Comment les acteurs qui évoluent dans le champ commun entre droit et psychiatrie choisissent-ils d’interner ou de soigner un patient contre son gré? Appliquent-ils simplement les dispositions légales supposées régir les interventions du champ, ou bien se réfèrent-ils à d’autres formes de normativité? Plus globalement, comment ces acteurs s’approprient-ils les normes et en quoi le choix normatif est-il lié au rôle des individus dans le lien social? Voici, très brièvement exposées, les questions auxquelles nous nous intéresserons dans cette thèse. Cette thèse vise deux objectifs distincts, mais complémentaires. Le premier, d’ordre théorique, s’attache à la compréhension sociologique du phénomène de pluralisme normatif tel qu’il se déploie dans le lien social, et plus particulièrement celle du rôle des individus dans la dynamique normative. Le second vise à mettre en perspective pluralisme normatif et droits de la personne dans le contexte particulier de la psychiatrie. À ce titre, nous avons choisi d’étudier le traitement juridique, clinique et social de l’internement et des soins psychiatrique. En effet, cet objet permet de mettre en évidence diverses tensions normatives latentes et constitue un support privilégié à la théorisation des rapports normatifs. Nous étudions d’abord, d’un point de vue épistémologique, les paradigmes juridique et sociologique de la régulation sociale et de l’internormativité. Nous y explorons différentes conceptions du droit et de la normativité, et, par extension, la mise en forme des rapports humains et celle de la société. Dans un premier temps, nous concluons de cette analyse que les différentes formes de normativités s’agencent de manière complexe et changeante, sans qu’aucune hiérarchie n’apparaisse toujours clairement. Dans un second temps, on y constate que les individus influencent l’activation de la normativité, qu’elle soit juridique ou non. La pluralité des normes et du sens qu’elles véhiculent, confronte naturellement l’individu au choix entre plusieurs standards. Pour mieux comprendre la place effective de l’individu dans la dynamique normative, en tant que détenteur d’une certaine marge de liberté, nous optons pour un point de vue subjectiviste et constructiviste. Dans cette perspective, l’interprétation des normes et le sens qu’elles portent sont liés à la conception que l’individu se fait du sens de son action et de son propre rôle dans le rapport interpersonnel et social. C’est dans cette perspective que nous proposons le Modèle de pluralisme normatif appliqué, largement inspiré des approches sociologiques étudiées, et plus précisément du concept de « droit vivant ». À travers ce modèle, le pluralisme normatif est conceptualisé comme un ensemble de normes issues de diverses sources, dont les substances peuvent s’opposer, et qui s’imposent avec une force variable. En outre, la qualification du discours psychiatrique en tant que norme comportementale de la normalité exemplifie des clivages entre différentes perspectives sur le lien social, et notamment sur les patients psychiatriques. Dans le cadre du modèle proposé, chaque norme est jumelée à une rationalité de nature cognitive ou axiologique, selon la nature du rapport à l’autre. L’hypothèse avancée est à l’effet que la marge de liberté de l’acteur est corollaire à la rigidité du cadre juridique: plus le droit est précis moins l’individu aura recours à d’autres formes de normativité. Nous avons retenu, aux fins de vérification de notre hypothèse, deux situations distinctes au regard de la structure du cadre juridique, mais présentant des enjeux éthiques et juridiques semblables: l’hospitalisation et les soins psychiatriques imposés contre la volonté des patients, soit la garde en établissement et l’autorisation judiciaire de soins (art. 30 et 16 C.c.Q.). La recherche empirique menée auprès de juges et de psychiatres a pour but de cartographier le rapport complexe entre l’acteur étudié (le sens qu’il attribue à son action, la conception qu’il a de son rôle dans le lien social) et les normes. Les données révèlent que deux types de normes sont en réalité complémentaires: il s’agit des propositions normatives et factuelles. Les premières sont associées au rôle dans lequel l’individu se projette alors que les secondes servent à la mise en œuvre pratique de ce rôle. De même, la prégnance d’un discours sur la normalité démontre la survivance d’une perspective paternaliste et morale issue de la psychiatrie, qui est difficilement conciliable avec une approche fondée sur le respect des droits de la personne. Finalement, nous concluons que le choix entre différents types de normes est influencé par la conception que chacun se fait de la société dans laquelle il vit et plus précisément de la place qu’il y tient. La recherche empirique nous autorise à poser des questions sous-jacentes à la véritable nature de l’intervention judiciaire et psychiatrique