Made available in DSpace on 2016-05-17T16:51:33Z (GMT). No. of bitstreams: 0 Previous issue date: 2015-09-11. Added 1 bitstream(s) on 2016-05-17T16:55:15Z : No. of bitstreams: 1 000864274.pdf: 16518968 bytes, checksum: 8c17793d4b4a225ab5a617224996d0f9 (MD5) / A área adotada para realização do estudo é o Parque Estadual do Juquery, localizado no município de Franco da Rocha, na Região Metropolitana de São Paulo, em uma região com histórico de inundação, deslizamento, e principalmente, processos erosivos. Em 2011, o município de Franco da Rocha ficou isolado devido à inundação do Rio Juqueri (limite norte da área objeto de pesquisa) e aos deslizamentos que bloquearam os acessos ao município. O estudo tem como objetivo realizar o mapeamento geológico-geotécnico, em escala 1:20.000, associado a caracterização das unidades identificadas, bem como, a avaliação das unidades em relação à suscetibilidade à processos erosivos e processos de escorregamentos. Desta forma, a pesquisa visa fornecer subsídio para o desenvolvimento de instrumentos de gestão ambiental, uma vez que o plano de manejo está em fase de contratação e a caracterização do meio físico é fundamental para sua elaboração de forma adequada. A longo prazo, se espera a redução dos impactos associados à processos geológicos, e consequentemente, a redução dos esforços e recursos gastos pelo poder público para atender a situações emergenciais. O método para caracterização geológico-geotécnica se baseia na técnica de análise fisiográfica integrada, que é sustentada por pesquisa bibliográfica, observação e interpretação de imagens aerofotogramétricas (fotoanálise), correlação de produtos de modelo numérico de terreno, e trabalho de campo. Com a finalidade de analisar e comparar o uso e ocupação do solo nos anos de 1977 e 2010/2011, foi realizada a compartimentação da área do parque em 5 unidades de interesse, utilizando técnicas de fotointerpretação e classificação manual. Para a avaliação de suscetibilidade das unidades foi adotado o método de análise gráfica, que é fundamentado na análise combinatória das variáveis de interesse. O mapeamento realizado subdividiu... / The chosen area for this research is the Juquery State Park, located at Franco da Rocha municipality in São Paulo Metropolitan Region, in a region with historical flood, slip, and mainly erosive process. In 2011, the Franco da Rocha city was isolated due to flooding of Juqueri River (northern limit of the research subject area) and landslides blocked the city access. The study proposes do a geological and geotechnical mapping in scale 1: 20.000, associated with characterization of the identified units, as well as the evaluation of units in relation to susceptibility to erosion and landslides processes. Thus, the survey aims to provide subsidies for development of environmental management tools, once the management plan is in contracting stage, the characterization of physical environment is important for their development appropriately. In the long term, it is expected reduce impacts of geological processes, and consequently the reduction of efforts and resources spent by the government to answer emergencies. The method for geological and geotechnical characterization is based on the technique of integrated physiographic analysis, which is supported by literature, observation and interpretation of aerophotogrametric images (photoanalysis), correlation of numerical model products of land, land field work. In order to analyze and compare the use and occupation of land in 1977 and 2010/2011, the partitioning of the park area was held on 5 units of interest, using techniques photo interpretation and manual classification. To evaluate the susceptibility of units was adopted graphical analysis method, which is based on a combinatorial analysis of interest variables. The mapping subdivided the area in six geological and geotechnical units. Consolidation, characterization and distribution of the units are presented in the geological and geotechnical map, which contains summary table with characteristics of mapped drives, and the chips that...

