The Indianist theme in Latin America began almost as soon as the first white man set foot on American soil. Earliest writings took the form of social protests over the poor treatment which was meted out to the Indians and abuses which were committed against them. Shortly before Christmas in 1511, Fray Antonio de Montesinos delivered a stinging sermon against the Spaniards for their maltreatment of the Indian:

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Tener un panorama privilegiado del espectro continuo, y conocer el mundo calidoscópico que ofrece un escritor -mediante el conjunto de sus obras-, es parte de la gratificación que obtenemos como lectores perseverantes, atentos, ávidos. De esta manera, disfrutamos mejor de las entrelíneas de una determinada poética en la medida en que conocemos, interiorizamos y aprehendemos la mayor cantidad de elementos y relaciones que componen un particular universo de ficción. El lector totalizante que detenta el universo de un escritor -aquél que devora obra tras obra, poseso por los personajes, los parajes, acciones y dramas que llevan un estigma, un código de creación o de elaboración- se diferencia del lector no especializado que, de manera aleatoria, se satisface con dos o tres obras de un determinado autor. / Tesis

Au XXᵉ siècle, des compositeurs non-guitaristes commencent à composer des œuvres pour la guitare mais avec des lacunes dans leur compréhension des spécificités techniques de l'instrument. Certains consultaient un guitariste pour obtenir des conseils techniques, mais d'autres publiaient des œuvres souvent techniquement maladroites, voire impossibles. Un exemple notable en est Mario Castelnuovo-Tedesco (1895-1968). Au départ, il composa de la musique pour guitare en collaboration avec Andrés Segovia (1893-1987), puis en collaboration avec d'autres guitaristes. Ses dernières œuvres pour guitare furent publiées à titre posthume sans avoir été révisées par un guitariste, par exemple Platero y yo, op.190 pour guitare et narrateur, l'une de ses œuvres pour guitare les plus importantes. Cette recherche documente mon processus d'adaptation de Platero y yo dans lequel je me suis efforcé de trouver un équilibre entre la fidélité à la partition originale, le contexte narratif et l'efficacité technique et sonore des différentes solutions que j'ai expérimentées. / In the 20ᵗʰ century, non-guitarist composers began composing solo works for the guitar but lacked a sufficient understanding of the instrument's technical specificities. Some would consult with a guitarist for technical guidance, but others would publish works that are often technically awkward or even impossible. A notable example of this is Mario Castelnuovo-Tedesco (1895-1968). Initially, he wrote music for the guitar in collaboration with Andrés Segovia (1893-1987), then in collaboration with other guitarists. His late works for the guitar were posthumously published without having been revised by a guitarist. A notorious example of this is Platero y yo, op.190 for guitar and narrator, one of Castelnuovo-Tedesco's major guitar compositions. This research documents my adaptation process of Platero y yo in which I strived to find a balance between faithfulness to the composer's score and to the narrative context, and the technical and sonic effectiveness of the different solutions I experimented with.

A partir des années 1960, la fiction hispano-américaine connaît un essor sans précédent, auquel la critique littéraire internationale a donné le nom très contesté de boom. Le principal problème de ce terme est qu’il renvoie à un phénomène touchant à la fois la production et la diffusion de la littérature hispano-américaine.Notre travail prose une relecture du phénomène à travers l’étude de la traduction et de la réception de Julio Cortázar, Carlos Fuentes, Gabriel García Márquez et Mario Vargas Llosa en France et aux Pays-Bas entre 1960 et 1973.En retraçant l’historique des premières traductions et en analysant le contexte éditorial dans lequel elles sont arrivées, nous montrons l’existence d’écarts profonds séparant les deux pays dans la traduction des quatre auteurs, n’illustrant pas toujours leur position théorique au sein de l’espace mondial de la traduction, et le rôle importants joués par certains intermédiaires culturels. Par le biais d’une étude de traduction et de réception, nous mettons aussi en évidence le rôle de médiation joué par les traducteurs et la critique littéraire entre les œuvres originales et le lecteur final dans les deux pays de référence. / Spanish-American fiction has been developing unprecedented from the 1960’s, what has been given the highly contested name of boom by international literary critics. The main problem of that term is that it refers to a phenomenon affecting both the production and distribution of Spanish-American literature.Our work is a reading of the phenomenon through the study of translation and reception of Julio Cortázar, Carlos Fuentes, Gabriel García Márquez and Mario Vargas Llosa in France and in the Netherlands between 1960 and 1973.In tracing the history of the early translations and analysis of the editorial context in which they arrived, we show the existence of profound differences between the two countries in the translation of the four authors, which do not illustrate their theoretical position in the world space of translation, and the important role played by certain cultural intermediaries. Through a study of translation and reception, we also highlight the mediating role played by translators and literary criticism between the original texts and the final reader in the two reference countries.