en matière de garde en établissement et d’autorisation de soins, et aux fondements paradigmatiques et ontologiques du droit en ces matières. / How do those working in the intersection between law and psychiatry make decisions to confine or treat patients against their will? Do they simply apply the legal provisions that are supposed to regulate such actions, or do they refer to other forms of normativity? More globally, how do such stakeholders adopt norms and how is the choice of norms related to individuals’ roles in the social fabric? These are, very briefly, the issues explored in this thesis. This thesis has two distinct, but complementary, objectives. The first is theoretical, and concerns the sociological understanding of the phenomenon of normative pluralism as it operates in the social fabric and more specifically of individuals’ roles in normative dynamics. The second objective is to place normative pluralism and human rights into perspective in the special context of psychiatry. For this, we have chosen to study legal, clinical and social approaches to confining patients and to psychiatric care. This brings to light various latent normative tensions, which proves useful when drawing up theories about normative relations. We begin by doing an epistemological analysis of the legal and sociological paradigms of social regulation and internormativity. In this section, we explore different conceptions of law and normativity and, by extension, the shaping of human and social relations. Our first conclusion from this analysis is that the different forms of normativity interweave in complex, changing ways and that no clear hierarchy always emerges. Our second conclusion is that individuals influence the application of norms, whether they are legal or not. The plurality of norms and of the meanings that they convey naturally confronts individuals with choices among different standards. In order to gain a better understanding of individuals’ real roles in normative dynamics, since individuals have a certain degree of freedom, we have taken a subjectivist, constructivist point of view. From this perspective, interpretations of norms and the meanings they convey are related to individuals’ conceptions of the meaning of their actions and roles in interpersonal and social relations. It is from this perspective that we propose the applied normative pluralism model, which is inspired largely by the sociological approaches we have studied and more specifically by the concept of “living law.” Using this model, we conceptualize normative pluralism as a set of norms flowing from various sources that may be in substantial contradiction and have different weights. Indeed, describing psychiatric discourse as a behavioural norm of normality is a perfect example of the cleavage between different perspectives on social ties, especially with respect to psychiatric patients. In the proposed model, each norm is twinned with cognitive or axiological rationality, depending on the nature of the relationship to the Other. Our hypothesis is that the actor’s degree of freedom correlates with the rigidity of the legal framework: the more specific the law is, the less the individual will have recourse to other forms of normativity. In order to verify our hypothesis, we have used two distinct situations that are regulated by law in different ways but that have similar ethical and legal stakes: non-consensual hospitalization and psychiatric care, in other words, confinement to an institution and court authorization of care (Québec Civil Code, articles 30 and 16). Our empirical research on judges and psychiatrists has been designed to map the complex relationships between those studied (the meanings they give to their actions, their conceptions of their roles in the social fabric) and norms. The findings show that two types of norms are in fact complementary: normative and factual propositions. The former are associated with the role that the individual thinks he or she has, while the latter are used in practical implementation of that role. Similarly, the weight of a discourse on normality demonstrates the survival of a paternalist moral perspective with its roots in psychiatry. This is difficult to reconcile with an approach based on human rights. Finally, we conclude that the choice between different types of norms is influenced by the conception that each individual has of the society in which he or she lives, and more specifically of his or her role in that society. Our empirical research raises questions about what is underlying the real nature of legal and psychiatric intervention with respect to confining patients to institutions and authorizing care, and about the pragmatic and ontological foundations of law in these areas. / Thèse de doctorat réalisée en cotutelle avec l'Institut du social et du politique de l'École Normale supérieure de Cachan.

