Il s’agit, dans cette recherche, de penser l’identité portugaise par le biais du cinéma. Pour ce faire, nous proposons le concept de géocinéma comme outil conceptuel qui nous permet de problématiser les relations entre l’espace, l’imaginaire culturel et le cinéma. Ce concept s’appuie sur le principe selon lequel le cinéma représente l’imaginaire collectif en tant qu’il se trouve ancré dans les spécificités des lieux. Ainsi, dans un premier moment, nous réaliserons un travail de conceptualisation où nous présenterons les limites ainsi que les possibilités offertes par notre concept médiateur. Nous soutiendrons que les représentations collectives ne sont pas indépendantes de l’espace occupé par une communauté. Le cinéma, en tant que lieu de projection d’images, se présente alors comme le medium privilégié de transmission de ces représentations. Ensuite, nous mettrons en évidence les idées et les valeurs autour desquelles l’imaginaire portugais s’est constitué en tant qu’espace mental, ainsi que leur relation de dépendance à l’égard de l’espace physique. Enfin, nous mettrons en œuvre le concept de géocinéma à travers l’analyse des films symptomatiques de cette relation entre l’espace physique et l’espace mental du Portugal. Notre analyse concernera les cinéastes et les films qui depuis le nouveau cinéma portugais (1963) problématisent de manière directe ou indirecte la question de l’imaginaire et de l’identité portugaise. / Our purpose is to think the Portuguese identity through the cinema. To do this, we suggest the concept of geocinema as a conceptual tool allowing the analysis of the relations between space, cultural imaginary and the cinema. This concept is based on the principle that the cinema represents the collective imaginary through the projection of images.Firstly, we will present our mediator concept in order to think its possibilities and limits. We will sustain that collective representations depend on the territory occupied by a community and that the cinema is the privileged medium of transmission of these representations.We will then underline the ideas and values that structure the Portuguese cultural imaginary and their relations to the Portuguese territory. Finally, we will apply the concept of geocinema to the analysis of symptomatic films that show the relations between the physical and mental space of Portugal. Our analysis is restricted to the filmmakers and films produced since the new Portuguese cinema (1963), who question directly or indirectly the Portuguese imaginary and identity.

Conselho Nacional de Desenvolvimento CientÃfico e TecnolÃgico / Este trabalho tem como objetivo realizar uma interpretaÃÃo das imagens que Oswald de Andrade elaborou sobre o Brasil e os brasileiros nas obras âPau Brasilâ (1925) e âMarco Zero Iâ (1943). A pesquisa partiu de uma reflexÃo teÃrica sobre a relaÃÃo entre modernidade, naÃÃo e identidade, voltando-se em seguida para elementos da tradiÃÃo do pensamento brasileiro que influenciaram o autor e para a trajetÃria dele, visando estabelecer vÃnculos entre esse pensamento, a biografia e o conteÃdo de seus textos. A escolha das obras foi guiada por dados biogrÃficos e da histÃria do paÃs, uma vez que cada obra foi escrita em momentos distintos da vida nacional e do autor. O primeiro livro foi escrito durante a âRepÃblica Velhaâ, fase de auge artÃstico e financeiro de Oswald. O segundo foi escrito na âEra Vargasâ, por um Oswald militante do Partido Comunista e isolado dos antigos cÃrculos da elite que costumava frequentar. Cada obra apresenta seu universo prÃprio de questÃes, referentes a contextos sociohistÃricos especÃficos e Ãs preferÃncias ideolÃgicas do autor. Percebe-se que ambas as obras compartilham eixos temÃticos, como a relaÃÃo com o estrangeiro, a matriz nacionalista e a tentativa de registrar as idiossincrasias da linguagem brasileira. No entanto, apresentam versÃes distintas do Brasil. Um Brasil para exportaÃÃo, da festa, dos exotismos, das fusÃes e misturas criativas; outro um Brasil fragmentado, permeado por conflitos das mais diversas ordens, desde um conflito civil revelador do choque de interesses das elites estaduais, atà conflitos de ordem Ãtnica e socioeconÃmica. Festa e conflito, celebraÃÃo e guerra sÃo dois eixos a partir dos quais esse autor constrÃi a naÃÃo brasileira em suas pÃginas e o presente texto à um convite a dialogar com essa construÃÃo. / This research intends to develop