Depuis la fin du XXe siècle, on assiste à un renouveau de la pratique musicale régionale en France et en Corée. Ce renouveau est apparu d’abord en Bretagne dans les années 1970 comme une forme de résistance au pouvoir central. Malgré la baisse des tensions régionalistes, la Bretagne continue à promouvoir la musique locale dans un mouvement parallèle à celui de la province de Jeolla, qui essaie de valoriser son identité territoriale à travers la musique traditionnelle depuis 1997, date marquée par l’octroi de l’autonomie municipale. En effet, situées à l’extrémité des pays, ces deux régions ont été longtemps rurales et profondément religieuses, ce qui fait qu’elles gardent encore aujourd’hui des traditions bien souvent disparues ailleurs dans le pays. A la faveur de l’industrialisation au niveau national, les moyens très efficaces de transmission ont été mis en œuvre pour préserver la pratique musicale. Après la décentralisation des pouvoirs publics, les acteurs locaux ont choisi la musique comme un atout régional pour fonder un patrimoine culturel commun pour la préservation et le renforcement de l’identité territoriale. De nombreuses manifestations musicales, festivals et concours en témoignent. Enfin, à travers la mondialisation, ces pratiques musicales s’exportent dans le monde. La désignation par l’Unesco comme Patrimoine Culturel Immatériel aide à promouvoir ces cultures territoriales. Le marché du disque propose davantage, par ailleurs, des musiques représentant une identité territoriale, véritable emblème de la promotion des territoires dans la civilisation de loisirs. / The aim of this research was to analyze a renewal of regional musical practice in Brittany in France and in Jeolla province in Korea. Beginning in the late twentieth century, we can observe a renewal of traditional music in the local context in many parts of the world. In Brittany, it appeared in the 1970s as a form of resistance to central authority. Despite the decline in regional tensions, Brittany continues to develop local music in a parallel movement to Jeolla Province, which has been trying to promote its local identity with its traditional music since 1997, the year marked by the launching of the autonomous local government system. Situated geographically as they are in the periphery of the country, these two regions remained rural and profoundly religious for a long time, so that they still retain old traditions that have almost disappeared in other regions in the country. During the industrialization of the country, very effective means of transmission were employed to preserve musical practices. After the decentralization of the government, local actors chose music as a regional asset to found a cultural heritage that would preserve and strengthen the regional identity. Many musical events, festivals and competitions bear witness to this. Finally, as a result of globalization these musical practices are being exported around the world. The policy of the UNESCO of designating Intangible Cultural Heritage helps to promote regional culture. The market for recordings offers more music representing a regional identity, a real symbol of the promotion of regions in a civilization of leisure.

Summer pasture contributes both to cultural-historical values and to positive effects on biodiversity. However, the usage of the term ”summer pastures” varies and there is no general definition. This lack of definition gives rise to a conflict: Should the summer pasture be preserved for its cultural-historical value by having it look just like before, or should it be preserved for its value in biodiversity? Today, the authorities’ image of summer pasture is what controls which summer pastures and what values are granted financial support. This means that the summer pastures risk being defined and developed on the basis of the authorities' image, not by the image the farmers themselves have, which is based on historical and conservational knowledge. Thus, the purpose of this study is to highlight the use of summer pasture as a phenomenon and an activity from the user's perspective. In order to discover how the farmers themselves view summer pastures, a phenomenographic method is used to analyze interviews of summer pasture farmers with varying backgrounds and activities. The results of the study show that the summer pasture of today varies with regard to the design of the business. The common denominator is the small-scale animal husbandry where summer pasture take place on the outskirts beyond the home farm, to where the farmer moves with the animals during summer. Summer pasture has traditionally never been an economic gain, nor does it provide much today. The farmers are enthusiasts who believe in a higher purpose of what they do. The lack of definition is something that affects them only in their contact with authorities, from where they are only met with ignorance. The