Par le biais de l'étude des perceptions et de l'analyse du discours, cette thèse se propose de cartographier l'imaginaire lié à l'Allemagne et aux Allemands chez les anciens déportés en France entre 1945 et 1975. Elle entend démontrer que ce ne sont pas l'expérience concentrationnaire et ses séquelles, mais les appartenances de ces survivants à différents groupes sociaux ainsi que les valeurs et orientations de ceux-ci qui ont déterminé leurs représentations des voisins d' outre-Rhin. Ainsi, cette expérience particulière n'aura pas généré chez les rescapés des camps de concentration de représentations inédites de l'Allemagne et des Allemands, ni du nazisme et des nazis. Néanmoins, les transformations sociales et politiques en France et en Allemagne au cours des deux décennies d'après-guerre ainsi que l' évolution des relations entre ces deux nations ont contribué à la création de plusieurs schémas qui leur sont propres. Il s'agit d' un modèle d' interprétation distinguant Allemands et nazis ainsi que de deux topoi mettant en lien la mémoire des crimes nazis et l'attitude vis-à-vis des Allemands. Ainsi cette thèse permet de réfléchir non seulement à l'impact des discours circulant au sein d'un groupe social et de la société, mais aussi au contexte de la création, de la modification et de la disparition d'images d'autrui. En outre, ces interrogation éclaircissent les liens entre l' expérience du passé, la perception du présent et les attentes pour l' avenir. Enfin, ce travail se propose de montrer que l' analyse de perceptions et représentations ne doit pas être une fin en soi, mais qu'elle est indissociable de l' étude des groupes et des individus qui les portent et les expriment. / Using approaches from perception research and discourse analysis, this thesis intends to draw a map of the imaginative world linked to Germany and the Germans among former concentration camp prisoners in France between 1945 and 1975. It seeks to show that it was not the concentration camp experience and its after-effects, but the affiliations of those survivors with different social groups and the values and orientations of the latter which determined their representations of the eastern neighbours. Hence, this particular experie nce neither generated unprecedented visions of Germany and the Germans, nor of Nazism or the Nazis. Nevertheless, social and political transformations in France and in Germany during the two post-war decades as well as the evolution of the relations between these two nations have contributed to the creation of several patterns of thought among them. Those were, on the one hand, an interpretive mode ) distinguishing between Germans and Nazis and, on the other hand, two topoi linking the memory of Nazi crimes and the attitude towards the Germans.Therefore, this thesis will consider not only the impact of discourses circulating within a social group and in society at large, but also the context of the creation, modification and disappearance of representations of others. Furthermore, these inquiries elucidate the links between the experience of the past, the perception of the present and expectations for the future.Finally, this study intends to show that the analysis of perceptions and representations should not be an end in itself, but that it is inseparable from the study of individuals and groups who carry and express them.

Inscrite dans une démarche constructiviste, cette recherche socio-historique porte sur la genèse des projets de l'Union, aux confins des communes de Roubaix, Tourcoing et Wattrelos et de l'Internationale Bauaustellung (IBA) Hamburg, sur l'île de Wilhelmsburg. Pour ce faire, elle recourt à des matériaux ethnographiques (observation de réunions, entretiens approfondis) et aux archives des différentes instances publiques engagées dans les projets étudiés de 1990 à 2014. Cette étude porte d'une part sur les réseaux de réformateurs contribuant à la construction des catégories de «  quartier défavorisé  » (benachteiligter Stadtteil) et d'«  attractivité métropolitaine  » (internationale Ausstrahlung). Prenant en compte le contexte économique des agglomérations de Lille et Hambourg et les circulations transnationales et infranationales qui ont contribué à nourrir ce processus de catégorisation, ce travail met au jour que la spatialisation des problèmes sociaux et son articulation à la catégorie d'«  attractivité métropolitaine  », participent d'une même dynamique d'occultation progressive de la question sociale. Cette démonstration illustre d'autre part les mécanismes de production du consensus mis en place une fois ces alternatives politiques écartées. En refaçonnant le concept de «  mythe d'action publique  », ce travail dégage quatre systèmes de justifications de l'étude en situation de l'instrumentation de l'IBA et de l'Union et des arènes de négociations qu'ils instaurent  : attractivité, excellence, bonne gouvernance et justice spatiale. Ils constituent un outil d'analyse privilégié pour l'étude des contradictions sous-jacentes à ces deux grands projets de renouvellement urbain. / Taking a constructivist approach, this study focuses on the genesis of the Union-project between the municipalities of Roubaix, Tourcoing and Wattrelos, and of the « international building exhibition IBA Hamburg » (internationale Bauaustellung) on the Elbe island of Wilhelmsburg. The construction of «public problems» and the framing of “deprived neighborhood” (quartiers dévaforisés / benachteiligte Stadtteile) as categories of public action and the changes of the political treatment of these sociospatial problems are at the center of this socio-historical research. This sociological analysis of political processes relies on qualitative data-gathering (ethnographic observations of workinggroups, semi-structured and partly-standardized interviews) and on archives analysis of several institutions that took part in each urban development process between 1990 and 2014.Considering the most important political economical evolutions of the last decades, this PhD thesis analyses the commitment of reformer networks : experts, academics and senior civil servants that actually contributed to the identification and framing of the problem of “deprived neighborhoods” and then to its articulation as a question of “international attractiveness”. This study also deals with the mechanisms of consensus production that are instituted after the framing of a first space of possibilities. Based on the concept of “myth of public action”, this part of the thesis underlines the justification systems (Attractiveness, excellence, good governance and spatial justice), which contribute to legitimate the different measures of both projects.