an interpretation of the images that Oswald de Andrade produced about Brazil and Brazilians in his works Pau Brazil (1925) and Marco Zero I (1943). The study began with a theoretical reflection on the relationship between modernity, nation and identity. Susbsequently, this was followed by a critique of the elements of the tradition of Brazilian thought that influenced the author and his career; in order to establish links between this thought, de Andradeâs personal background and the content of his texts. The choice of the works was guided by the history of the country and biographical details, as each work was written during different times of national significance and the authorâs personal life. The first book was written during the RepÃblica Velha, the zenith both artistically and financially of the author. The second was written in the Vargas era, by a Andrade now militant in the Communist Party, isolated from the elite circles with whom he used to frequent. Each piece presented its own universe of issues relating to these specific socio-historical contexts and ideological preferences of the author. It was observed that both works shared themes between the relationship with foreign countries and immigrants, the nationalist matrix and the attempts to register the idiosyncrasies of the Brazilian language. However, each evoked different versions of Brazil. A Brazil for export - of revelry, exoticisms and creative mixtures; and another Brazil - fragmented, permeated by conflicts of the most diverse origins from civil tensions demonstrated by the clash of interests of state elites, to ethnic and socio-economic struggles. Feast and conflict, celebration and war are the two axes from which the author built the Brazilian nation in his pages, and this work is an invitation for dialogue with his ideas.

CoordenaÃÃo de AperfeiÃoamento de Pessoal de NÃvel Superior / Nesse estudo, investigamos de que forma se configura a construÃÃo do fazer metadiscursivo frente à constituiÃÃo de uma identidade nacional em sambas produzidos no perÃodo compreendido entre 1929 e 1945. A escolha do corpus justifica-se pelo expressivo uso do recurso da metadiscursividade pelos sujeitos discursivos dos sambas em anÃlise, alÃm de ser esse momento marcado por uma expressiva mobilizaÃÃo para se construir uma naÃÃo essencialmente brasileira. A pesquisa à dirigida sob a perspectiva da AnÃlise do Discurso, mais especificamente, a de linha francesa orientada por Dominique Maingueneau. Para abordar a metadiscursividade na canÃÃo, lanÃamos mÃo dos estudos de Bezerra (2005), Carlos (2007), Conforte (2007) e Costa (2009). A partir desses autores, pudemos propor a articulaÃÃo entre os investimentos discursivos desenvolvidos por Maingueneau (1997; 2001; 2002; 2008a; 2008b) â cenografia, gÃnero do discurso, cÃdigo de linguagem e ethos â e as diversas formas autorreferenciais utilizadas pelo enunciador para comentar a linguagem. Dessa forma, pensamos a manifestaÃÃo da metadiscursividade a partir de quatro for-mas: I â o enunciador constrÃi cenografias que acionam o discurso do qual participa (me-tadiscursividade cenogrÃfica); II â o gÃnero do discurso ou seu(s) gÃnero(s) musical(is) à foco de um movimento autorreferencial (metadiscursividade genÃrica); III â o enuncia-dor articula uma aÃÃo de automenÃÃo em torno da explicitaÃÃo do como enunciar, apresen-tando, portanto, comentÃrios em torno do carÃter, da corporalidade ou da voz, constituintes da instÃncia discursiva ethos (metadiscursividade Ãtica); e IV â o enunciador lanÃa mÃo do cÃdigo de linguagem para refletir sobre o cÃdigo de linguagem (metadiscursividade linguÃstica). ApÃs a anÃlise, concluÃmos que a metadiscursividade cenogrÃfica possibilitou a construÃÃo de pretensos sÃmbolos de brasilidade; a metadiscursividade genÃrica favoreceu a fixaÃÃo do gÃnero musical samba; a metadiscursividade Ãtica serviu à afirmaÃÃo de um determinado modo brasileiro de enunciar; e, por fim, a metadiscursividade linguÃstica proporcionou a atribuiÃÃo de um carÃter nacional à lÃngua falada no Brasil. Com isso, percebemos que os enunciadores dos sambas em anÃlise fazem uso de recursos metadiscursi-vos para se constituÃrem, construindo uma identidade nacional que, direta ou indiretamente, se relaciona ao universo literomusical. / In this study, we aim to analyze how the metadiscursive maker is configured in facing the constitution of a national identity in sambas