farmers believe that the summer pasture have a cultural-historical value, one that also lies in the future with increasing environmental awareness and climate change. / Fäbodbruk bidrar såväl med kulturhistoriska värden som med positiva effekter på den biologiska mångfalden. Bilden av vad dagens fäbodbruk innebär varierar dock och ingen allmän definition finns. I och med bristen på definition uppstår en konflikt: Bör fäbodbruket bevaras för dess kulturhistoriska värde genom att det ska se ut precis som förr, eller ska det bevaras för dess värde för den biologiska mångfalden? Idag är det myndigheternas bild av fäbodbruk som styr vilka fäbodar och värden som beviljas ekonomiskt stöd. Detta innebär att fäbodbruket riskerar att definieras och utvecklas utifrån myndigheternas bild, inte av den bild brukarna själva har som är baserad på historisk och bevarandevärd kunskap. Syftet med denna studie är således att belysa fäbodbruket som företeelse och som verksamhet utifrån brukarens perspektiv. För att få fram den bild fäbodbrukarna själva har av fäbodbruk används en fenomenografisk metod för att analysera intervjuer av fäbodbrukare med varierande bakgrund och verksamhet. Studiens resultat påvisar att dagens fäbodbruk varierar vad gäller verksamhetens utformning. Den gemensamma nämnaren är att det rör sig om småskalig djurhållning där sommarbetet sker på utmarkerna bortom hemgården dit brukaren flyttar med djuren på sommaren. Fäbodbruk är inget som traditionellt sett är något som gett en ekonomisk vinning och knappast heller ger idag. Fäbodbrukarna är snarare eldsjälar som tror på ett högre syfte kring det de gör. Avsaknandet av definition är något som påverkar dem först vid kontakt med myndigheter av vilka de möts av okunskap. Brukarna anser att fäbodbruket har ett kulturhistoriskt värde men att fäbodbruket även hör till framtiden i och med en ökande miljömedvetenhet och klimatförändringar. / Biologiskt kulturarv som hållbar värdeskapare

FundaÃÃo de Amparo à Pesquisa do Estado do Cearà / Este estudo analisa a trajetÃria dos folguedos populares no Cariri cearense, entre 1950 a 2000, tendo como lÃcus da pesquisa o municÃpio do Crato, regiÃes reconhecidas por ÃrgÃos oficiais de cultura como âceleiroâ de tradiÃÃes de culturas populares, tambÃm denominados de folclore. OriginÃrios entre trabalhadores rurais, os folguedos populares sÃo brincadeiras que se desenvolvem com a presenÃa de mestres e brincantes, cujos saberes sÃo herdados e repassados de uma geraÃÃo a outra por meio da oralidade. No contexto da modernizaÃÃo da regiÃo na segunda metade do sÃculo XX, as prÃticas de folguedos passam por mudanÃas no seu modo de objetivar-se e na sociabilidade gestada no meio rural. A partir da aÃÃo de intelectuais e folcloristas, influenciados pela visÃo romÃntica, os folguedos passam a representar matrizes de identidades a necessitarem de resguardo, e, ao integrarem-se como encenaÃÃes folclÃricas em diversos eventos na cidade, iniciam seu processo de visibilidade. Nossa pesquisa trata dessa trajetÃria de mudanÃas no modo de objetivaÃÃo das prÃticas de folguedos, a partir das seguintes indagaÃÃes: o que representam as prÃticas de folguedos para os seus protagonistas, mestres e brincantes? Qual dinÃmica de relaÃÃes se estabelece a garantir o processo de conservaÃÃo e continuidade desses folguedos? Como sÃo concebidos os sentidos dos sÃo folguedos na sua denominaÃÃo de Folclore ou PatrimÃnio Cultural? A nossa escolha teÃrica e metodolÃgica fundamentou-se nas categorias de cultura e de tradiÃÃo, a partir da perspectiva crÃtica que compreende a cultura como aÃÃo e trabalho, objetivaÃÃo do homem no mundo, situado historicamente, e a tradiÃÃo como mediaÃÃo de sociabilidade. Com sentidos normativos, os folguedos populares objetivam-se em momentos de festejos, nos quais sÃo reafirmados laÃos de pertenÃa entre os sujeitos da comunidade de brincantes, e, no intercambiar de experiÃncias, cria-se uma rede de relaÃÃes entre os brincantes a dar sentido Ãs suas prÃticas culturais. Assim, este estudo revela que no processo dinÃmico das relaÃÃes sociais a cultura à entendida como um campo de luta e atua como elemento de mudanÃas e permanÃncias. Na comunidade pesquisada, o espetÃculo dos folguedos, apresentados como encenaÃÃes mediadas pelo movimento folclÃrico e por intelectuais interessados, a dar-lhes visibilidade, nÃo se mostra suficiente para continuidade dessas tradiÃÃes, ainda que sobre elas recaia o estatuto de patrimÃnio cultural e as polÃticas de salvaguarda. / This study analyzes the trajectory of the folguedos populares in the Cariri region of CearÃ, from 1950 to 2000, with the city of Crato as the locus of the research, region recognized by official cultural organs as a "barn" of traditions of popular cultures, also called folklore. Originated among rural workers, folguedos populares are plays that are developed with the presence of masters and jokers, whose