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Made available in DSpace on 2016-08-10T10:37:25Z (GMT). No. of bitstreams: 1 Daniela do Valle de Carvalho Prudente.pdf: 5832100 bytes, checksum: 69912647fbdd79ee296404ce797bfdbd (MD5) Previous issue date: 2009-08-03 / This dissertation presents a comparative perspective of the historical trajectories of constitution of the patrimonialization of cultural goods as a specific field in the set of the cultural politics in Cuba and Brazil. The research gains the contours of case study when it describes the trajectories of patrimonialization of the historical centers of Old Havana and Pelourinho. The central argument is that even if the politics of international organisms as UNESCO end up generating forms of similar conception of management, the local context can in such a way print specific connotations in the trajectories as well as in the management forms. The Old Havana case calls the attention to the social function given to the patrimonialized goods in the communist regimen present in the country for more than half century. / Esta dissertação apresenta uma perspectiva comparativa das trajetórias históricas de constituição da patrimonialização de bens culturais como um campo específico no conjunto das políticas culturais de Cuba e do Brasil. A pesquisa ganha os contornos de estudo de caso quando descreve as trajetórias de patrimonialização dos centros históricos de Havana Velha e do Pelourinho. O argumento central é que, embora as políticas de organismos internacionais, como a UNESCO, terminem por gerar formas de concepção de gestão semelhantes, o contexto local pode imprimir conotações específicas tanto nas trajetórias quanto nas formas de gestão. Chama a atenção, no caso de Havana Velha, a função social dada aos bens patrimonializados pelo regime comunista em vigência no país por mais de meio século.

This thesis deals with the development of tourism on the island of Cuba from the beginning of the 20th century till the present time based on the travel books written by travellers who come mainly from the United States of America. Next, it analyzes tourism during the 20th century. It monitors Cuban tourism from the historic point of view, where it records the period of communist government, racism and similar problems till the present time. It mentions another, however not so representative part of tourism, sex tourism. It is trying to stress the positive aspects of places that represent the tourism in Cuba.