composed between 1929 and 1945. The choice of the corpus is justified by the expressive use of the metadiscursive resource by the discursive subjects in the analyzed sambas, and also because during this period there was an expressive mobilization to build an essentially Brazilian nation. This research follows the perspectives of the French Discourse Analysis, particularly of Dominique Maingueneauâs theories. Basing on Bezerra (2005), Carlos (2007), Conforte (2007) and Costaâs (2009) studies. From them we could propose the articulation between the discursive investments developed by Maingueneau (1997; 2001; 2002; 2008a; 2008b) â scenography, discursive genre, language code and ethos â, and the various autorreferential forms used by the enunciator to comment the language. Thus we think of the metadiscursivity manifestation in four different ways: I â the enunciator represents the scenography in the discourse he takes part in (scenographic metadiscursivity); II â the discursive genre or its subgenre(s) are the focus of an autorreferential movement (generic metadiscursivity); III â the enunciator uses the language code to reflect on the language code (linguistic metadiscursivity); IV â the enunciator articulates an automention action with the explicitness of how to enunciate, presenting, hence, comments about the character, the corporality or the voice, which constitute the discursive instance called ethos (ethical metadiscursivity). After the analysis, we conclude than the scenographic metadiscursivity possibilitated the formation of pretence Brazilian symbols; the generic metadiscursivity favored the fixation of musical generic samba; the ethical metadiscursivity served the affirmation of a determinate Brazilian how to enunciate; and, at last, the linguistic metadiscursivity proportion the attribution of a spoken language nation character in Brazil. With them the samba enunciator we analyze use metadiscursive resources to be constituted, building a national identity which is directly or indirectly related to the literomusical universe.

No Brasil, os anos de 1930 a 1960 irão colher os frutos dos movimentos ocorridos no início do século XX: centralização do poder nas mãos do Estado, alfabetização em massa, uniformização da população, primeira grande guerra, pós-guerra, industrialização, tentativa de democratização. Em meio a esse período sócio-econômico-cultural conturbado, a arquitetura destaca-se como solução para a criação de uma identidade nacional e fortalecimento dos ideais do nosso país como nação. A denominada arquitetura moderna brasileira lança-se em comunhão com o governo, avança e torna-se ícone de renovação mundial. Com a ascensão da nova arquitetura, renasce a arte da azulejaria, adormecida pelos insistentes movimentos de repressão a tudo que se relacionava à arquitetura neocolonial. O processo de reavivamento do material decorreu do fato de o discurso moderno brasileiro casar a tradição com a modernidade e fazer dos materiais nacionais e tradicionais ponte de ligação entre o colonial e a vanguarda. Desse processo, nasce a dissertação, que objetiva estudar a arte da azulejaria durante o movimento moderno com recorte entre os anos de 1930 a 1960 como elemento integrante na conformação de um discurso e de uma arquitetura nacionais. Os estudos de caso elencados para se aprofundar no assunto da azulejaria são o Ministério da Educação e Saúde Pública, no Rio de Janeiro RJ e o Conjunto da Pampulha, em Belo Horizonte MG, composto este pelo Cassino, Casa do Baile, Iate Clube e Igreja de São Francisco de Assis. Perante um processo de globalização mundial e banalização da cultura, o entendimento do papel do azulejo na arquitetura brasileira pode auxiliar na preservação desse bem que é patrimônio nacional e evitar que essa memória seja esvaecida. / In Brazil, the years from 1930 in 1960 will reap the benefits of the movements occurred at the beginning of the twentieth century: centralization of power in the hands of the state, mass literacy, uniformity of the population, first great war, post-war, industrialization, attempt to democratization. In the midst of that troubled socio-economic-cultural period, architecture is referred to as a solution for the creation of a national identity and strengthening the ideals of our country as a nation. The so-called modern Brazilian architecture launches itself in communion with the government, progresses and becomes an icon