knowledge is inherited and passed on from one generation to another through orality. In the context of the modernization of the region in the second half of the twentieth century, folguedo practices undergone through changes in their way of objectifying themselves and in the sociability gestated in rural areas. Based on the action of intellectuals and folklorists, influenced by the romantic vision, folguedos begin to represent matrices of identities in need of shelter, and, when integrating themselves as folkloric scenarios in various events in the city, they begin their process of visibility. Our research deals with this trajectory of changes in the way of objectifying the practices of folguedos, from the following questions: what these practices represent for their protagonists, masters and players? What dynamics of relations are established to guarantee the process of conservation and continuity of these plays? How are conceived the senses of folguedos in their denomination of Folklore or Cultural Patrimony? Our theoretical and methodological choice is based on the categories of culture and tradition, from the critical perspective that includes culture as action and work, objectification of man in the world, historically situated, and tradition as mediation of sociability. With normative senses, the folguedos populares are aimed at moments of celebration, in which the ties of belonging between the subjects of the community of players are reaffirmed, and, in the exchange of experiences, a network of relationships is created between the players to make sense to their cultural practices. Thus, this study reveals that in the dynamic process of social relations culture is understood as a field of struggle and acts as an element of change and permanence. In the community studied, the spectacle of folguedos, presented as scenes mediated by the folkloric movement and interested intellectuals, to give them visibility, does not prove sufficient for the continuity of these traditions, although the cultural heritage statute and the politics of safeguard falls on them.

Depuis quelques décennies les musées se sont multipliés ; chaque secteur de la culture, chaque communauté, chaque ville veut le sien, pour le prestige ou pour développer l’activité économique. Aussi la conception du musée a-t-elle évolué dans sa forme, ses objectifs, son organisation, sa gestion. C’est ainsi que sont apparus des enjeux financiers, desquels ont résulté des concepts comme l’entreprise culturelle et ses relations avec le marché, la sauvegarde des collections et leur valorisation par des expositions ouvertes aux différents publics. Alors que le musée devient un élément moteur des politiques culturelles, aussi bien au plan national que local, l’Afrique en général et le Gabon en particulier souffrent d’un retard dans ce domaine, malgré le potentiel qui est le leur. Or un musée sans collection n’existe pas : il doit être un lieu d’exposition ou d’interprétation. Et un musée sans public serait une réserve ou un centre d’étude de collections. C’est à travers la consommation des images de l’histoire dans le temps et l’espace que se forge l’expérience subjective des individus sur la politique culturelle. Cette subjectivité individuelle nous incite à concevoir autrement le musée. Aujourd’hui, cependant, cette révision apparaît compliquée pour un Africain en général et un Gabonais en particulier. En effet, au lieu de s’insérer dans une identité locale plus ou moins homogène et circonscrite au sein de l’identité nationale, il entretient des liens ethniques plus larges en raison des rapports personnels, économiques, professionnels ou financiers qui transcendent quelquefois les frontières géographiques et culturelles de la nation. Ainsi, au Gabon, la gestion du patrimoine culturel doit tenir compte non seulement des retombées de sa valorisation mais aussi des acteurs locaux. Le but est de faire profiter les populations locales des retombées de la valorisation de leur patrimoine. Car, une valorisation non encadrée entraîne un tourisme de masse avec son inconvénient, à savoir l’érosion du patrimoine et des valeurs culturelles, causée par une dégradation soit naturelle, soit humaine. C’est pourquoi il est nécessaire d’instaurer une nouvelle approche qui exige de considérer la gestion du patrimoine culturel comme un facteur de développement local et national. / In recent decades, museums have multiplied in most African societies; each cultural sector, each community, each city wants its own, for prestige or to develop economic and tourism activity. As a result, the design of the museum has evolved in its form, objectives, organization and management. This has given rise to financial challenges, from which concepts such as the cultural enterprise and its relationship with the market, the preservation of collections and their enhancement through exhibitions open to different audiences have