This qualitative theory consuming case study will explore why nationalism has developed in Catalonia and how it has expressed itself during and after the regime of Francisco Franco. Nationalism is an old and well-established theory that has resurrected again in Catalonia. Nationalism can be divided in two forms, either it is ethnically based, or based on citizenship. The ethnic form includes shared language, culture, territory and history whilst the one based in citizenship includes social, political and economic interests. The areas that will be studied within Catalan nationalism are: language, geography, culture and economy. The essay will also explore actors and structures within Catalonia. The essay concludes that nationalism in Catalonia is more ethnic and has developed thanks to specific characteristics such as language, culture and history. The Catalan nationalism has expressed itself through autonomy and economic integrity and the main force behind nationalism is actors.

Miguel Franco nasceu em Leiria em 1918, atuou no teatro amador de sua cidade, sendo varias vezes premiado como encenador e como ator. Na década de 60, em plena ditadura salazarista, Franco leva ao Teatro Avenida de Lisboa, por meio da consagrada Companhia Companhia Rey Colaço Robles Monteiro sua mais importante peca de teatro histórico, O motim, que retoma os eventos ocorridos após o levante do povo da cidade do Porto contra a Companhia dos Vinhos do Alto Douro, criada pelo ministro de d. José, o Marques de Pombal. A peca, após poucos dias em cartaz, é brutalmente retirada de cena pelo aparelho de repressão do regime salazarista. Este trabalho tem por objetivo analisar a peça de Franco, como exemplo do subgênero dramático do teatro histórico, procurando compreender como e por que se dão as relações que se estabelecem entre o tempo da ação da peça (século XVIII) e o tempo de sua escrita (segunda metade do século XX). / Miguel Franco was born in Leiria in 1918, acted in amateur theater of his city, and several times was awarded as director and as an actor. In the 60s, during the Salazar dictatorship, Franco leads to Teatro Avenida de Lisboa, with the consecrated Company Company Rey Colaco - Robles Monteiro his most important play of historical theater, O Motim, which incorporates the events that occurred after the uprising of the people of Porto against the Companhia dos Vinhos do Alto Douro, created by d. José minister, Marques de Pombal. The play, after only a few days on stage, was brutally removed from the scene by the Salazar regime repression apparatus. This paper aims at examining the Franco play as an example of the dramatic subgenre of historical theater, trying to studying how and why occur the relations established between the time of action of the play (XVIII century) and the time of its writing (second half of the twentieth century).

Essa dissertação visa investigar o legado do Departamento de Informação e Documentação Artísticas - IDART para a cultura paulistana. Criado em 1975, na cidade de São Paulo, teve uma importante trajetória que foi marcada, no entanto, por uma forte instabilidade institucional. O recorte temporal escolhido cobre de 1975 a 1982, período em que o IDART gozou de autonomia política e conceitual. Embora o Departamento tenha se tornado conhecido pelo seu Centro de Pesquisa, pretendemos demonstrar que ele se constituiu numa instituição muito mais complexa, dotada de uma estrutura organizacional singular. Para atingir nossos propósitos iremos primeiramente analisar o projeto que deu origem ao IDART, os antecedentes institucionais que serviram de base para o estabelecimento de suas matrizes conceituais, bem como a contribuição de diferentes intelectuais que estiveram envolvidos em sua concepção, com destaque para o papel preponderante desempenhado por Maria Eugênia Franco. Iremos também detalhar as atividades do Centro de Pesquisa (Centro de Documentação e Informação sobre Arte Brasileira Contemporânea), ressaltando o caráter pioneiro das metodologias e das rotinas de trabalho adotadas. Por fim, tentaremos evidenciar de que modo o IDART buscou conjugar as funções de centro de documentação às atribuições de uma instituição museológica, no que se refere à formação de coleções e difusão de conhecimento por meio de publicações e exposições didáticas. Em relação às fontes, utilizamos documentos de arquivos institucionais, sendo que uma parte deles foi tornada pública apenas recentemente, além de termos recorrido a um levantamento minucioso de matérias publicadas na grande imprensa com o intuito de cobrir certas lacunas. Todo o nosso esforço concentrou-se em propor uma revisão crítica da história institucional do IDART, em seus primeiros anos, como uma contribuição pontual para o estudo das políticas públicas da cultura no estado de São Paulo ao longo do século XX. / This dissertation aims to investigate the legacy left by the Departamento de Informação e Documentação Artísticas - IDART (Department of Artistic Information and Documentation) for São Paulo\'s cultural scene. Established in 1975 in the city of São Paulo, it had an important trajectory however marked by its strong institutional instability. We have chosen to focus on the years between 1975 and 1982 when IDART enjoyed a greater political and intellectual autonomy. Even though the Department has been recognized for its Research Center, we intend to show that it was indeed a much more complex institution with a singular organizational structure. In order to achieve this goal, we will first analyze IDART\'s original project, the organizational background that laid the ground for its conceptual matrix, and also the contribution offered by many intellectuals and scholars who were involved in its foundation, especially Maria Eugênia Franco who played a crucial role in this process. We will also further describe the activities of the Research Center (Center for the Documentation and Information on Brazilian Contemporary Art), highlighting how groundbreaking its methods and activities were. Finally, this dissertation aims to shed some light on how much IDART sought to combine the functions of a documentation center with the assignments of a museum institution, especially concerning the collections development, and the dissemination of knowledge through its publications and pedagogical exhibitions. As for the sources used for this work, we have analyzed documents from the organization\'s archives, recently made public, and a comprehensive overview of newspaper articles published about IDART that helped us to fill in some gaps left by the investigation. Our focus was on providing a critical perspective on IDART\'s institutional history during its first years, as well as on its contributions towards cultural policies implemented by the State of São Paulo in the 20th century.

