expressivas e bem-sucedidas também no seu projeto estrutural. Para se fazer a análise das construções brasileiras, é importante estudar as origens do concreto armado e suas aplicações desde o seu surgimento, passando pela descrição de patentes registradas (ou apenas estudadas) na Europa e Estados Unidos, sem esquecer de precisar nomes e datas, fundamentais para substanciar a reivindicação de influências e precedências. Em um segundo momento, estuda-se a chegada do concreto armado no Brasil, e as obras iniciais, além de registrar as primeiras construtoras e a elaboração das primeiras normas. Nos anos 30 o concreto armado é agente da verticalização e da indústria da construção civil, domínio este comprovado através de dados técnicos e sócio-econômicos. A última parte está dedicada para a análise das obras, onde Affonso Eduardo Reidy, Álvaro Vital Brasil, Lúcio Costa, MMM Roberto e Oscar Niemeyer são os autores dos projetos. Analisados sob o aspecto de sua concepção estrutural e construtiva, os exemplares são divididos em categorias e dentro destas ordenados por cronologia de projeto e execução, onde são apresentados além do texto escrito, ilustrações das obras em andamento, finalizadas e desenhos originais e/ou elaborados por este autor, através de levantamento ou pesquisa. / The purpose of this essay is the analysis of works of the Brazihan modem architecture with carioca base, built in reinforced concrete in the period between 1935 and 1960. It is undeniable that the construction had prominence among the several components that took the Brazihan modem architecture to the international recognition. Inside of the mentioned period, Brazil represented as leader of the universe of the modem architecture, where the exploration of the potential plasticity of the reinforced concrete was applied with great success. The solutions adopted by the Brazihan architects they had great repercussion, to begin for the building of the Brazilian Association of Press of the MMM Roberto of the headquarters of Ministry of Education and Pubhc Health (known as Palácio Gustavo Capanema) that left perplexed architects of the whole world. Signal of the new architecture in the country, these copies were object of expressive and successful innovations in your structural project. To do the analysis of the Brazilian constructions, it is important to study the origins of the reinforced concrete and your applications from your appearance, going by the description of registered patents (or just studied) in Europe and United States, without forgetting of needing names and dates, fundamental to nourish the revindication of influences and precedences. In a second moment, it is studied the arrival of the reinforced concrete in Brazil, and the initial works, besides registering the first builders and the elaboration of the first norms. In the thirties the armed concrete is agent of the verticalization and of the industry of the building site, domain this proven through data technicians and socioeconomic. The last part is dedicated for the analysis of the works, where Affonso Eduardo Reidy, Álvaro Vital Brasil, Lúcio Costa, MMM Roberto and Oscar Niemeyer are the authors of the projects. Analyzed under the aspect of your structural and constructive conception, the copies are divided in categories and inside of these ordered by project chronology and execution, where they are presented besides the written text, illustrations of the works in process, concluded and drawings original or elaborated by this author, through rising or researches.

O presente trabalho tem como objetivo a análise de obras da arquitetura moderna brasileira de base carioca, construídas em concreto armado no período compreendido entre 1935 e 1960. É inegável que a construção teve destaque entre os vários componentes que levaram a arquitetura moderna brasileira ao reconhecimento internacional. Dentro do período citado, o Brasil figurou como líder do universo da arquitetura moderna, onde a exploração da plasticidade potencial do concreto armado foi aplicada com grande êxito. As soluções adotadas pelos arquitetos brasileiros tiveram grande repercussão, a começar pelo edifício da Associação Brasileira de Imprensa dos Irmão Roberto da sede do Ministério da Educação e Saúde Pública (hoje conhecido como Palácio Gustavo Capanema) que deixaram perplexos arquitetos do mundo inteiro. Marcos da nova arquitetura no país, estes exemplares foram objeto de inovações expressivas e bem-sucedidas também no seu projeto estrutural. Para se fazer a análise das construções brasileiras, é importante estudar as origens do concreto armado e suas aplicações desde o seu surgimento, passando pela descrição de patentes registradas (ou apenas estudadas) na Europa e Estados Unidos, sem esquecer de precisar nomes e datas, fundamentais para substanciar a reivindicação de influências e precedências. Em um segundo momento, estuda-se a chegada do concreto armado no Brasil, e as obras iniciais, além de registrar as primeiras construtoras e a elaboração das primeiras normas. Nos anos 30 o concreto armado é agente da verticalização e da indústria da construção civil, domínio este comprovado através de dados técnicos e sócio-econômicos. A última parte está dedicada para a análise das obras, onde Affonso Eduardo Reidy, Álvaro Vital Brasil, Lúcio Costa, MMM Roberto e Oscar Niemeyer são os autores dos projetos. Analisados sob o aspecto de sua concepção estrutural e construtiva, os exemplares são divididos em categorias e dentro destas ordenados por cronologia de projeto e execução, onde são apresentados além do texto escrito, ilustrações das obras em andamento, finalizadas e desenhos originais e/ou elaborados por este autor, através de levantamento ou pesquisa. / The purpose of this essay is the analysis of works of the Brazihan modem architecture with carioca base, built in reinforced concrete in the period between 1935 and 1960. It is undeniable that the construction had prominence among the several components that took the Brazihan modem architecture to the international recognition. Inside of the mentioned period, Brazil represented as leader of the universe of the modem architecture, where the exploration of the potential plasticity of the reinforced concrete was applied with great success. The solutions adopted by the Brazihan architects they had great repercussion, to begin for the building of the Brazilian Association of Press of the MMM Roberto of the headquarters of Ministry of Education and Pubhc Health (known as Palácio Gustavo Capanema) that left perplexed architects of the whole world. Signal of the new architecture in the country, these copies were object of expressive and successful innovations in your structural project. To do the analysis of the Brazilian constructions, it is important to study the origins of the reinforced concrete and your applications from your appearance, going by the description of registered patents (or just studied) in Europe and United States, without forgetting of needing names and dates, fundamental to nourish the revindication of influences and precedences. In a second moment, it is studied the arrival of the reinforced concrete in Brazil, and the initial works, besides registering the first builders and the elaboration of the first norms. In the thirties the armed concrete is agent of the verticalization and of the industry of the building site, domain this proven through data technicians and socioeconomic. The last part is dedicated for the analysis of the works, where Affonso Eduardo Reidy, Álvaro Vital Brasil, Lúcio Costa, MMM Roberto and Oscar Niemeyer are the authors of the projects. Analyzed under the aspect of your structural and constructive conception, the copies are divided in categories and inside of these ordered by project chronology and execution, where they are presented besides the written text, illustrations of the works in process, concluded and drawings original or elaborated by this author, through rising or researches.