emerged. As the museum becomes a driving force in cultural policies, both at the national and local levels, Gabon is lagging behind in this area, despite its potential. However, a museum without a collection does not exist: it must be a place of exhibition or interpretation. And a museum without a public would be a reserve or a center for the study of collections. It is through the consumption of images of history in time and space that individuals' subjective experiences of cultural policy are shaped. This individual subjectivity leads us to conceive the museum differently. Today, however, this revision seems problematic, especially for a Gabonese man. Indeed, instead of being part of a more or less homogeneous local identity that is circumscribed within the national identity, it maintains broader ethnic ties because of personal, economic, professional or financial relationships that sometimes transcend the nation's geographical and cultural borders. Thus, in Gabon, the management of cultural heritage must take into account not only the benefits of its enhancement but also local actors. The aim is to enable local populations to benefit from the benefits of the enhancement of their heritage. For, unframed development leads to mass tourism with its disadvantage, namely the erosion of heritage and cultural values, caused by either natural or human degradation. This is why it is necessary to introduce a new approach that requires considering cultural heritage management as a factor in local and national development.

Cette thèse porte sur la mise en scène des répertoires traditionnels ouïghours, dans sa forme musicale, chorégraphique et théâtrale. Depuis plusieurs décennies, les grands spectacles pluridisciplinaires mettent en scène l’héritage culturel ouïghour. Ces spectacles, créés par les artistes de la communauté eux-mêmes, visent cette même communauté. Ils passent par des processus de réarrangement, de canonisation et surtout de théâtralisation (à l’occidentale) pour rendre l’art traditionnel brut présentable sur une scène. Ces constats mènent à s’interroger sur la manière dont la société ouïghour contemporaine écoute ses musiques et regarde ses danses. Les questions du rôle de l’art et de la culture dans la vie quotidienne et de leur impact sur le sentiment d’appartenance nationale sont au cœur de ces réflexions. Ce travail s’intéresse à l’origine de la professionnalisation issue des mouvements réformistes dans les années 1920-30. La création de troupes artistiques a joué à la fois un rôle éducatif et divertissant, mais aussi de symbole de résistance. Au cours du siècle, ce mouvement artistique a traversé plusieurs périodes, parfois même douloureuses. Mais aujourd’hui, la scène artistique est productive et de plus en plus active. Cette thèse s'appuyant sur l’étude de sources, sur des enquêtes de terrain, l’analyse des discours et des spectacles, essaye de dégager les mécanismes de représentation de soi des artistes ouïghours, en tant que peuple et nation, aux yeux du monde extérieur. En affirmant l'identité ethnique, ces mises en scènes participent efficacement à la construction nationale, un combat qui touche toute la communauté ouïghour, et tente de dresser une image reconnue tant par ses membres qu’aux yeux du monde. / This thesis focuses on the staging of Uyghur traditional art in its musical, chorographical and theatrical forms. For decades, large multidisciplinary performances depicted the Uyghur cultural heritages. Distended to share with their own, these performances are created by the artists of the community. Rearrangement, canonization, dramatizing (in Western style) are used to transform traditional art, to be more attractive on stage. This created an outstanding “bricolage” of all aspect of one culture, to be put in one space and in a limited time. These findings lead to questioning the ways of listening to music and watching dance in contemporary Uighur society. Equally, this phenomenon questions the role of art and culture in their everyday life. Furthermore, the impact of all these transformation on the sense of national identity is at the heart of our reflections. This thesis is interested in the origin of artistic professionalization established by the reform movements in the 1920s-30s, which played a role of educating and at the same time entertaining the population/poeple, and became a symbole of resistence in the region. Today, the stage represents an important aspect of uyghur society. After many years of fieldwork, analysing the discourse and different kinds of professional performances this thesis identifies the self- representation mechanisms of Uyghurs, as one nation, one ethnic group, to the outside world. It relies on historical sources, years of fieldwork in different regions of Xinjiang, includes different kinds of professional or amateur performances, and interviews of the actors and experts's discourse.