Certains des acteurs de ce groupe italien, déterminés à faire éclater les limites des genres pour mieux les interroger, s'emparent tout particulièrement des arts de la scène pour investir des espaces de création collectifs. Cette thèse procède à l'étude des productions théâtrales de Jannis Kounellis, Giulio Paolini, Michelangelo Pistoletto et Mario Ceroli. Quatre démarches scénographiques singulières, qui se distinguent par leur ampleur. Ainsi, cette recherche s'emploie à dévoiler les multiples croisements à l'intérieur du courant, en découvrant les échanges entre arts plastiques et arts du spectacle. Il s'agit à la fois d'éclairer l'œuvre des artistes autour de l'Arte Povera et de comparer ces expériences aux activités dites de "théâtre d'artiste", en considérant aussi le rôle essentiel de l'environnement théâtral des années soixante et soixante-dix en Italie, dans le contexte d'une création expérimentale prolifique et révolutionnaire. L'ambition est de présenter les modalités de cette pratique spécifique dans l'œuvre des membres de l'Arte Povera pour l'étendre à un questionnement plus général au regard de la création d'autres artistes dans ce même registre. / Arte Povera's works and productions constantly challenge the traditional fundamentals of History of Art, thus leading to the exploration of new artistic fields. Some members of the Italian group, in their will to break the limits between genres in order to question these very limits, concentrate on theatre to invest collective and creative spaces. This PhD is an analysis of the theatrical works by Jannis Kounellis, Giulio Paolini, Michelangelo Pistoletto and Mario Ceroli. These four specific approaches distinguish themselves by their ambitions and their scales. This university research aims at revealing the multiple intersections within the group, by exploring the interactions between visual arts and performing arts. The issue at stake is both to shed light on artists and works from the Arte Povera and to compare their experiences to the theatre, while considering the central role of the theatrical environment in the sixties and seventies in Italy in a time of revolutionary and prolific experimental creation. The ambition is to present the details of these specific artistic practices that characterize the approaches of Arte Povera's members, and then to extend this analysis to a more global questioning of other artists' approaches sharing the same concerns.

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2018-07-11T12:31:34Z No. of bitstreams: 1 José Lúcio da Silva Menezes.pdf: 1078461 bytes, checksum: e1f115ad8f67ca49b3879da7c9c93eed (MD5) / Made available in DSpace on 2018-07-11T12:31:34Z (GMT). No. of bitstreams: 1 José Lúcio da Silva Menezes.pdf: 1078461 bytes, checksum: e1f115ad8f67ca49b3879da7c9c93eed (MD5) Previous issue date: 2018-04-13 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This dissertation examines the ethnic and cultural diversity of the Brazilian people in Mario de Andrade’s work Macunaíma - a consecrated literature work that has been object of numerous other investigations. A specific inquiry gave the north to this research: could Macunaíma's character be taken as an expression of a given representation of the Brazilian people? An issue that problematizes Mario de Andrade rhapsody, because the main character was enshrined as an emblem of national identity that was a concern of the nationalism at that time. Macunaíma was noted for his uncharacteristic characteristics attributed to him by the modernist author: hero without character, selfish, with exaggerated sexuality, lazy and very astute. The National identity that was part of the debates proposed by the modernists during of the Modern Art Week of 1922 had as objective to recover the popular culture. Thus Macunaíma, which is the result of an intense research on Brazilian people culture, accomplishes, in some way, the yearnings of that movement / Esta tese examina a diversidade étnica e cultural do povo brasileiro no livro Macunaíma, de Mário de Andrade – uma obra consagrada e objeto de inúmeras outras investigações. Uma indagação deu o norte a este trabalho: o caráter de Macunaíma poderia ser tomado como expressão de uma dada representação sobre o povo brasileiro? Trata-se de uma questão que problematiza a rapsódia de Mario de Andrade, pois o personagem central sagrou-se como emblema da identidade nacional – o que era uma preocupação do nacionalismo vigente naquele período. Macunaíma se notabilizou pelas características nada abonadoras que lhe atribui o autor modernista: herói sem caráter, egoísta, de sexualidade exacerbada, preguiçoso e muito astucioso. A identidade nacional que era parte dos debates propostos pelos modernistas da Semana de Arte Moderna de 1922 tinha como princípio recuperar a cultura popular. Assim, Macunaíma, que é resultado das intensas pesquisas de Mario de Andrade sobre a cultura do povo brasileiro, realiza, de certa forma, os anseios daquele movimento