of worldwide renewal. With the rise of the new architecture, the art of ceramic tile is reborn, wich was dormant by repeated movements of repression to everything that related to the neocolonial architecture. The process of reviving the material was caused by the fact that the Brazilian modern speech joins tradition with modernity and makes the national and traditional materials as linking bridge between the colonial and the vanguard. From this process, a dissertation is born, which aims to study the art of ceramic tile during the modern movement cut between the years of 1930 to 1960 as an integral element in the conformation of a speech and a national architecture. The case studies listed to deepen on the subject of the tile are the building of the Ministério da Educação e Saúde Pública in Rio de Janeiro - RJ and the Conjunto da Pampulha in Belo Horizonte - MG, composed by Cassino, Casa de Baile, Iate Clube and Igreja de São Francisco de Assis. Faced with a word globalization process and the culture trivialization, understanding of the tile role in the Brazilian architecture can preserve this material which is a national treasure and prevent this memory from being erased.

A presente dissertação propõe a análise da imagem do imigrante judeu no romance O tempo e o vento, de Erico Verissimo. A pesquisa examina o procedimento de representação do judeu focando o fenômeno histórico e social da imigração e sua conseqüência na elaboração do mito de construção de nacionalidade, em voga na primeira metade do século. Assim, a questão sobre como a imagem do imigrante surge na obra de Verissimo ganha relevância, uma vez que se pode entender que ao pensar a formação histórica do Rio Grande do Sul, o autor propõe, por meio de uma visão metonímica, uma reflexão sobre a formação do Brasil. Um dos aspectos abordados sobre a imagem do imigrante é a oposição estabelecida entre o imigrante e a burguesia tradicional. Essa última se apóia na tradição e está economicamente ligada à velha oligarquia rural. Na outra ponta da dialética, temos o imigrante europeu, em ascensão, como representante de uma nova burguesia que se constrói na esteira da industrialização e dos fatores que se desdobram na modernização do meio de produção nacional. A titulo de conclusão, a reflexão sobre o imigrante judeu, especificamente, na obra dar-se por meio analise da ação de duas personagens judaicas, o mascate que surge no volume O Continente II, e Stein em nos volumes o Arquipélago I, II, III. O que nos fornece material para pensar temas da ordem da geopolítica global durante o período da Era Vargas, como a ascensão e queda do nazismo e suas conseqüências política e cultura brasileira neste período. / This thesis analyses the image of the Jewish immigrant in the series of novels O tempo e o vento (Time and the Wind) written by the Brazilian author Erico Verissimo. It also examines the representation process of the Jew, without losing sight of the immigration historical and the social phenomenon, and its consequences in the creation process of the mith of nationality construction, in vogue in early 20th century. Thus, the issue related to the way the immigrant image is generated in Verissimo work becomes relevant, once it is possible to comprehend that, having in mind the establishment of the southern Brazilian State of Rio Grande do Sul, the author proposes, in a methonimical look, a reflection on the establishment of Brazil. One of the aspects of the immigrant image considered is the dialectics established between the immigrant and the traditional bourgeoise. This last one lays upon traditional values and is economically connected to the old rural oligarchy. We also have in the dialectics the European immigrant, still rising, representing the new bourgeoise that is established during the industrialization period and the elements that evolve in the modernization process of the national production means. Finally, the reflection on the Jewish immigrant, specifically, happens through the analysis of the action of two jewish characters of O tempo e o vento, the merchant that appears on volume O Continente II, and Stein, that appears on volumes O Arquipélago I, II and III. This analysis gives us elements to think about issues such as global geopolitical order during the Vargas dictatorship period, the rise and fall of the Nazism and its consequences to the Brazilian politics and culture in that period.