BRITO, Lúcia Helena de. O espetáculo das tradições: um estudo sobre as práticas de culturas populares no Cariri cearense. 2007. 203f. – Tese (Doutorado) – Universidade Federal do Ceará, Programa de Pós-graduação em Sociologia, Fortaleza (CE), 2007. / Submitted by Gustavo Daher (gdaherufc@hotmail.com) on 2017-08-17T15:21:38Z No. of bitstreams: 1 2007_tese_lhbrito.pdf: 4686757 bytes, checksum: fa32bbe86737399dc5a506ecbe0d35e8 (MD5) / Approved for entry into archive by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2017-08-21T10:58:50Z (GMT) No. of bitstreams: 1 2007_tese_lhbrito.pdf: 4686757 bytes, checksum: fa32bbe86737399dc5a506ecbe0d35e8 (MD5) / Made available in DSpace on 2017-08-21T10:58:51Z (GMT). No. of bitstreams: 1 2007_tese_lhbrito.pdf: 4686757 bytes, checksum: fa32bbe86737399dc5a506ecbe0d35e8 (MD5) Previous issue date: 2007 / This study analyzes the trajectory of the folguedos populares in the Cariri region of Ceará, from 1950 to 2000, with the city of Crato as the locus of the research, region recognized by official cultural organs as a "barn" of traditions of popular cultures, also called folklore. Originated among rural workers, folguedos populares are plays that are developed with the presence of masters and jokers, whose knowledge is inherited and passed on from one generation to another through orality. In the context of the modernization of the region in the second half of the twentieth century, folguedo practices undergone through changes in their way of objectifying themselves and in the sociability gestated in rural areas. Based on the action of intellectuals and folklorists, influenced by the romantic vision, folguedos begin to represent matrices of identities in need of shelter, and, when integrating themselves as folkloric scenarios in various events in the city, they begin their process of visibility. Our research deals with this trajectory of changes in the way of objectifying the practices of folguedos, from the following questions: what these practices represent for their protagonists, masters and players? What dynamics of relations are established to guarantee the process of conservation and continuity of these plays? How are conceived the senses of folguedos in their denomination of Folklore or Cultural Patrimony? Our theoretical and methodological choice is based on the categories of culture and tradition, from the critical perspective that includes culture as action and work, objectification of man in the world, historically situated, and tradition as mediation of sociability. With normative senses, the folguedos populares are aimed at moments of celebration, in which the ties of belonging between the subjects of the community of players are reaffirmed, and, in the exchange of experiences, a network of relationships is created between the players to make sense to their cultural practices. Thus, this study reveals that in the dynamic process of social relations culture is understood as a field of struggle and acts as an element of change and permanence. In the community studied, the spectacle of folguedos, presented as scenes mediated by the folkloric movement and interested intellectuals, to give them visibility, does not prove sufficient for the continuity of these traditions, although the cultural heritage statute and the politics of safeguard falls on them. / Este estudo analisa a trajetória dos folguedos populares no Cariri cearense, entre 1950 a 2000, tendo como lócus da pesquisa o município do Crato, regiões reconhecidas por órgãos oficiais de cultura como “celeiro” de tradições de culturas populares, também denominados de folclore. Originários entre trabalhadores rurais, os folguedos populares são brincadeiras que se desenvolvem com a presença de mestres e brincantes, cujos saberes são herdados e repassados de uma geração a outra por meio da oralidade. No contexto da modernização da região na segunda metade do século XX, as práticas de folguedos passam por mudanças no seu modo de objetivar-se e na sociabilidade gestada no meio rural. A partir da ação de intelectuais e folcloristas, influenciados pela visão romântica, os folguedos passam a representar matrizes de identidades a necessitarem de resguardo, e, ao integrarem-se como encenações folclóricas em diversos eventos na cidade, iniciam seu processo de visibilidade. Nossa pesquisa trata dessa trajetória de mudanças no modo de objetivação das práticas de folguedos, a partir das seguintes indagações: o que representam