Esta pesquisa teve objetivo investigar o processo de criação e a trajetória do Conservatório de Música Joaquim Franco (CMJF), em Manaus/AM. Esta instituição foi criada pelo Governo do Estado do Amazonas, no ano de 1965, por iniciativa de um pequeno núcleo de pessoas. Foi transferida para a Universidade Federal do Amazonas (UFAM), em 1968, e transformada, em 1987, em Setor de Artes. Atualmente, configura-se como Centro de Artes Hahnemann Bacelar da UFAM. Para o desenvolvimento deste estudo, trabalhei com a metodologia de história oral, em que participaram das entrevistas nove ex-professores e cinco ex-alunos do CMJF. Utilizei também fontes escritas encontradas em acervos públicos e particulares. O CMJF foi visto no presente trabalho como uma instituição educativa, a partir dos trabalhos de Garay (1998), Nóvoa (1995) e Magalhães (1999a, 1999b). Manteve-se, ao longo de sua história, como uma instituição que abraçou, ao mesmo tempo, diferentes concepções e práticas pedagógicas, principalmente advindas das experiências e da formação musical de seus professores, mesmo estando atrelado ao modelo conservatorial, e tendo, inicialmente, adotado o programa da Escola Nacional de Música do Rio de Janeiro. Sua permanência como instituição de ensino de música até aos dias de hoje, conforme os dados levantados na pesquisa, se deu pelas ideias e ações de seus dirigentes e professores no esforço de tentar, através de diferentes estratégias administrativas e pela aceitação de diferentes abordagens pedagógico-musicais, cumprir os objetivos pelos quais foi criado, especialmente, implementar um curso superior em música. / This research aimed to investigate the process of foundation and development of the Music Conservatory Joaquim Franco (CMJF), in Manaus, north of Brazil. This institution was established by the State Government of the Amazon, in 1965, by a small nucleus of people. It was transferred to the Federal University of Amazon (UFAM) in 1968 and transformed, in 1987, in the Sector of Arts of this University. Currently, it is configured as Arts Center Hahnemann Bacelar of UFAM. To carry out this study I worked with the methodology of oral history, interviewing nine exteachers and five ex-students of the CMJF. I also used written sources, which were found in public and private collections. The CMJF was seen in the present work as an educational institution, as conceived by Garay (1988), Nóvoa (1995) and Magalhães (1999a, 1999b). The CMJF remained, throughout its life course, as an institution that embraced, at the same time, different pedagogical conceptions and practices, that coming especially from the experience and musical training of its teachers, even being tied to the conservatory model, and having adopted initially the music program of the National Music School of Rio de Janeiro. The CMJF survived as an institution of music teaching because of the ideas and actions of its managers and teachers. The flexibility of managers and teachers in adopting both different musical-pedagogical models and approaches and different management strategies helped the institution to achieve its main objectives, specially the implementation of a higher education music course.