[pt] Esta pesquisa aborda a questão da inclusão nas negociações de paz de um ângulo diferente daquele normalmente empregado pela literatura de Estudos sobre Paz e Conflitos (PCS). Este tema vem ganhando cada vez mais atenção nas últimas décadas: embora por muito tempo tenha sido visto apenas como uma fonte de perturbação no caminho de acordos políticos, a inclusão da sociedade está lentamente sendo aceita como uma perturbação necessária à construção de acordos legítimos e de uma paz duradoura. O desconforto que motiva esta investigação decorre da frequente despolitização e instrumentalização da inclusão no contexto da negociação e mediação da paz. A inclusão é muitas vezes tratada como uma entidade benigna que visa cultivar a legitimidade de um novo sistema político, enquanto sua natureza política inerente – as articulações políticas, disputas e exclusões que envolve – recebem pouca atenção. A literatura tende, portanto, a tratar tanto o processo de paz como o sistema político em negociação como um dado, neutralizando as disputas e exclusões que se renovam ou se criam pela reinvenção política envolvida em um processo de paz. Essa discussão não é de forma alguma dispensável se se quiser refletir sobre a construção da paz e a prevenção de conflitos em longo prazo, ou mesmo sobre a inclusão política em geral e a atual crise vivida pela democracia representativa. No esforço de politizar essa discussão, a tese disseca a ideia de inclusão nos processos de paz, analisando-a pelas lentes conceituais da representação política. Ao contrário de nossa tendência contemporânea de considerar a representação apenas o produto pontual de eleições periódicas, aqui o conceito é tomado em uma interpretação crítica e ampliada, considerada no contexto de seus dilemas atuais e sua relação complexa com a participação política, particularmente à luz da teoria democrática feminista. Além das eleições e da autorização formal, a pesquisa considera a representação política possível e presente em situações diferentes dos ambientes institucionalizados usuais, tais como as negociações de paz. Uma dupla estratégia é buscada para enfrentar esse desconforto: uma, uma discussão teórica da literatura existente sobre inclusão, que é relida por meio de sua interpretação como questão de representação política; e a segunda, uma observação empírica desse debate no contexto do caso colombiano, mais especificamente o papel das mulheres nos diálogos de Havana entre o governo e as FARC-EP (2012-2016). Esta parte se baseia na documentação disponível (declarações e relatórios oficiais, acordos de paz, material da mídia, relatórios da sociedade civil) e em um trabalho de campo realizado em Bogotá em novembro de 2018. / [en] This research approaches the issue of inclusion in peace negotiations from a different angle than the one(s) usually employed by the Peace and Conflict Studies (PCS) literature. This topic has been gaining increasing attention over the last few decades: while, for a long time, it was seen solely as a source of disturbance in the way of achieving political settlement, including societies is slowly becoming accepted as a necessary disturbance in the construction of legitimate agreements and durable peace. The discomfort that motivates this investigation stems from the frequent depoliticization and instrumentalization of inclusion in the context of peace negotiation and mediation. Inclusion is often treated as a benign entity aimed at cultivating legitimacy for a new political system, while its inherent political nature – the political articulations, disputes and exclusions it involves – receive little attention. It tends, therefore, to treat both the peace process and the political system under negotiation as a given, neutralizing the disputes and exclusions that are renewed or created by the political reinvention involved in a peace process. This discussion is by no means dispensable if one wants to reflect on long-term peacebuilding and conflict prevention, or even on political inclusion in general and the current crisis experienced by representative democracy. In an effort to politicize this discussion, the dissertation dissects the idea of inclusion in peace processes by analyzing it through the conceptual lens of political representation. As opposed to our contemporary tendency of considering representation merely the punctual product of periodic elections, here the concept is taken in a critical and expanded interpretation, considered in the context of its current dilemmas and its complex relationship with political participation, particularly in light of feminist democratic theory. Beyond elections and formal authorization, the research considers political representation to be possible and present in situations other than usual institutionalized settings, such as peace negotiations. A twofold strategy is thus pursued in order to address this discomfort: one, a theoretical discussion of the existing literature on inclusion, which is re-read through its interpretation as a matter of political representation; and two, an empirical observation of this debate in the context of the Colombian case, more specifically the role of women in the Havana dialogues between the government and the FARC-EP (2012-2016). This part is based both on available documentation (official declarations and reports, the peace agreements, media material, civil society reports) and fieldwork conducted in Bogotá in November 2018.

O presente trabalho de pesquisa teve o objetivo de analisar as representações de Havana desenvolvidas pelo escritor cubano Antonio José Ponte no romance La fiesta vigilada (2007) e no conjunto de ensaios intitulado Un seguidor de Montaigne mira La Habana (1995), com o intuito de interpretar os vários sentidos que as imagens da capital cubana e as suas ruínas adquirem no interior dos textos referidos. Representações de Havana que se reproduzem e se multiplicam nas páginas desses livros, nos quais elas se vinculam às memórias pessoais do escritor, mas também à história recente da ilha, refletindo as transformações ocorridas em Cuba em virtude dos principais eventos históricos da segunda metade do século XX, como o triunfo da Revolução cubana e a crise econômica da década de noventa. / El presente trabajo de investigación tuvo el objetivo de analizar las representaciones de La Habana desarrolladas por el escritor cubano Antonio José Ponte en la novela La fiesta vigilada (2007) y en el conjunto de ensayos titulado Un seguidor de Montaigne mira La Habana (1995), con la intención de interpretar los varios sentidos que las imágenes de la capital cubana y sus ruinas adquieren en el interior de los textos referidos. Representaciones de La Habana que se reproducen y se multiplican en las páginas de esos libros, en los cuales ellas se vinculan a las memorias personales del escritor, pero también a la historia reciente de la isla, reflejando las transformaciones ocurridas en Cuba en virtud de los principales hechos históricos de la segunda mitad del siglo XX, como el triunfo de la Revolución cubana y la crisis económica de la década de los noventa.