Contexte. De plus en plus d’enfants fréquentent les milieux de garde et y consomment leur repas. Les éducatrices présentes constituent des modèles dont les attitudes et les pratiques alimentaires peuvent contribuer au développement des habitudes alimentaires des enfants. Toutefois, peu d’études ont été menées sur le sujet. Objectifs. Décrire les attitudes et les stratégies d’éducatrices en milieux de garde au Québec à l’égard de l’alimentation des enfants et dégager les styles alimentaires dominants. Méthode. La collecte de données a eu lieu par sondage sur le site Web www.nospetitsmangeurs.org. À partir de 86 énoncés, la recherche a documenté les styles et pratiques alimentaires des éducatrices au moyen de huit mises en situation : mets principal non apprécié par l’éducatrice, aliment particulier non apprécié par un enfant, nouveau mets non désiré par les enfants, enfant difficile ne voulant pas manger, enfant qui n’a pas faim, fillette avec embonpoint, fillette de petit poids et enfant n’ayant pas terminé son repas. Analyse statistique. Des statistiques descriptives, des échelles de fiabilité et des corrélations ont été générées. Des tests de t pour échantillons appariés ont également été utilisés pour évaluer le degré relatif des styles alimentaires. Résultats. Au total, 371 répondants ont rempli l’ensemble du questionnaire. Globalement, les éducatrices étudiées utilisent le style alimentaire démocratique. Celles-ci mentionnent représenter des modèles pour les enfants. Elles encouragent aussi les enfants à manger et utilisent la division des responsabilités. Paradoxalement, la pratique alimentaire associée au style autoritaire la plus utilisée est la pression à manger, pratique en opposition avec le concept de division des responsabilités. Conclusion. Cette étude indique que les éducatrices démontrent des attitudes positives à l’égard de l’alimentation des enfants. Malgré certaines discordances à l’égard de stratégies utilisées, ces résultats sont encourageants, car le style alimentaire démocratique permet aux enfants de reconnaitre leurs signaux de faim et de satiété. / Context. More and more children go to daycare centres and have their meals in these settings. Caregivers are role models whose attitudes and feeding practices may contribute to the development of children's eating habits. However, few studies have been conducted on this subject. Objectives. To describe the attitudes and strategies of caregivers working in daycare settings with respect to children’s diets and identify dominant feeding styles. Methodology. Data collection was conducted by means of a survey on the www.nospetitsmangeurs.org website. A total of 86 statements were used to document the feeding styles and practices of caregivers as revealed through eight scenarios: a main dish not liked by the caregiver, a specific food not liked by a child, a new meal refused by children, a picky eater who does not want to eat, a child who is not hungry, an overweight little girl, a underweight girl and a child who has not finished his/her meal. Statistical analysis. Descriptive statistics, reliability scales and correlations were generated. T tests for paired samples were also used to assess the relative importance of feeding styles. Results. A total of 371 respondents completed the questionnaire. Overall, the caregivers use a democratic feeding style. They mentioned being role models for the children. They also encourage children to eat and they favor division of responsibilities. However, the most widely used feeding practice related to the authoritarian style is the pressure to eat, a practice contrary to the division of responsibilities concept. Conclusion. This study indicates that caregivers demonstrate positive attitudes towards child feeding. Despite some discrepancies with respect to strategies used, these results are encouraging since a democratic feeding style allows children to recognize their hunger and satiety cues.

Suite aux notifications de cas de comportements suicidaires associés aux antidépresseurs (ADs) chez les jeunes, une mise en garde réglementaire a été émise en mai 2004 au Canada, et deux guides de pratique clinique ont été publiés dans la littérature en novembre 2007. L'objectif de ce mémoire fut d'évaluer l’association entre ces interventions de communication et le suivi médical de la population pédiatrique traitée par ADs au Québec. Une étude de cohorte rétrospective (1998-2008) a été menée chez 4 576 enfants (10-14 ans) et 12 419 adolescents (15-19 ans) membres du régime public d’assurance médicaments du Québec, ayant débuté un traitement par AD. Le suivi médical dans les trois premiers mois de traitement a été mesuré par l’occurrence et la fréquence de visites médicales retrouvées dans les banques de données de la RAMQ. Les facteurs associés à un suivi conforme aux recommandations ont été évalués à partir de modèles de régression logistique multivariés. Seuls 20% des enfants ou adolescents ont eu au moins une visite de suivi à chaque mois, en conformité avec les recommandations. La probabilité de recevoir un suivi médical conforme était plus élevée lorsque le prescripteur initial était un psychiatre. L’occurrence et la fréquence des visites n’ont pas changé après la publication de la mise en garde ou des recommandations. De ce mémoire on conclut que d'autres interventions visant à optimiser le suivi médical devraient être envisagées. / Following reports of a potential association between antidepressants (ADs) and suicidal behaviour in youth, a regulatory warning was issued in Canada in May 2004, and clinical practice guidelines on recommended medical follow-up were published in the literature in November 2007. This Master's thesis aimed at assessing the association between these communication interventions and medical follow-up practices. A retrospective cohort study (1998-2008) was conducted among 4,576 children (10-14 years) and 12,419 adolescents (15-19 years) members of the Quebec public drug plan. Medical follow-up was ascertained through patterns of physician billing practices found in the RAMQ medical services databases. Study outcomes consisted of occurrence and frequency of visits in the first three months of AD treatment. Factors associated with follow-up consistent with recommendations were identified through multivariate logistic regression models. The main independent variable was exposure to each of the communication interventions. Covariates included: gender, class of AD, number of concomitant chronic diseases, psychiatric conditions, prescriber’s specialty, and potential exposure to each intervention. Only 20% of children or adolescents received at least one visit each month. The probability of receiving adequate follow-up was greater when treatment was initiated by a psychiatrist. Occurrence and frequency of visits did not change after the warning nor the publication of the recommendations. From this thesis, one may conclude that further interventions to optimize medical follow-up practices should be envisaged.