Submitted by Renata Lopes (renatasil82@gmail.com) on 2018-08-15T11:26:54Z No. of bitstreams: 1 viniciustobias.pdf: 1920539 bytes, checksum: bb7eb3e6df173c3a603967fa2fb739c4 (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2018-09-03T16:33:02Z (GMT) No. of bitstreams: 1 viniciustobias.pdf: 1920539 bytes, checksum: bb7eb3e6df173c3a603967fa2fb739c4 (MD5) / Made available in DSpace on 2018-09-03T16:33:02Z (GMT). No. of bitstreams: 1 viniciustobias.pdf: 1920539 bytes, checksum: bb7eb3e6df173c3a603967fa2fb739c4 (MD5) Previous issue date: 2018-02-23 / CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Essa dissertação se mostra como um esforço de religiões comparadas para entender a religiosidade pós-tradicional orientalista identificadas em dois compositores da música popular brasileira: BNegão e Walter Franco. Ao aplicar uma hermenêutica interessada nesse assunto aos álbuns desses compositores tomados como obras orgânicas, percebeuse que ambos constroem, em suas canções, um difuso papel social de um aprendiz sem mestres. A esse aprendiz orientalista pós-tradicional chamei de yoguin do séc. XXI, uma categoria que tanto se torna eficaz para entender os entremeados das artes em relação ao orientalismo como para balizar a experiência pós-tradicional de vida em aprendizado. A partir dessa constatação discuto então as demais questões que envolvem os discos estudados e a atividade 'profética' desses compositores em interface com a sociedade e a política. Para situar a discussão, além disso, apresento um panorama de desenvolvimento na arte ocidental do nomos orientalizado, ou seja, da explicação de mundo ocidental que tende às ideias clássicas do mundo oriental. Esse resgate passa pela ética romântica, pela estruturação da linguagem artística e pelo que chamei de ética da integralidade, um desdobramento da ética romântica, mas que traz outros vetores como o tema do holismo e a busca do equilíbrio. / This dissertation shows itself as an effort by comparative religions to understand the post-traditional orientalist religiosity identified in two Brazilian popular music composers: BNegão and Walter Franco. From a hermeneutic interested abaut the albums of these composers taken as organic works, it was noticed that both construct in their songs, a diffuse social role of an apprentice without masters. To this posttraditional orientalist apprentice I called yoguin from 21st century. This category becomes effective to understand the relationship between art and orientalism and to refer to the post-tradicional experience of life in learning. From this observation I discuss then the other questions that surround the discs studied and the 'prophetic’ activity of these composers in relation to society and politics. In order to situate the discussion, moreover, I present a panorama of development in western art of the orientalized nomos, that is, of the explanation of western world that tends to the classical ideas of the Eastern world. This rescue goes through romantic ethics, for the structuring of artistic language and for what I have called the ethics of integrality, an unfolding of romantic ethics, but which brings other vectors such as the theme of holism and the search for balance.