Ce travail de thèse vise à présenter un certain nombre de tendances et de points de tensions nés ou mis à jour à Cuba à la suite de la période spéciale en temps de paix que l'on peut définir comme une crise économique et sociale d'une ampleur considérable ayant frappé ce pays à la suite de la chute du camp socialiste au début des années 90. Pour ce faire, nous nous centrons sur l'expérience de musiciens qualifiés « d'ordinaires » évoluant dans la capitale, La Havane. C'est ainsi à la lumière du quotidien de ces artistes qu'il nous sera possible de comprendre et de saisir la profondeur de cette crise et des fortes redéfinitions qu’elle met en jeu. Il s’agit de voir les conséquences des moyens mobilisés par le régime socialiste cubain de façon à sortir de cette impasse économique et sociale tout en préservant les acquis sociaux de cette révolution, base de sa légitimité populaire. Seulement, si à terme les réformes engagées (massification du tourisme, progressive mise en avant de comportements économiques libéralisant, double circulation monétaire...) ont permis un redressement économique certain, elles ne vont pas sans questionner, voire entrer en contradiction avec les discours, prérogatives et modes de vie valorisés par le pouvoir. Nous verrons ainsi de quelles manières un certain nombre de tensions, issues de ces changements (entre un passé idéalisé et un futur incertain, entre l’image de l’authentiquement cubain et celle du non-cubain, et enfin entre le nous révolutionnaire et les projections individuelles) sont traités par ces musiciens, particulièrement sensibles au décloisonnement de l’expérience cubaine. Dans leur manière de s'auto-définir en tant qu'artiste, dans le regard qu'ils portent sur leur trajectoire et leur métier, nous verrons que ces individus procèdent à un bricolage, à une négociation identitaire incessante visant à conférer à leurs actes un sens que la réalité sociale et économique a rendu trouble.La vie et les pratiques professionnelles de ces derniers, les moyens qu’ils mobilisent pour lutter et tenter de vivre de leur musique illustrent à notre avis la société cubaine dans son ensemble, marquée par une grande ambivalence, par le besoin « d’inventer » de nouveaux moyens de subsistance et la nécessité d’assembler des éléments en décomposition ou émergents. / The aim of this research is to provide a number of trends and areas of tension that have emerged or evolved in Cuba after the « special period in peacetime », which can be defined as the most considerably developed social and economic crisis that has struck this country, as a result of the socialist camp collapse in the early 90’s. In order to achieve this, we focus on the experience of musicians seen as ordinary in the city of Havana. It is thanks to the observation of artists in action in their everyday life that we will be able to understand and to capture the depth of this crisis and these large redefinitions it causes. The purpose is to define the consequences of the means that have been mobilized by the Cuba's socialist system in order to get out of this social and economic impasse while safeguarding the social benefits of this revolution, based on its popular legitimacy. If in the end the reforms (the massification of tourism, the gradual increase of liberalizing and economical behaviors, and the dual circulation of currencies...) allowed an economic recovery, they lead to a questioning and entering into contradiction with speeches, prerogatives and ways of life valued by those in power. We will see how areas of tension, emanating from changes (between an idealized past and an uncertain future, between the picture of the genuinely Cuban and non-Cuban, and finally between the people of the revolution and the individual who has his own project) treated by these musicians, especially sensitive to the « decompartmentalization » of the Cuban experience. We will see that these musicians, in the way they define theirselves as artists, in their concept of path in life and profession, effect sweeping changes, constantly negotiating questions of identity to ascribe meaning to what they do in this confused, social and economic reality. In their life and professional practices, the means allocated to fight and to try to make a living with music show in our opinion the Cuban society in its entirety marked by a great ambivalence, the need to find new means of subsistence and to bring these decomposing or emerging elements together.

In this paper it is argued that participation and public art contribute to sustainable community development. This is a study of four Community Projects in Havana made during a two month stay during summer 2009. The study is based on a number of interviews with people involved in the community projects. By using the Cuban culture and participation as a platform for sustainable community development the Community Projects have created a sense of belongingness and identification in each neighbourhood. This in turn has the ability to join the people together in participatory development work. The Community Projects also function as free space since they are one of the few places where Cubans are allowed to make their own initiatives. This has opened up a discussion between the citizens and the authorities which is important for future urban development. The Community Projects also work with public art in a participatory way that has contributed to place identity and public dialogue in Havana.