Wind repertoire, especially for flute, has received little focused attention in the musicological world especially when compared with other instruments. This gap in scholarship is further exacerbated when the scope of time is narrowed to the last quarter of the twentieth century. Although Minimalism and New Complexity are – at least superficially – highly divergent styles of composition, they both exhibit aspects of a response to modernism. An examination of emblematic examples from the repertoire for solo flute (or recorder), specifically focusing on: Louis Andriessen’s Ende (1981); James Dillon’s Sgothan (1984), Brian Ferneyhough’s Carceri d’Invenzione IIb (1984), Superscripto (1981), and Unity Capsule (1975); Philip Glass’s Arabesque in Memoriam (1988); Henryk Górecki’s Valentine Piece (1996); and Steve Reich’s Vermont Counterpoint (1982), allows for the similarities in both genre’s response to modernism to be highlighted. These works are situated historically and characteristics of both styles are highlighted with particular regard to Late or Post-Modernism. / Graduate

Thesis (M.A.)--Indiana University, 2008. / Title from screen (viewed on June 2, 2009). Department of English, Indiana University-Purdue University Indianapolis (IUPUI). Advisor(s): Karen Kovacik, Jane E. Schultz, Thomas F. Marvin. Includes vita. Includes bibliographical references (leaves 57-61).

A pesquisa aqui apresentada centra-se na movimentação cultural conhecida como Movimento Mangue ou Manguebeat, que tomou forma no Recife, na década de 1990. Mais especificamente, estudam-se as obras das duas bandas de maior repercussão dentro do movimento: Chico Science & Nação Zumbi e Nação Zumbi. Através de sua descrição e estudo, deseja-se verificar se é possível caracterizar o Manguebeat enquanto um movimento de vanguarda. Para isso, busca-se nos estudos de Guillermo de Torre, Peter Bürger, Gonzalo Aguilar, Antonio Candido, Ferreira Gullar, entre outros críticos, uma definição para o conceito de vanguarda. Depois, procura-se traçar de que modo os conceitos angariados norteariam as análises desta dissertação. A seguir, verifica-se a possível existência de duas vertentes dentro do Manguebeat: uma representada por Chico Science & Nação Zumbi e por Nação Zumbi e seu conceito de Mangue; e outra que agrupa os demais artistas participantes da movimentação. Ao fazer esta distinção, é possível compreender as diferenças entre o trabalho das duas primeiras bandas e o dos outros vários artistas que também se integraram ao movimento. Será visto que Chico Science & Nação Zumbi e Nação Zumbi concentram em suas canções um ideal vanguardista bastante relevante, especialmente no que concerne o afastamento do particular, conforme noção de Guillermo de Torre. Foi organizado, então, um corpus de canções dessas bandas, de modo a verificar quais características vanguardistas encontradas nos estudos acerca do tema estariam presentes em suas obras. Busca-se também mostrar alguns aspectos e trabalhos mais relevantes dentre aqueles que fazem parte do segundo conjunto de artistas, que também fizeram parte do movimento, mas compartilhando com as primeiras apenas a noção de liberdade criativa, e não todos os preceitos do conceito de Mangue. Acredita-se que foi possível determinar que tanto o trabalho de Chico Science & Nação Zumbi e Nação Zumbi, quanto o Manguebeat como um todo, podem ser considerados movimento de vanguarda, graças, entre outros aspectos, à ruptura que provocam em seu contexto cultural. / The research presented here is focused in the cultural movement known as Movimento Mangue or Manguebeat, which appeared in the Brazilian city of Recife in the 1990’s. More specifically, the works of the two most important in the movement bands is studied: Chico Science & Nação Zumbi and Nação Zumbi. Through its description and study, it is wished to verify if it is possible to characterize Manguebeat as an Avant-garde movement. In order to achieve that objective, we will analyze the studies of Guillermo de Torre, Peter Bürger, Gonzalo Aguilar, Antonio Candido, Ferreira Gullar, and other critics, searching for a definition to the concept of Avant-garde. Afterwards, we will trace in which ways the concepts raised will guide the analysis of the thesis. Hereafter, a possible existence of two sides inside Manguebeat will be verified: one