Os longas-metragens \"Tabu\" (1982) e \"O mandarim\" (1995), de Julio Bressane, reinterpretam a história da canção popular brasileira de Mario Reis até a Tropicália, usando referências do modernismo e do próprio tropicalismo e questionando as influências populares, eruditas e estrangeiras da música brasileira. / Julio Bressanes films Tabu (1982) and O mandarim (1995) interpret the story of Brazilian popular music from Mario Reis until the Tropicália movement. The director uses Brazilian modernisms and Tropicalisms references to question the popular, the erudite and the foreigner influences in Brazilian music.

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[pt] O objetivo do presente trabalho é discutir as propostas estéticas dos modernismos de Mário de Andrade e de Almada Negreiros como respostas específicas a uma experiência de crise civilizacional. Este entendimento do seu tempo como período de viragem histórica suscitou diferentes propostas baseadas em expectativas diversas de futuro. Esta abordagem parte do pressuposto de que a representação artística se apresenta de forma intimamente relacionada à percepção do espaço e sua relação com os corpos. O modernismo, como forma simbólica, está intimamente relacionado com uma alteração significativa da percepção espaço temporal. Entretanto, essa dialética entre movimento artístico (modernismo) e experiência de espaço (modernidade) produziu na crítica literária uma avaliação do modernismo como uma resposta cultural à experiência da modernidade. Essa leitura relaciona-se com uma visão da modernidade como uma linha contínua de avanços tecnológicos, sociais, econômicos, etc., que surgem em centros e se espalham em direção à periferia. A partir desta interpretação produziram-se conceitos como modernismo tardio, modernismo periférico ou atraso cultural. A análise se propõe a situar as doutrinas e práticas estéticas agrupadas sob o conceito de modernismo em relação a conjunturas internas de cada país e a conjunturas internacionais num complexo mapa de coordenadas geopolíticas. Para isso, a Tese se estrutura em quatro pilares fundamentais de sustentação: Modernos, modernidades e modernismos; Futurista?! Em busca de uma expressão moderna de nacionalidade; Modernismos em modernidades incipientes: a insuficiência de invenções características da segunda revolução industrial nas narrativas romanescas de Mário de Andrade e Almada Negreiros; Modernismos e Estados Novos: os projetos de transformação cultural na esfera política do Salazarismo e do Varguismo. A partir destes pontos, o trabalho se pretende a associar o modernismo, não como uma dinâmica que surgiu no centro e se espalhou pela periferia como aplicação de um discurso estrangeiro, mas antes como a constituição de uma problemática impulsionadora de questionamentos diversos nas instâncias de entrecruzamento da cultura, da política e da arte. / [en] Modernisms in incipient modernities: Mário de Andrade and Almada Negreiros. The objective of the present work is to discuss the modernist aesthetical proposals from Mário de Andrade and Almada Negreiros as specific responses to an experience of civilizational crisis. This understanding of the time as a period of historical shift produced different proposals based on diverse expectations of future. This approach is based on the prerogative that the artistic representation presents itself intimately related to the perception of space-time and its relations with the bodies. The modernism, as symbolic form, is intimately related to a significant change in space-time perception. However, the dialetic between artistic movement (modernism) and experience of space (modernity) produced in the literary critique an evaluation of modernism as a cultural response to the experience of modernity. This reading in related to a understanding of modernity as a continuous line of technological, social and economical advances that occurred in centers and spread to the peripheries. From this interpretation concept such as late modernism, peripheral modernism and cultural delay were produced. The present analysis intend to situate the doctrines and aesthetical practices grouped under the concept of modernism in relation to the internal conjunctures of each country and the international conjunctures in a complex map of geopolitical coordinates. Thereunto, the Thesis structure itself in four fundamental supporting pillars: Moderns, modernities and modernisms; Futurist?! Searching for a modern expression of nationality; Modernisms in incipient modernities: the insufficiency of characteristic inventions from the second industrial revolution in the prosaic narratives from Mário de Andrade and Almada Negreiros; Modernism and New States: the projects of cultural transformation in the political field of Salazarism and Varguism. From these topics the work intends to associate modernism, not with a dynamic that rise in the centers and spread to the peripheries as application of a foreign speech, but rather as the constitution of a problematic that produced e diverse investigations in the lathing among culture, politics and arts.