O objetivo desta pesquisa é mostrar como a interpretação do conceito Bushidô, pelo pensador e educador Inazo Nitobe, presente na obra Bushido The Soul of Japan, contribuiu para a formação de uma imagem heroicizada dos samurais durante o Período Meiji (1868-1912), e foi utilizada pelos intelectuais da época para fundamentar os valores éticos e morais que todos os cidadãos japoneses deveriam se respaldar, além de ser parte da ideologia nacionalista que se constituía. Bushidô é antigo código de conduta dos samurais japoneses utilizado principalmente no Período Tokugawa (1603-1868) e a utilização do termo por Nitobe, já no Período Meiji, foi condizente com o contexto histórico da época. Veremos que, por meio desta releitura do bushidô tentou-se elaborar um sistema ético moderno a partir de uma tradição inventada, que fornecia um herói nacional (o samurai) reinterpretando costumes nipônicos de modo a associá-los aos conceitos europeus da época, de modo a evidenciar uma evolução social possibilitado necessariamente pela presença e cultivo do caráter moral dos cidadãos. / The objective of this research is to show how the interpretation of the term Bushido, the thinker and educator Inazo Nitobe, present in the work Bushido The Soul of Japan, contributed to the formation of an image heroicized samurai during the Meiji Period (1868-1912), and was used by the intellectuals of the time to support the ethical and moral values that all Japanese citizens should be backed, and is part of the nationalist ideology that was. Bushido code of conduct is ancient Japanese samurai used mainly in the Tokugawa Period (1603-1868) and the use of the term by Nitobe, since the Meiji Period, was consistent with the historical context of the time. We will see that through this remake of Bushido tried to develop a modern system of ethics from an invented tradition, which provided a national hero (samurai) reinterpreting customs Nips to associate them with European concepts of time, so to show a social evolution necessarily made possible by the presence and cultivation of moral character of citizens.

O trabalho em questão tem por objetivo geral verificar quais visões acerca dos indígenas ficaram registradas nas narrativas do século XIX no Brasil e na Argentina. Para tanto, analisamos os textos Etnologia Americana, presente na obra Conflicto y armonias de las razas en América, de Domingo Faustino Sarmiento, e o romance indigenista O Guarani, de José de Alencar. Utilizamos a metodologia da análise comparativa para compreendermos alguns aspectos sociais dos dois países que, apesar de apresentarem realidades distintas, fizeram parte de um complexo quadro político, cultural e social da América Latina no século XIX; os dois países procuravam constituir-se enquanto Nação, tendo que solucionar algumas demandas herdadas do período colonial. O esforço de elaboração de um projeto nacional passava pela construção e reconhecimento de um passado nacional que incluía a questão indígena. Essa especificidade, inerente aos países latino-americanos, moveu nosso interesse para a pesquisa, dirigindo o esforço filológico no sentido interpretar como os textos acima mencionados apresentavam os indígenas. Com a finalidade de ampliar nossa compreensão sobre o tratamento dado à temática indígena no século XIX, realizamos leituras interdisciplinares que nos auxiliaram no sentido de revelar como se dava a produção do pensamento social, elemento que fundamentava as visões que os textos nos apresentam. / The work in question aims at general check which visions about the indigenous were recorded in the 19th century narratives in Brazil and in Argentina. To this end, we analyze the texts \"American Ethnology\", present in the work \"Conflicto y armonias de las razas en América\" by Domingo Faustino Sarmiento, and the Indian novel O Guarani, by José de Alencar. We use the methodology of comparative analysis to understand some social aspects of the two countries which, although present distinct realities, they were part of a complex political, cultural and social framework of Latin America in the 19th century; the two countries sought to establish itself as a nation having to solve some inherited from the colonial period demands. The effort to develop a national project passed by construction and recognition of a national past that included the indigenous question. This specificity, which is inherent to Latin American countries, moved our interest for research, driving the philological effort to interpret how the texts mentioned above presented the natives. In order to broaden our understanding of the treatment given to indigenous issues in the 19th century, we conduct interdisciplinary readings that helped to reveal how was the production of social thought, the aim that justify the visions that the texts present us.