represented by Chico Science & Nação Zumbi and Nação Zumbi and their concept of Mangue; and another one that groups the other artists that took part in the movement. By making this distinction, it will be possible to understand the differences between the work of the two first bands cited and that of the other artists that also joined the movement. It is observed observed that Chico Science & Nação Zumbi and Nação Zumbi concentrate in their songs an Avant-garde ideal quite relevant, especially in what concerns the rejection of what is particular, following the notion of Guillermo de Torre. A corpus will then be organized, formed by songs of these two bands, in order to verify which Avant-garde characteristics found in the studies of the theme would be present in their works. It is also our intention to show some aspects and more relevant works among those that are part of the second group of artists: those who took part in the movement, but only sharing with the first two the notion of creative freedom, and not the whole concept of Mangue. It is intended then to determine whether both the works of Chico Science & Nação Zumbi and Nação Zumbi and Manguebeat as a whole can be considered Avant-garde, thanks to, among other aspects, the break they bring to their cultural context.

Trata-se de uma leitura crítica do romance On the Road, do escritor norte-americano Jack Kerouac, cujas vida e obra representam a insatisfação social e a manifestação artística de uma geração de poetas e novelistas denominada, nas décadas de 50 e 60, The Beat Generation ou The Beatniks. Esta leitura consiste em uma investigação para estabelecer relações entre a tríade autor-narrador-protagonista na narrativa proposta. Como apoio teórico temos o olhar do filósofo alemão Walter Benjamin. O enfoque escolhido contempla as reflexões de Benjamin sobre autoria, experiência e modernidade; mas, sobretudo, privilegia a sua concepção do flâneur; uma vez que o objetivo do trabalho é mostrar o movimento e o papel exercido pelo mesmo, tanto no corpus literário como na vida do autor Beatnik. Para tanto, esta dissertação está dividida em três partes. A primeira apresenta um breve histórico da situação dos Estados Unidos no pós-guerra, a fim de contextualizar e discutir a criação do movimento Beat como vanguarda artística daquela época. A segunda parte introduz o pensamento de Walter Benjamin acerca do flâneur. Destaca, também, fatos e momentos relevantes de sua vida e obra. Apresenta, ainda, o ponto de vista de Sérgio Rouanet sobre a obra do filósofo. O terceiro momento analisa o romance On the Road em conexão com os movimentos do flâneur e no âmbito da tradição de Literatura de Viagem, dando relevância às questões de autoria. Deste modo, na conclusão, espera-se legitimar o papel do flâneur no espaço narrativo e, também, histórico-social daquela geração. / This is a critical reading of On the Road, a novel by the North American writer Jack Kerouac, whose life and work represent the social dissatisfaction and the artistic manifestation of a generation of poets and novelists denominated, in the decades of 50 and 60, The Beat Generation, or The Beatniks. The work consists of an investigation to establish relationships among the triad author-narrator-protagonist in the proposed narrative. Supported by the theory of Walter Benjamin, the chosen theme contemplates the reflections of Benjamin about authorship, experience and modernity; but, above all, it privileges his conception of the flâneur; once the objective of the work is to show his movement and role in the literary corpus, as well as in the life of the Beatnik author. This thesis is divided in three parts. The first presents a brief historical comment on the situation of the United States in the postwar period, in order to contextualize and discuss the creation of the Beat Movement as an avantgardist manifestation. The second part introduces Kerouac and Benjamin, highlighting facts and important moments of their lives and work through the movements of the flâneur. The third moment analyzes On the Road in connection with Walter Benjamin's thoughts and in the extent of the tradition of Travel Literature, emphasizing the relevance of authorship. In the conclusion, I expect to legitimate the role of the flâneur in the narrative and socio-historical scope of that generation.