as práticas de folguedos para os seus protagonistas, mestres e brincantes? Qual dinâmica de relações se estabelece a garantir o processo de conservação e continuidade desses folguedos? Como são concebidos os sentidos dos são folguedos na sua denominação de Folclore ou Patrimônio Cultural? A nossa escolha teórica e metodológica fundamentou-se nas categorias de cultura e de tradição, a partir da perspectiva crítica que compreende a cultura como ação e trabalho, objetivação do homem no mundo, situado historicamente, e a tradição como mediação de sociabilidade. Com sentidos normativos, os folguedos populares objetivam-se em momentos de festejos, nos quais são reafirmados laços de pertença entre os sujeitos da comunidade de brincantes, e, no intercambiar de experiências, cria-se uma rede de relações entre os brincantes a dar sentido às suas práticas culturais. Assim, este estudo revela que no processo dinâmico das relações sociais a cultura é entendida como um campo de luta e atua como elemento de mudanças e permanências. Na comunidade pesquisada, o espetáculo dos folguedos, apresentados como encenações mediadas pelo movimento folclórico e por intelectuais interessados, a dar-lhes visibilidade, não se mostra suficiente para continuidade dessas tradições, ainda que sobre elas recaia o estatuto de patrimônio cultural e as políticas de salvaguarda.

Orientador: Bernadete Aparecida Caprioglio de Castro Oliveira / Banca: Fadel David Antonio Tuma Filho / Banca: Dante Flávio da Costa Reis Junior / Resumo: É notório que nas últimas décadas as ciências humanas, em geral, e a Geografia, em particular, têm retomado o interesse por estudos referentes às manifestações culturais, especialmente regionais e locais, devido às inúmeras demonstrações de seu fortalecimento frente à tendência de homogeneização cultural orientada pela globalização. A fim de contribuir para a reflexão sobre esses processos, bem como sobre as expressões reconhecidas como patrimônio por seus atores sociais, faz-se necessária a aproximação entre os diferentes segmentos das ciências, contemplando, assim, as dimensões históricas, espaciais e simbólicas das práticas culturais, numa perspectiva interdisciplinar. Desta forma, o presente trabalho apresenta questões referentes às políticas de salvaguarda do patrimônio cultural imaterial desenvolvidas no Brasil para, então, estabelecer um estudo pormenorizado sobre os processos de construção, consolidação e difusão da identidade cultural gaúcha, por meio da análise da formação territorial e social do Rio Grande do Sul e, especificamente, sobre o Movimento Tradicionalista Gaúcho / Abstract: It is notorious in the last decades the human sciences, in general, and the Geography, have retaken the interest by studies regards to the cultural manifestations, specially regional and local, due to the countless demonstrations of its strengthening before the tendency of cultural homogenization oriented by globalization. In order to contribute to the reflection about these processes, and about the recognized expressions as a heritage by its social actors as well, it is made necessary the approximation among different segments of the science, contemplating, thus, the historical, spacial and symbolic dimensions of the cultural practices, in a interdisciplinary perspective. So, the present work presents questions relative to safeguard policies of the Intangible Cultural Heritage developed in Brazil to, then, establish a detailed studied about the construction, consolidation and propagation of the gaúcha cultural identity, through the analysis of the Rio Grande do Sul‟s territorial and social shaping and, specifically, about the Gaúcho Traditionalist Movement / Mestre

À une époque où la notion de patrimoine culturel immatériel est de plus en plus utilisée à l’échelle internationale, les populations s’approprient le concept localement. Il en va ainsi en Bretagne. La musique et la danse bretonne sont pleines de vitalité, tout en ayant conservé leur aspect patrimonial ; les autres éléments du patrimoine culturel immatériel pourraient-ils connaître une même revitalisation ? Notre thèse traite des témoignages sur l’ethnobotanique en Haute-Bretagne, c’est-à-dire relatifs aux savoirs et savoir-faire populaires liés aux plantes. Ils sont étudiés à travers l’analyse d’archives orales conservées au sein du milieu associatif et issues d’enquêtes et de collectages. Ce sont les plantes citées dans les recueils des folkloristes