Submitted by Marco Antônio de Ramos Chagas (mchagas@ufv.br) on 2016-08-17T18:50:29Z No. of bitstreams: 1 texto completo.pdf: 1536202 bytes, checksum: 1f00bce8b6830dfdf282f4e9980074ad (MD5) / Made available in DSpace on 2016-08-17T18:50:29Z (GMT). No. of bitstreams: 1 texto completo.pdf: 1536202 bytes, checksum: 1f00bce8b6830dfdf282f4e9980074ad (MD5) Previous issue date: 2016-04-11 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Qualquer leitor que se proponha analisar os textos do mais famoso dramaturgo inglês, certamente notará que William Shakespeare foi grande observador da história. É curioso perceber que sua obra ultrapassou séculos, e mantém-se fielmente ovacionada na contemporaneidade. Visto a notória universalidade de seus trabalhos, revisitados em diversos gêneros e áreas das artes, e ricos ainda de possibilidades de interpretação, podemos notar sua intertextualidade ao longo dos anos perpetuando-se em significativa ampliação da arte do Bardo Inglês. Neste sentido, este estudo propõe uma análise comparativa, levantando pressupostos à luz da introdução dos estudos comparados da “intertextualidade” de Julia Kristeva (1974) e das Teorias da Adaptação de Linda Hutcheon (2011) sobre a tragédia lírica mais adaptada dos últimos tempos: Romeu e Julieta, e sua releitura pelas lentes do diretor italiano Franco Zeffirelli, de 1968, relacionando as teorias do cinema de Robert Stam (2003).A proposta deste trabalho é, portanto, relacionar as produções pontuando o olhar interrompido na obra renascentista e a sua retomada através dos recursos midiáticos modernos. / Any reader, who intends to analyze the productions of the most famous British play writer in the world, will certainly notice that William Shakespeare was a big history’s observer. It’s curious to perceive that his work go forward the centuries, and keep faithfully acclaimed nowadays. It’s remarkable the universality of his works, revisited sort and areas of the arts, still rich in interpretation possibilities, we can see the intertextuality along the years, profusely growing the art of the English Bard. In this sense, this study intend to make a comparative analyze, considering the introduction of the comparative studies of intertextuality from Julia Kristeva (1974) and the Adaptation Theories from Linda Hutcheon (2011) about the lyric – tragedymore adapted from the last times: Romeo and Juliet, and the rereading through the Italian director Zeffirelli’s lenses, in 1968, making a relation in the Cinema Theories from Robert Stam (2003). The purpose of this research is, therefore, to relate the productions, emphasizing the Interrupted View in the Renaissance work and its recapture by the media resources.

A tese estuda os processos de construção e reconstrução de Rodrigo Melo Franco de Andrade como homem-monumento ao longo do tempo. O personagem foi o primeiro diretor do Instituto do Patrimônio Histórico e Artístico Nacional (IPHAN), instituição federal criada em 1936 para selecionar e proteger o patrimônio cultural brasileiro. Rodrigo permaneceu no cargo durante 30 anos e sua gestão tornou-se conhecida como a “fase heroica” da instituição. O trabalho divide-se em quatro capítulos e busca analisar as diferentes formações discursivas relacionadas ao diretor, investigando, primeiramente, sua escolha para a direção da instituição, sua progressiva identificação com a mesma e a formação de uma rede de colaboradores e funcionários. Em seguida, examina diferentes homenagens prestadas a Rodrigo e ao IPHAN nas comemorações de 20, 25 e 30 anos de existência da instituição, além da concessão de quatro títulos Honoris Causa e Suplementos Literários dedicados a celebrar os 70 anos do primeiro diretor do órgão federal. No terceiro capítulo, partindo de 1969, ano de seu falecimento, a tese problematiza uma série de publicações a ele dedicadas, em especial “A lição de Rodrigo”, de 1969, e os livros “Rodrigo e seus tempos” e “Rodrigo e o SPHAN”, de 1986 e 1987, respectivamente. As três obras são compreendidas como documentos-monumentos que fundamentaram a imagem do personagem a partir de uma perspectiva institucional. Finalmente, são investigados os usos das imagens de Rodrigo Melo Franco de Andrade em dissertações e teses relacionadas ao campo do patrimônio cultural brasileiro entre 1989 e 2012. / The thesis studies the processes of construction