L’échange sino-occidental constitue un phénomène majeur de notre ère. Il s’étend des parties importantes de l’économie et de la politique à l’art, la philosophie et la littérature. Depuis l’ouverture de la Chine dans les années 1980, c’est d’abord la France qui est devenue pays d’accueil pour des intellectuels et des étudiants d’origine chinoise dits ‘dissidents‘, facilitant un nouvel échange d’idées plus direct. La thèse aborde le sujet de l’interculturalité d’intellectuels chinois de la sorte dans le contexte littéraire du roman franco-chinois, ainsi traitant une partie importante des relations interculturelles : par la publication de leurs œuvres, les romanciers initient un vaste échange culturel avec leurs lecteurs en liant leur monde d’idées chinois à la civilisation française. L’approche méthodologique est basée sur la notion de culture comme un système ouvert et dynamique qui est développé et élargi de manière continue par les êtres humains : en considérant le système culturel comme un grand ‘texte’ général, Clifford Geertz attribue un statut textuel à tous les cadres culturels et souligne le caractère interprétatif du système culturel comme un réseau de pratiques et de discours auquel les acteurs font référence et qu’ils développent et modifient en tant que participants actifs. De cette façon, un texte littéraire est d’un côté lui-même élément d’un système textuel. D’un autre côté, il fait partie de la création du grand ‘texte de la culture’ en interprétant et en exposant le système culturel en question. La thèse prend en compte ces qualités d’un texte littéraire de la manière suivante: elle comprend d’abord les textes en tant que résultats d’une évolution socio-culturelle. Ensuite, elle les conçoit comme des modes de représentation et d’interprétation d’un système interculturel.Les romans de cinq écrivains exemplaires, dont les œuvres sont considérées comme particulièrement pertinentes quant à une thématique de l’interculturel, constituent la base textuelle du projet. Il s’agit de François Cheng, Gao Xingjian, Dai Sijie, Ya Ding et Shan Sa, qui ont rédigé leurs romans sous l’influence de trois phénomènes contextuels majeurs : le souvenir commun de la Chine, l’expérience de l’exil et la confrontation avec le monde littéraire français. / Intercultural relations between China and the Occident have become a vital phenomenon of our age. They range from dealings in major areas of economy and politics to interactions in the visual arts, literature and philosophy. Since the Opening of China during the 1980s, France, in particular, has become the primary destination for dissident intellectuals and students of Chinese origin, a fact which has facilitated a new direct exchange of ideas. This thesis deals with the interculturalism of those very intellectuals in the literary context of the Franco-Chinese novel, hence addressing a key area of this new interculturalism: the authors generate a substantial cultural contact by publishing their works in France, thus linking their Chinese world of thoughts to French culture.The methodological approach is based on the notion of culture as an entity undergoing permanent development caused by human beings who are perceived as participants in the process. Defining culture as ‘text’, Clifford Geertz assigns textual status to all cultural phenomena, thereby emphasizing the interpretative nature of culture as a network of practices and discourses being permanently changed and refined. Literary texts are on the one hand partial elements of this network themselves; on the other hand, they also participate in the productive process by representing and interpreting the bigger text of culture. The thesis accounts for those properties of literary texts by first investigating them as results of a cultural development and subsequently comprehending them as a form of intercultural representation and interpretation.The text corpus of the analysis has been built on the basis of the works of five exemplary writers: François Cheng, Gao Xingjian, Dai Sijie, Ya Ding and Shan Sa. Showing particular pertinence with respect to the subject matter, their intercultural dimension is shaped by three major contextual phenomena: the shared memory of China, the exile experience and the confrontation with the French world of publishing.