Em finais da década de 1930, mais especificamente entre 1937 e 1940, o estado brasileiro se fez representar internacionalmente com a construção oficial de pavilhões nacionais em quatro grandes exposições universais: a Exposition Internationale des Arts e Techniques dans la Vie Moderne (Paris, 1937); a New York Worlds Fair (1939-1940), a Golden Gate International Exposition (São Francisco, 1939-1940) e a Exposição do Mundo Português (Lisboa, 1940). Procedentes de uma tradição de quase um século de grandes exposições universais, chama atenção as particularidades do cenário político internacional em que esses eventos tiveram lugar: a década de 1930 se caracterizou por crises econômicas em escala global, pela força dos discursos nacionalistas, pela ascensão em suas vertentes tanto mais brandas quanto mais terríveis da chamada política de massas e, já em seus últimos anos, pelo início da Segunda Guerra Mundial. Tampouco o cenário nacional brasileiro da década de 1930 seria tranquilo, marcado por instabilidades, a subida ao poder de Getúlio Vargas e finalmente o golpe que daria início à política ditatorial do Estado Novo. A presente tese aborda a idealização, concepção arquitetônica e concretização espacial dessas exposições bem como a participação brasileira nesses processos problematizando suas inserções no contexto arquitetônico e político do período em que foram realizadas. Busca-se entender as articulações e circuitos diversos de negociação, referência e disputa pelos quais as decisões no campo da arquitetura relacionaram-se com as múltiplas escalas de poder e projetos políticos na conformação desses espaços de representação. / In the late 1930, more specifically between 1937 and 1940, the Brazilian State represented itself internationally with the construction of official national pavilions on four great Worlds Fairs: the Exposition Internationale des Arts and Techniques dans la Vie Moderne (Paris, 1937); the New York World\'s Fair (1939-1940), the Golden Gate International Exposition (San Francisco , 1939-1940,) and the Exposição do Mundo Português (Lisbon, 1940). Coming from a tradition of nearly a century of World\'s Fair, there were some particularities in the international political scenario in which these events took place: the decade of 1930 was characterized by economic crises on a global scale, by the strength of nationalist speeches, by the rise in its more tender and most terrible aspects of the so-called policy of masses and, in its later years, by the beginning of World War II. Either the Brazilian national scenario of the decade of 1930 would be peaceful, marked by instability, the rise to power of Getúlio Vargas and finally the coup that would begin the dictatorial period of the Estado Novo. This thesis discusses the idealization, architectural conception and implementation of these Worlds Fairs as well as the Brazilian participation in these processes drawing attention to the architectural and political context of the period. The aim is to understand the connections and circuits of negotiation, reference and dispute in which the decisions in architectural specific field related with the multiple scales of power and political projects in the conformation of these spaces of representation.