and reconstruction of Rodrigo Melo Franco de Andrade as monument-man throughout time. The character was the first director of the Instituto do Patrimônio Histórico e Artístico Nacional/National Institute of Historic and Artistic Heritage (IPHAN), federal institution created in 1936 to select and protect the Brazilian cultural heritage. Rodrigo remained director during 30 years and his management has been known as the institution’s “heroic phase”. The study is divided in four chapters and aims to analyze the different discursive formations related to the director, investigating, firstly, his choice for the institution direction, his progressive identification with it and the formation of a network of collaborators and staff. Then the thesis examines different tributes paid to Rodrigo and IPHAN during the celebrations of the institution's 20th, 25th and 30th anniversary, and the awarding of four titles of Honorary Degree and Literary Supplements dedicated to celebrating the 70th anniversary of the first director of the federal agency.Following, starting from 1969, year of his death, the thesis problematizes a series of publications dedicated to the first director, specially “A lição de Rodrigo”, de 1969, and the books “Rodrigo e seus tempos” e “Rodrigo e o SPHAN”, de 1986 e 1987, respectively. The three publications are understood as documents-monuments that fundament the director’s images from an institutional perspective. Finally, the thesis investigates the uses of Rodrigo Melo Franco de Andrade’s images in dissertations and theses related to the field of Brazilian cultural heritage between 1989 and 2012.

Ma thèse est une étude comparée des oeuvres de Joseph Boyden et de Jean Marc Dalpé, et plus spécifiquement de leur imaginaire spatial. Mon analyse se veut essentiellement géocritique et géosymbolique. Elle s’inspire des travaux de Bertrand Westphal, qui s’intéressent à l’insertion et la transformation littéraire des espaces humains. L’ancrage géographique nordique des textes de ces deux auteurs, et plus spécifiquement dans le Nord ontarien où la nature est omniprésente, me semble particulièrement porteur de sens. Il s’agit d’ailleurs de l’élément principal permettant de rassembler et de comparer les oeuvres de Boyden et de Dalpé. Mon étude se centre ainsi sur la géocritique, mais se veut surtout une écocritique, puisque cette approche me permet de cerner davantage les thèmes et les symboles issus spécifiquement de l’environnement naturel. Je procède donc à une exploration du wilderness littéraire dans les oeuvres, qu’il soit forestier, minier, aquatique ou vivant. Grâce aux travaux de William Cronon, je note que ce concept est remis en question dans les oeuvres du corpus, car il ne s’agit pas ici d’un wilderness en tant que nature vierge. Les personnages vivent, au contraire, à proximité de la forêt, entretiennent un contact quotidien avec la nature. Une véritable relation entre les personnages et les éléments de leur environnement se met donc en place. Toutefois, cette relation n’est pas toujours idyllique, car la nature sauvage demeure tout de même dangereuse. Les auteurs puisent parfois dans un symbolisme plutôt universel ou connu, celui des bêtes sauvages dangereuses et des monstres. La forêt boréale est menaçante, et évoque les ouvrages de Robert Progue Harrison ou encore de Margaret Atwood. L’hiver et le froid soutiennent le thème de la survivance. Ma thèse montre aussi que le sentiment d’emprisonnement suscité par la forêt est une symbolique récurrente. Il existe un lien de parenté entre l’univers de la nature sauvage et l’imaginaire de la biorégion du nord ontarien. Cet imaginaire est marqué par des symboles qui cadrent avec l’expérience que font les personnages du wilderness, mais il est aussi teinté par la mythologie autochtone et renvoie ainsi à la présence importante des peuples des Premières Nations dans la région. En somme, mon analyse du symbolisme écologique s’intéresse à la présence d’un wilderness nord ontarien polysémique et multiforme dans les oeuvres à l’étude. En outre, par sa nature comparative, ma thèse montre que malgré les différences de langue, et les différences culturelles qui en découlent irrémédiablement, il y aurait un imaginaire du wilderness commun à ces auteurs canadiens bien connus, imaginaire cependant directement tributaire de la géographie ontarienne.