Ma recherche est une étude qui reconstitue le milieu littéraire, culturel et intellectuel dans lequel se trouve l’écrivain italien Franco Fortini (1917-1994) pendant son séjour en Suisse. La section centrale de la thèse est une édition critique de La guerra a Milano qui, d’un côté, fait ressortir la leçon originaire destinée à être publiée en Suisse, et qui de l’autre rend évident, à travers l’apparat critique, l’évolution des variantes introduites par les éditions de presse. Le texte qui fut publié en 1963, en effet, issu d’un travail de correction effectué vingt ans plus tard, fut privé des passages en italique qui, décrivant la condition de réfugié du jeune écrivain, créaient un remarquable contrepoint à la narration historique. Le texte du ’63, de plus, n’a plus un rôle autonome, mais est accompagné (ou mieux – contre la chronologie – anticipé) par le récit Sere in Valdossola. Avoir récupéré cette forme originaire du texte, en la préférant aux deux éditions (1963 et 1985), nous a fait pencher pour une édition qui mette en évidence la leçon de Z (1943-44) et signale en apparat soit les variantes génétiques (celles de Z, placées dans le premier paragraphe), soit les variantes évolutives des éditions de presse (à recenser dans un second paragraphe). Dans l’appendice on a reproduit aussi la leçon du manuscrit, accompagnée d’un apparat qui signale les variantes internes. Un bref commentaire final comprend des notes explicatives du texte (des traductions des passages en langue étrangère, des références à des personnages ou à des évènements historiques, etc.). Ma recherche permettra ainsi aux chercheurs (et, plus tard, par une éventuelle publication de la thèse à des lecteurs plus nombreux) de connaître un document inédit d’un des auteurs italiens les plus remarquables de la seconde moitié du vingtième siècle. / My research examines the literary, cultural and intellectual milieu in which the Italian writer Franco Fortini (1917-1994) lived during his stay in Switzerland. During this stay, in fact, Fortini tied many friendships with Italian and French intellectuals, such as Ignazio Silone, Adriano Olivetti, Gianfranco Contini, Starobinski, Paul Eluard, Jean-Paul Sartre and Simone de Beauvoir. The central section of the thesis is a critical edition of La guerra a Milano which, on one hand, highlights the original lesson to be published in Switzerland, and on the other, makes clear, through the critical apparatus, the changing variants introduced by the new editions. The text was published in 1963, in fact, after a twenty-years-long correction work, and was deprived of the italicized passages describing the refugee status of the young writer, that created a remarkable counterpoint to the historical narration. The 1963 text has an autonomous role, but it is accompanied (or better - against the timing - advanced) by the story in Sere Valdossola. To have recovered this original text, instead of the two editions (1963 and 1985), highlights the lesson of the typescript (1943-1944). In the appendix we have also reproduced the lesson of the manuscript, accompanied by notes that signal internal variants. A brief final comment includes explanatory notes of the text (translations of foreign-language passages, references to characters or historical events, etc.). My research will thus enable researchers (and, later, thanks to eventual publication of the thesis, many others readers) knowing an unpublished document of one of the most outstanding Italian writers of the second half of the twentieth century. La guerra a Milano is Fortini’s first text to be written in its entirety and to be reissued during the postwar period with the publication of Sere in Valdossola (1963).

La réforme ontarienne des politiques éducatives de la fin des années 1990 a introduit une certaine économie de marché dans le système d’éducation, laquelle a contribué à accroître la concurrence entre les écoles pour le recrutement du plus grand nombre d’élèves. Au même moment, l’Ontario accueillait un grand nombre d’immigrants francophones, dont la plupart provenaient du continent africain. Dans ce contexte, quels facteurs influencent les mères francophones (d’origines djiboutienne/somalienne et canadienne) quand elles choisissent une école secondaire de langue française pour leur enfant. Plus précisément, il s’agit de voir s’il y a une tendance vers un choix positif ou s’il y a évitement de certaines écoles dans lesquelles de plus grandes proportions d’élèves issus de l’immigration seraient présent. En d’autres mots nous voulons voir s’il y a une ghettoïsation de certaines écoles de langue française en Ontario. En nous appuyant sur les outils d’analyse sociologique de Pierre Bourdieu (le champ, le capital et l’habitus), nous avons étudié la question selon trois dimensions : le statut socio-économique des familles, les programmes offerts par les écoles et l’environnement scolaire. Les données ont été recueillies lors d’entrevues semi-dirigées avec les mères. L’analyse de nos données révèle, dans un premier temps, que la présence des groupes ethniques et culturels divers au sein des écoles semble apporter une plus-value à ces établissements. De plus, nous n’avons pas relevé de différences considérables quant aux facteurs qui influencent les mères de notre échantillon (d’origines canadienne et immigrante) lors du choix scolaire. Cependant, la situation de double minorité (raciale et linguistique) des mères immigrantes fait en sorte que le choix de celles-ci se fait dans un contexte socio-économique différent, donc elles sont davantage motivées à choisir un programme et un environnement scolaire pour que leurs enfants puissent bâtir sur ce que leurs parents ont réussi à accumuler jusqu’à maintenant.