One medium has dominated accounts of American art in the years following the Second World War. The period witnessed, in the words of one critic, a 'Triumph of American Painting', with advances in the easel picture far surpassing those in other media. Whilst more recent accounts have nuanced this view, drawing attention to developments in music and sculpture, literary contributions to the new American modernism have gone almost without assessment. Were there advances in literature comparable to those of Mark Rothko and Barnett Newman, David Smith and John Cage? Drawing extensively on his unpublished writings, After the New Failure of Nerve reveals the poet Charles Olson to have been the keenest literary advocate of the new American avant-garde and one of the most astute observers of its conditions and possibilities. Paying special attention to unpublished notes, lectures, and correspondence, the thesis utilises Olson's early writings in order to examine the momentum given early postwar modernism by a potent contemporary reaction against abstract rationality, a reaction identified at the time as a 'New Failure of Nerve'. Born of recent disillusionment with 'scientific' Marxism and New Deal progressivism, the thesis demonstrates the several ways in which this 'New Failure of Nerve' fuelled vanguard American art from the middle of the Second World War to the end of the decade. It argues that the new critique of abstract rationality - which was also reflected in the contemporary American work of the Frankfurt School - defined the way American artists understood the function of postwar modernism, the posture of the postwar modernist artist, and the status of the postwar modernist artwork. This pivotal moment in the history of modernism was shaped, I contend, by a philosophical critique explored most ambitiously by an American poet.

A pesquisa aqui apresentada centra-se na movimentação cultural conhecida como Movimento Mangue ou Manguebeat, que tomou forma no Recife, na década de 1990. Mais especificamente, estudam-se as obras das duas bandas de maior repercussão dentro do movimento: Chico Science & Nação Zumbi e Nação Zumbi. Através de sua descrição e estudo, deseja-se verificar se é possível caracterizar o Manguebeat enquanto um movimento de vanguarda. Para isso, busca-se nos estudos de Guillermo de Torre, Peter Bürger, Gonzalo Aguilar, Antonio Candido, Ferreira Gullar, entre outros críticos, uma definição para o conceito de vanguarda. Depois, procura-se traçar de que modo os conceitos angariados norteariam as análises desta dissertação. A seguir, verifica-se a possível existência de duas vertentes dentro do Manguebeat: uma representada por Chico Science & Nação Zumbi e por Nação Zumbi e seu conceito de Mangue; e outra que agrupa os demais artistas participantes da movimentação. Ao fazer esta distinção, é possível compreender as diferenças entre o trabalho das duas primeiras bandas e o dos outros vários artistas que também se integraram ao movimento. Será visto que Chico Science & Nação Zumbi e Nação Zumbi concentram em suas canções um ideal vanguardista bastante relevante, especialmente no que concerne o afastamento do particular, conforme noção de Guillermo de Torre. Foi organizado, então, um corpus de canções dessas bandas, de modo a verificar quais características vanguardistas encontradas nos estudos acerca do tema estariam presentes em suas obras. Busca-se também mostrar alguns aspectos e trabalhos mais relevantes dentre aqueles que fazem parte do segundo conjunto de artistas, que também fizeram parte do movimento, mas compartilhando com as primeiras apenas a noção de liberdade criativa, e não todos os preceitos do conceito de Mangue. Acredita-se que foi possível determinar que tanto o trabalho de Chico Science & Nação Zumbi e Nação Zumbi, quanto o Manguebeat como um todo, podem ser considerados movimento de vanguarda, graças, entre outros aspectos, à ruptura que provocam em seu contexto cultural. / The research presented here is focused in the cultural movement known as Movimento Mangue or Manguebeat, which appeared in the Brazilian city of Recife in the 1990’s. More specifically, the works of the two most important in the movement bands is studied: Chico Science & Nação Zumbi and Nação Zumbi. Through its description and study, it is wished to verify if it is possible to characterize Manguebeat as an Avant-garde movement. In order to achieve that objective, we will analyze the studies of Guillermo de Torre, Peter Bürger, Gonzalo Aguilar, Antonio Candido, Ferreira Gullar, and other critics, searching