Après les évolutions qu'a connues le théâtre jeune public dans les années 1920-1936, l'instauration de la dictature franquiste a signifié la mise sous contrôle des activités culturelles. Devenu l'instrument d'une pédagogie au service du régime, le théâtre jeune public a fait l'objet, dans l'Espagne des années 1960, de l'attention toute particulière du Ministère de l'Information et du Tourisme, alors en charge de la culture, et de la Sección Femenina (troupe Los Títeres, 1959 ; Asociación Española para el Teatro Infantil y Juvenil, 1966). Dans le cadre délimité par ces politiques et pratiques culturelles, ce travail vise à mettre en évidence le rôle joué par certains dramaturges (issus du réalisme social, du Teatro Independiente et du Nuevo Teatro) dans la promotion d'un nouveau théâtre jeune public. Sans prétendre à une entreprise commune, ils se sont tous tournés sporadiquement et au même moment vers le jeune public et ont témoigné d’un engagement indissociable de la prise de risque inhérente à toute transgression esthétique et politique, mais aussi à la volonté de faire émerger une posture auctoriale nouvelle, marquée par un effort de fusionner conscientisation du jeune spectateur et dimension ludique. Cette thèse, qui s’inscrit dans une perspective interdisciplinaire (études théâtrales, études littéraires, sociologie du spectacle, histoire culturelle, anthropologie…), associe l’analyse littéraire à l’examen d’archives historicoculturelles afin de rendre compte des enjeux esthétiques, éthiques et politiques propres au corpus dans son contexte de création. / After the progress seen in spanish children’s theatre between 1920 and 1936, the arrival of the Franco dictatorship resulted in cultural activity being taken into state control. Children’s theatre became an educational tool to serve the interests of the regime, and during the 1960’s was the object of particular attention from the Ministry of Tourism and Information, which at the time was responsible of cultural affairs, and from the Sección Femenina (troupe Los Títeres , 1959 ; Asociación Española para el Teatro Infantil y Juvenil, 1966). Within the general context set by these political policies and cultural practices, this work aims to demonstrate the role played by certain dramatists, whose origins were in social realism, the Teatro Independiente and the Nuevo Teatro, in promoting a new kind of theatre for young audience. Although they did not work together in any organised way, at the similar time they all sporadically turned their attention towards a young audience. They gave witness to the element of risk inherent in any attempt to transgress aesthetic and cultural norms, and also to desire to create a new kind of theatre writing which aimed to combine awareness raising with an element of play. This thesis is written from an interdisciplinary perspective (theatre studies, literature, sociology of entertainment, cultural history, anthropology…). It brings together literary analysis and the study of historic and cultural records in order to give an account of the aesthetic, ethical an practical issues which influenced the dramatic work.

Bien que les droits des pays européens continentaux ne prévoient pas expressément les dommages-intérêts punitifs, les tribunaux de ces pays peuvent être confrontés à cet élément juridique lorsqu'il s'agit de la reconnaissance ou l'exécution d'une décision étrangère, ou lorsque la notification d'un acte judiciaire est demandée. Alors que le droit civil de la France et de l'Allemagne soit le principe de la réparation intégrale ; la jurisprudence des cours suprêmes des deux pays se distingue quant à la reconnaissance de l'exécution des jugements étrangers allouant des dommages-intérêts punitifs. La thèse a pour objectif d'expliquer les différences dans l'interprétation de l'ordre public international dans les deux pays. Elle vise à fournir des solutions aux questions posées, en analysant les différences entre les deux ordres juridiques. La thèse plaide pour une convergence du droit français et du droit allemand : il est souhaitable que la Cour de justice allemande opère un revirement de sa jurisprudence en adoptant l'approche de la Cour de cassation selon laquelle une condamnation à l'étranger au paiement de dommages-intérêts punitifs n'est pas en soi contraire à l’ordre public, mais lorsque la somme allouée est excessive. Les tribunaux français, en revanche, pourraient s'inspirer des solutions adoptées par les juges et le législateur d’outre-Rhin pour trancher les questions que la Cour de cassation n'a pas encore traitée. Ils devraient permettre l'entraide juridictionnelle concernant des procédures étrangères où des dommages punitifs sont réclamés, mais s'abstenir d'allouer des dommages punitifs dans l'application du droit