Ce travail de recherche a pour but de retracer l’évolution de la représentation cinématographique de la population d’origine maghrébine en France et de mettre en perspective l’analyse des procédés esthétiques et cinématographiques dans l’œuvre d’Abdellatif Kechiche.Les trois étapes constituant ce travail restituent les tournants majeurs qui jalonnent cette histoire, partant de l’émergence du « travailleur immigré » comme figure cinématographique, en passant par la prise en charge des jeunes Franco-Maghrébins, enfants des premiers immigrés, de leur propre image à l’écran, et aboutissant au cinéma d’Abdellatif Kechiche comme syncrétisme de ce mouvement.Une analyse esthétique d’un corpus de films choisis permet d’appréhender la spécificité de ce mouvement qui débute dans les années soixante-dix et s’affirme au milieu des années quatre-vingt avec la sortie du film Le Thé au harem d’Archimède de Mehdi Charef. Il s’agit par là même d’interroger l’appellation « cinéma beur » employée pour désigner les cinéastes franco-maghrébins qui émergent dans le sillage de Mehdi Charef. Le cinéma d’Abdellatif Kechiche se situe à la fois en continuité et en rupture avec ce courant. Cette recherche révèle les mécanismes artistiques à l’œuvre dans ses films et permet d’initier une réflexion sur la singularité de son écriture, ainsi que sur l’avènement d’une cinématographie qui interroge le cinéma français sur sa capacité à recomposer la réalité dans sa dimension actuelle et polymorphe. / The objective of this research is to trace the evolution of the cinematographic representation of the Maghrebi population in France, and to put into perspective an analysis of Abdellatif Kechiche’s aesthetic and cinematographic processes.The three steps of this analysis cover the decisive points marking this evolution, from the starting point of the “immigrant labourer” as a cinematographic figure, followed by the appropriation of their self-image on screen by first-generation Franco-Maghrebi youth and finishing with Abdellatif Kechiche’s cinema as a syncretism of this movement.An aesthetic analysis of a selection of films allows us to grasp the specificity of this movement, which began in the 1970s and asserted itself in the 1980s with the release of Mehdi Charef’s “Tea in the Harem” (“Le Thé au harem d’Archimède”). This allows us to question the notion of “Beur Cinema”, which was used to describe the Franco-Maghrebi directors who followed in Mehdi Charef’s footsteps. The cinema of Abdellatif Kechiche is both a continuation of, and a departure from this movement. This research highlights the artistic mechanisms at work in his oeuvre and initiates a reflection on the singularity of his writing, as well as on the establishment of a cinematography that questions French cinema in terms of its ability to recompose reality in its current and polymorphous dimension.

[pt] A dissertação focaliza o romance Úrsula (1859), da escritora Maria Firmina dos Reis, a partir de algumas intervenções de Lélia Gonzalez e de Djamila Ribeiro. A proposta é examinar diferentes ações intelectuais que, articuladas, propuseram dar centralidade à voz de mulheres pretas. Trata-se de um diálogo propositivo entre intelectuais que se comprometeram à reflexão acerca de suas próprias condições de inserção em uma sociedade fortemente marcada pela permanência constitutiva de rastros da experiência colonial no Brasil. A partir de clivagens étnicas e de gênero, a análise do romance oitocentista se articula a outras vozes femininas que, já no século XX, se notabilizaram através de gestos de resistência e de insubordinação, ecoando, simultaneamente, o projeto de Maria Firmina dos Reis. / [en] The dissertation focuses on the novel Úrsula (1859), by the writer Maria Firmina dos Reis, based on some interventions by Lélia Gonzalez and Djamila Ribeiro. The proposal is to examine different intellectual actions that, articulated, proposed to give centrality to the voice of black women. It is a propositional dialogue between intellectuals who have committed themselves to the reflection about their own conditions of insertion in a society strongly marked by the permanence constitutive of traces of the colonial experience in Brazil. Based on ethnic and gender cleavages, the analysis of the nineteenth-century novel articulates with other feminine voices that, in the twentieth century, became remarkable through gestures of resistance and insubordination, simultaneously echoing the project of Maria Firmina dos Reis.

Officiellement, l’Entente entre le Québec et la France en matière de reconnaissance mutuelle des qualifications professionnelles avait pour principal objectif de faciliter la mobilité de la main-d’œuvre qualifiée entre le Québec et la France. Nous avons essayé d’en apprécier l’impact pour une profession particulière : médecin spécialiste en médecine de famille. Nous constatons que l’Entente, étant donné l’objectif de facilitation de la mobilité, a eu une portée somme toute limitée. Cette limitation tient surtout au fait que l’Entente soit subordonnée aux dispositions législatives, règlementaires et administratives internes à chacune des Parties, soit la France et le Québec. C’est donc dire que les principales limites se situent non pas au niveau des relations internationales mais au niveau national.