haut-bretons, à la fin du XIXe siècle, qui reviennent le plus souvent dans les archives sonores, un siècle plus tard. Les enregistrements de témoignages ethnobotaniques et les recueils des folkloristes, peu précis sur les modalités des savoirs, visent davantage à la sauvegarde des connaissances qu’à leur possible revitalisation. Par le dépôt patrimonial dans des structures de conservation, elles connaissent une première forme de valorisation, à travers leur traitement documentaire. Celui-ci opère une mise à distance, en transformant les témoignages en archives. Les archives orales, jusqu’alors considérées comme de simples matériaux de terrain, accèdent ainsi à de multiples possibilités de réutilisations. Elles créent chez l’auditeur un sentiment d’appartenance et lui permettent de renouer avec la tradition orale. / At a time when the concept of intangible cultural heritage is increasingly used internationally, it also applies locally. This is the case in Brittany where folk music and dance are very much alive and popular all while maintaining their traditional characteristics. Could other types of intangible cultural heritage undergo a similar revitalization? This thesis examines recordings relating to ethnobotanical knowledge in eastern Brittany, namely folk knowledge and practices involving plants. The work was carried out by analyzing oral archives, compiled through interviews and fieldwork, that had been preserved in community organizations. These recordings predominantly refer to the same plants folklorists documented in eastern Brittany at the end of the 19th century. The oral accounts and information gathered by folklorists a century earlier don’t give details such as specific formulations, method of preparation, doses, etc. They aimed more at preserving general knowledge about these traditions than at the possibility of reviving them. Preserving these traditions by documenting them is an initial form of recognition. Documentation transforms accounts into archives. Oral archives, formerly considered simple field work, thus come to offer many possibilities for reuse. They give the listener a sense of belonging and make it possible to reconnect with the oral tradition.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Brazil has a vast ecological wealth, a situation that favors the emergence of diverse cultures, since there are different forms of man's interaction with nature. This natural and cultural richness, named sociobiodiversity lacks legal means able to safeguard it, given the risk of extinction. For this reason, the Federal Constitution, in providing protection to an ecologically balanced environment, made it considering the environmental and cultural dimension, considering the material and immaterial dimensions. Thus, ruled not only the fauna and flora, but also cultural events and traditions, forms of expression, the celebrations, the knowledge, the means to do, among others. Therefore, when considering the contemporary society, marked by the effects of globalization, in which the global and the local sometimes get confused, a reality that is resulting in cultural pasteurization, it is important to reflect on guardianship mechanisms of immaterial cultural heritage, in view of their risk of annihilation. In this context, it deserves attention the institute of the Geographical Indications, part of the legal diploma of intellectual property, governed by Law 9.279 / 96, which was established to promote local development, adding value to products and services from regions that became known as extraction centers, of manufacturing and production of goods and services. In this study, we intend to investigate the extent to which the institute in question lends itself to promote the immaterial cultural heritage. To achieve this goal, it will be used the deductive method of approach and historical and monographic procedure methods. The basic theory to be adopted will be Capra‟s systemic theory. In conclusion, it was obtained that such institute is not limited to promoting economic growth in a given region, but is a mechanism that lends itself to promote and rescue the local culture. Furthermore, geographical indications can be taken by the side of heritage listing, the registry and the inventory, as being able to guard the immaterial cultural heritage. / O Brasil detém uma vasta riqueza ecológica, situação que propicia o surgimento de diversas culturas, posto que existem diferentes formas de interação do