étranger selon les règles du conflit de lois. / Even though the law of continental European countries does not explicitly contain punitive damages, the tribunals of these states can be confronted with this legal instrument when dealing with the recognition or enforcement of a foreign decision awarding punitive damages or when the notification of a foreign legal act is requested. Despite the fact that the law of France and Germany follows the principle of full compensation, the case law of the supreme courts of both countries differs regarding the recognition and enforcement of foreign judgments awarding punitive damages The thesis aims at explaining the different interpretation of the international public policy exception in both countries .The thesis argues for a convergence in French and German law regarding foreign punitive damages: it is recommended that the German Supreme Court changes its case law by adopting the same approach as the French Cour de cassation did, according to which a foreign decision awarding punitive damages is not as such contrary to public policy, but that enforcement must be denied if the sum awarded is disproportionate. The French courts, on the other hand, could be inspired by the solutions applied by the judges and the legislator in Germany in order to deal with those issues on which the Cour de cassation has not had to decide yet : they should provide judicial assistance regarding foreign proceedings in which punitive damages are claimed, but refrain from awarding punitive damages when applying foreign law according to rules of conflict of laws .

Esta pesquisa teve objetivo investigar o processo de criação e a trajetória do Conservatório de Música Joaquim Franco (CMJF), em Manaus/AM. Esta instituição foi criada pelo Governo do Estado do Amazonas, no ano de 1965, por iniciativa de um pequeno núcleo de pessoas. Foi transferida para a Universidade Federal do Amazonas (UFAM), em 1968, e transformada, em 1987, em Setor de Artes. Atualmente, configura-se como Centro de Artes Hahnemann Bacelar da UFAM. Para o desenvolvimento deste estudo, trabalhei com a metodologia de história oral, em que participaram das entrevistas nove ex-professores e cinco ex-alunos do CMJF. Utilizei também fontes escritas encontradas em acervos públicos e particulares. O CMJF foi visto no presente trabalho como uma instituição educativa, a partir dos trabalhos de Garay (1998), Nóvoa (1995) e Magalhães (1999a, 1999b). Manteve-se, ao longo de sua história, como uma instituição que abraçou, ao mesmo tempo, diferentes concepções e práticas pedagógicas, principalmente advindas das experiências e da formação musical de seus professores, mesmo estando atrelado ao modelo conservatorial, e tendo, inicialmente, adotado o programa da Escola Nacional de Música do Rio de Janeiro. Sua permanência como instituição de ensino de música até aos dias de hoje, conforme os dados levantados na pesquisa, se deu pelas ideias e ações de seus dirigentes e professores no esforço de tentar, através de diferentes estratégias administrativas e pela aceitação de diferentes abordagens pedagógico-musicais, cumprir os objetivos pelos quais foi criado, especialmente, implementar um curso superior em música. / This research aimed to investigate the process of foundation and development of the Music Conservatory Joaquim Franco (CMJF), in Manaus, north of Brazil. This institution was established by the State Government of the Amazon, in 1965, by a small nucleus of people. It was transferred to the Federal University of Amazon (UFAM) in 1968 and transformed, in 1987, in the Sector of Arts of this University. Currently, it is configured as Arts Center Hahnemann Bacelar of UFAM. To carry out this study I worked with the methodology of oral history, interviewing nine exteachers and five ex-students of the CMJF. I also used written sources, which were found in public and private collections. The CMJF was seen in the present work as an educational institution, as conceived by Garay (1988), Nóvoa (1995) and Magalhães (1999a, 1999b). The CMJF remained, throughout its life course, as an institution that embraced, at the same time, different pedagogical conceptions and practices, that coming especially from the experience and musical training of its teachers, even being tied to the conservatory model, and having adopted initially the music program of the National Music School of Rio de Janeiro. The CMJF survived as an institution of music teaching because of the ideas and actions of its managers and teachers. The flexibility of managers and teachers in adopting both different musical-pedagogical models and approaches and different management strategies helped the institution to achieve its main objectives, specially the implementation of a higher education music course.