This thesis attempts a re-interpretation of late nineteenth-century agricultural depression, specifically in England, by complementing economic histories to suggest a hitherto neglected cultural component equally defined Victorian comprehension of both the phenomenon's geographic distribution and symbolic form. Adopting recent theoretical shifts in historical geography that validate the use of literary evidence in combination with economic data sources, the thesis claims depression was constructed from an accretion of mythologised layers of meaning deposited unconsciously or otherwise. These symbolic forms influenced spatial outcomes both in material and imaginary realms, and the nature of debate at varying levels from fanning debates to intellectual discourses. The thesis examines three distinct examples of the accumulation and distribution of depression symbolism and how each signification was acted upon by different discursive communities. Firstly, attention will be directed towards farming behaviour and the consumption of depression myth. Critically the thesis suggests within farming, depression emerged as a state of mind that inhibited the production of indigenous solutions, thus further propagating depression. Secondly, the thesis moves on to examine how the- technicalities of agrarian debate were seized by wider national debates, thus further codifying the depression with numerous social anxieties such as fin de siecle fears, national destabilisation and racial degeneration. Interestingly, icons of failure conferred upon depression within this higher level of discursive interaction are returned to the parochial level, further influencing farming behaviour. An additional implication suggests the geography of depression is heavily skewed towards a perceived threat to an invented homeland at a time of emergent national identities. Finally, the thesis considers an agrarian-led response to farm failure, the introduction of small holdings and the philosophy of la petite culture, as a potential solution. The theoretical basis of land reform campaigns envisaged a major overhaul of the failed rural order of patrician sponsored agriculture, yet were influenced by the accumulated mythology of depression. Thus farm failure as conceived within imaginary geographies proved as persuasive in interpreting depression as physical expressions of distress in real space.

L’Argentine a suivi au XIXème siècle un modèle de construction de nation inspiré des modèles européens. De nombreux débats ont accompagné ce processus, dans lequel l’organisation du système éducatif a été l’une des préoccupations du pouvoir politique. Dans ce travail, on a principalement étudié la participation progressive de l’Etat dans l’organisation du système éducatif national à travers l’analyse des discours concernant l’importance des langues et leur rôle dans le processus de consolidation nationale.La problématique a été construite autour de trois axes. Le premier concerne l’évolution des enseignements des langues étrangères dans deux domaines (public et privé); le deuxième traite de l'interaction entre la langue nationale et les autres langues, au niveau éducatif et social. Le dernier axe analyse l’impact de l’immigration européenne dans la société, notamment du point de vue des transformations linguistiques, éducatives et culturelles. Sur le plan méthodologique, la recherche a été organisée autour de l'analyse des discours contemporains présentant l'utilité, voire la nécessité de l'enseignement des langues dans un pays qui se voulait moderne et ouvert sur l’étranger. Les appréciations et les jugements de valeur, les spécificités attribués à chaque langue ont été relevés afin de saisir les enjeux cachés derrière les débats. Les résultats obtenus ont permis de déterminer l'influence des discours sur les langues dans le processus de transformation de la société argentine.Cette thèse veut apporter un autre regard sur les problèmes d'ordre linguistique et identitaire dans une période de forts changements politiques, sociaux et culturels (1810-1910) et ouvrir la voie à de nouvelles recherches dans le domaine de l'histoire de l'enseignement des langues en Argentine. / During the 19th century, Argentina followed a model of nation inspired in European ones. This process, together with numerous debates and the organization404of the educational system was one of the worries of the political power. In this thesis, we studied principally the progressive participation of the State during the creation and organization of the National Education System through the analysis of discourses connected to the relevance of languages and their role in the process of national consolidation.This issue is built around three axes (main points). The first axis is related evolution of foreign languages teaching in both state and private settings; the second one focuses on the interaction between a national language (Spanish) and other languages, in the educational and social area. The last one to analyse is the impact of European immigration in society, particularly from the point of view of linguistic, cultural and educational transformations, principally because Argentina is the only country that received, during the analysed period, a larger number of immigrants than the native population.Within methodological area, in this thesis, we analysed the contemporary discourses that present the utility, better, the necessity of teaching languages in the building of a country that was meant to be modern and open to the outside. Appreciations and judgements, as well as stereotypes and specifications attributed to each language have been analysed with the aim of perceiving what was at stake behind linguistic and didactic debates.The results obtained allowed to determinate the influence of the language discourses in the process of transformation of Argentina’s society. On the other hand, the study plans and the programs analysed made it possible to verify the concrete changes operated in the educational system and to thus establish the interrelation between discourses of the most powerful part of society that show its desire of being able to inscribe Argentina in the concert of the most powerful nations and the concrete actions taken/ put into practice.This thesis wants to offer another look to the linguistic and identity problems, on a period of deep changes, political, social and cultural and to open the way to the new researches in the language learning history in Argentina.