ser humano com a natureza. Essa riqueza natural e cultural, nomeada sociobiodiversidade, carece de meios jurídicos capazes de tutelá-la, haja vista o risco de perecimento. Por tal razão, a Constituição Federal, ao conferir proteção ao meio ambiente ecologicamente equilibrado, o fez considerando a dimensão ambiental e cultural, contemplando as dimensões material e imaterial. Dessa forma, tutelou não só a fauna e a flora, mas também manifestações culturais como as tradições, as formas de expressão, as celebrações, os saberes, os modos de fazer, entre outros. Diante disso, ao se considerar a sociedade contemporânea, marcada pelos reflexos da globalização, em que o global e o local por vezes se confundem, realidade que vem acarretando uma pasteurização cultural, é importante refletir a respeito de mecanismos de tutela do patrimônio cultural imaterial, tendo em vista o seu risco de aniquilação. Nesse contexto, merece atenção o instituto das Indicações Geográficas, parte integrante do diploma jurídico da propriedade intelectual, disciplinado pela Lei nº 9.279/96, o qual foi estabelecido a fim de promover o desenvolvimento local, agregando valor a produtos e serviços provenientes de regiões que se tornaram conhecidas como centros de extração, de fabricação e de produção de bens e serviços. Pretende-se, neste estudo, investigar em que medida o instituto em questão se presta a promover o patrimônio cultural imaterial. Para se atingir tal objetivo, serão utilizados o método de abordagem dedutivo e os métodos de procedimento histórico e monográfico. A teoria de base a ser adotada será a teoria sistêmica de Capra. À guisa de conclusão, obteve-se que o referido instituto não se limita a promover o crescimento econômico de uma dada região, mas consiste em um mecanismo que se presta a promover e a resgatar a cultura local. Ademais, as indicações geográficas podem ser tidas, ao lado do tombamento, do registro e do inventário, como aptas a resguardarem o patrimônio cultural imaterial.

Made available in DSpace on 2014-06-11T19:27:49Z (GMT). No. of bitstreams: 0 Previous issue date: 2010-11-19Bitstream added on 2014-06-13T20:17:16Z : No. of bitstreams: 1 gomes_acr_me_rcla.pdf: 1658321 bytes, checksum: d535a82e603f785dc9f51fd6ace472a0 (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP) / É notório que nas últimas décadas as ciências humanas, em geral, e a Geografia, em particular, têm retomado o interesse por estudos referentes às manifestações culturais, especialmente regionais e locais, devido às inúmeras demonstrações de seu fortalecimento frente à tendência de homogeneização cultural orientada pela globalização. A fim de contribuir para a reflexão sobre esses processos, bem como sobre as expressões reconhecidas como patrimônio por seus atores sociais, faz-se necessária a aproximação entre os diferentes segmentos das ciências, contemplando, assim, as dimensões históricas, espaciais e simbólicas das práticas culturais, numa perspectiva interdisciplinar. Desta forma, o presente trabalho apresenta questões referentes às políticas de salvaguarda do patrimônio cultural imaterial desenvolvidas no Brasil para, então, estabelecer um estudo pormenorizado sobre os processos de construção, consolidação e difusão da identidade cultural gaúcha, por meio da análise da formação territorial e social do Rio Grande do Sul e, especificamente, sobre o Movimento Tradicionalista Gaúcho / It is notorious in the last decades the human sciences, in general, and the Geography, have retaken the interest by studies regards to the cultural manifestations, specially regional and local, due to the countless demonstrations of its strengthening before the tendency of cultural homogenization oriented by globalization. In order to contribute to the reflection about these processes, and about the recognized expressions as a heritage by its social actors as well, it is made necessary the approximation among different segments of the science, contemplating, thus, the historical, spacial and symbolic dimensions of the cultural practices, in a interdisciplinary perspective. So, the present work presents questions relative to safeguard policies of the Intangible Cultural Heritage developed in Brazil to, then, establish a detailed studied about the construction, consolidation and propagation of the gaúcha cultural identity, through the analysis of the Rio Grande do Sul‟s territorial and social shaping and, specifically, about the Gaúcho Traditionalist Movement