No description available.

O presente trabalho de pesquisa teve o objetivo de analisar as representações de Havana desenvolvidas pelo escritor cubano Antonio José Ponte no romance La fiesta vigilada (2007) e no conjunto de ensaios intitulado Un seguidor de Montaigne mira La Habana (1995), com o intuito de interpretar os vários sentidos que as imagens da capital cubana e as suas ruínas adquirem no interior dos textos referidos. Representações de Havana que se reproduzem e se multiplicam nas páginas desses livros, nos quais elas se vinculam às memórias pessoais do escritor, mas também à história recente da ilha, refletindo as transformações ocorridas em Cuba em virtude dos principais eventos históricos da segunda metade do século XX, como o triunfo da Revolução cubana e a crise econômica da década de noventa. / El presente trabajo de investigación tuvo el objetivo de analizar las representaciones de La Habana desarrolladas por el escritor cubano Antonio José Ponte en la novela La fiesta vigilada (2007) y en el conjunto de ensayos titulado Un seguidor de Montaigne mira La Habana (1995), con la intención de interpretar los varios sentidos que las imágenes de la capital cubana y sus ruinas adquieren en el interior de los textos referidos. Representaciones de La Habana que se reproducen y se multiplican en las páginas de esos libros, en los cuales ellas se vinculan a las memorias personales del escritor, pero también a la historia reciente de la isla, reflejando las transformaciones ocurridas en Cuba en virtud de los principales hechos históricos de la segunda mitad del siglo XX, como el triunfo de la Revolución cubana y la crisis económica de la década de los noventa.

Au début des années 1990, avec le décret de la « Période Spéciale », Cuba connaît une crise sans précédent qui remet en question, pour la première fois de son histoire, les fondements mêmes de la Révolution. La littérature cubaine, marquée matériellement par ce contexte, se fait l’écho des bouleversements survenus dans l’Ile. Ce dialogue qui s’instaure entre fiction et réalités sociales est au cœur de notre réflexion. A travers l’étude des nouvelles publiées depuis le début de cette période, nous avons essayé de saisir l’esprit d’une époque. Nous retraçons ainsi le destin littéraire de La Havane, en ces temps troublés, depuis les représentations de la destruction de la ville jusqu’aux images de sa dispersion. Ceux qui ont choisi d’écrire La Havane en crise s’exposent au chaos et au néant. La décadence physique et morale de la capitale et de ses habitants s’impose comme un thème artistique majeur. Face à une réalité en pleine décomposition, les écrivains cubains deviennent les artisans d’une possible restauration de la ville. Ils invoquent l’écriture pour sauver une Havane qui est entrée dans une phase accélérée de destruction. Métaphore d’une société et d’une nation en crise, la ville, détruite sur le plan matériel, se reconstruit, peu à peu, sur le plan littéraire. / At the beginning of the 1990’s, with the “Special Period” decree, Cuba knows an unsurpassed crisis which questions, for the first time in its history, the foundations of the Revolution. The Cuban literature, marked materially by this context, echoes the turnovers that arose on the Island. This dialogue, established between fiction and social realities, is at the heart of our reflection. Throughout the study of the short stories published since the beginning of this period, we have attempted to seize the spirit of this era. In thus doing, we recount the literary destiny of Havana, in these flustered times, from the representations of the destruction of the city until the images of its dispersal. The authors who chose to write Havana in crisis run the risk of chaos and nonexistence. The physical and moral decline of the capital and of its people stands out as a major artistic subject. Facing a reality in full decomposition, the Cuban writers have become the artisans of the city’s possible restoration. They call upon writing to save Havana which has entered a hastened destructive stage. Metaphor of a society and of a nation in crisis, the city, destroyed on a material level, rises again, little by little, on a literary level.