for a definition to the concept of Avant-garde. Afterwards, we will trace in which ways the concepts raised will guide the analysis of the thesis. Hereafter, a possible existence of two sides inside Manguebeat will be verified: one represented by Chico Science & Nação Zumbi and Nação Zumbi and their concept of Mangue; and another one that groups the other artists that took part in the movement. By making this distinction, it will be possible to understand the differences between the work of the two first bands cited and that of the other artists that also joined the movement. It is observed observed that Chico Science & Nação Zumbi and Nação Zumbi concentrate in their songs an Avant-garde ideal quite relevant, especially in what concerns the rejection of what is particular, following the notion of Guillermo de Torre. A corpus will then be organized, formed by songs of these two bands, in order to verify which Avant-garde characteristics found in the studies of the theme would be present in their works. It is also our intention to show some aspects and more relevant works among those that are part of the second group of artists: those who took part in the movement, but only sharing with the first two the notion of creative freedom, and not the whole concept of Mangue. It is intended then to determine whether both the works of Chico Science & Nação Zumbi and Nação Zumbi and Manguebeat as a whole can be considered Avant-garde, thanks to, among other aspects, the break they bring to their cultural context.

Trata-se de uma leitura crítica do romance On the Road, do escritor norte-americano Jack Kerouac, cujas vida e obra representam a insatisfação social e a manifestação artística de uma geração de poetas e novelistas denominada, nas décadas de 50 e 60, The Beat Generation ou The Beatniks. Esta leitura consiste em uma investigação para estabelecer relações entre a tríade autor-narrador-protagonista na narrativa proposta. Como apoio teórico temos o olhar do filósofo alemão Walter Benjamin. O enfoque escolhido contempla as reflexões de Benjamin sobre autoria, experiência e modernidade; mas, sobretudo, privilegia a sua concepção do flâneur; uma vez que o objetivo do trabalho é mostrar o movimento e o papel exercido pelo mesmo, tanto no corpus literário como na vida do autor Beatnik. Para tanto, esta dissertação está dividida em três partes. A primeira apresenta um breve histórico da situação dos Estados Unidos no pós-guerra, a fim de contextualizar e discutir a criação do movimento Beat como vanguarda artística daquela época. A segunda parte introduz o pensamento de Walter Benjamin acerca do flâneur. Destaca, também, fatos e momentos relevantes de sua vida e obra. Apresenta, ainda, o ponto de vista de Sérgio Rouanet sobre a obra do filósofo. O terceiro momento analisa o romance On the Road em conexão com os movimentos do flâneur e no âmbito da tradição de Literatura de Viagem, dando relevância às questões de autoria. Deste modo, na conclusão, espera-se legitimar o papel do flâneur no espaço narrativo e, também, histórico-social daquela geração. / This is a critical reading of On the Road, a novel by the North American writer Jack Kerouac, whose life and work represent the social dissatisfaction and the artistic manifestation of a generation of poets and novelists denominated, in the decades of 50 and 60, The Beat Generation, or The Beatniks. The work consists of an investigation to establish relationships among the triad author-narrator-protagonist in the proposed narrative. Supported by the theory of Walter Benjamin, the chosen theme contemplates the reflections of Benjamin about authorship, experience and modernity; but, above all, it privileges his conception of the flâneur; once the objective of the work is to show his movement and role in the literary corpus, as well as in the life of the Beatnik author. This thesis is divided in three parts. The first presents a brief historical comment on the situation of the United States in the postwar period, in order to contextualize and discuss the creation of the Beat Movement as an avantgardist manifestation. The second part introduces Kerouac and Benjamin, highlighting facts and important moments of their lives and work through the movements of the flâneur. The third moment analyzes On the Road in connection with Walter Benjamin's thoughts and in the extent of the tradition of Travel Literature, emphasizing the relevance of authorship. In the conclusion, I expect to legitimate the role of the flâneur in the narrative and socio-historical scope of that generation.