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No description available.

O estudo das comunidades Jutaí-Mirim, Campo Verde e Nova Esperança localizadas no município de Concórdia do Pará permite a compreensão acerca dos caminhos da regularização fundiária no Pará. O estudo busca elucidar a diversidade de formas de regularização das terras e, se esta serve de modelo ou não para a diversidade de configuração territorial na região. Busca também compreender como a diversidade de relações entre as comunidades e outros grupos externos a elas acaba por intervir no processo de escolha dos proprietários agrícolas sobre a melhor forma de regularizar suas terras. Para a realização do estudo foram de fundamental importância diversos procedimentos, como a pesquisa de campo, desenvolvida com base na Observação do Participante, na História de Vida, entrevistas abertas/livres e semi-estruturadas, e, diversos registros fotográficos como forma de retratar as práticas sócio-territoriais das famílias. Além da pesquisa de campo foi necessário o levantamento bibliográfico e documental em diversas instituições e entidades. As comunidades Nova Esperança, Campo Verde e Jutaí -Mirim estão localizadas no município de Concórdia do Pará, estado do Pará, e desde fins da década de 1990, as famílias destas comunidades vêm vivenciando intensas discussões sobre a melhor forma de conseguir a regularização de suas posses. O resultado de longos anos de debates foi que, ao invés das três comunidades serem reconhecidas como comunidades remanescentes dos quilombos, que era a proposta inicial, duas delas optaram por escolher outros procedimentos para a regularização. Movimentos sociais, Igreja e entidades tiveram um importante papel nessas escolhas. / The study communities Jutaí-Mirim, Campo Verde and Nova Esperança in the municipality of Concórdia do Pará gives an understanding about the ways of land tenure in Para The study aims to elucidate the diversity of forms of regularization of the land and forge it or not also a diversity of territorial configuration in the region. It also seeks to understand how the different relationships between communities and other groups external to them eventually intervene in the process of choice for farmers on how best to regulate their land. To conduct the study were of fundamental importance various procedures, such as field research, developed based on Participant Observation, in the History of Life, open interviews / open and semi-structured, and as a portrayal of the socio-territorial practices of families were performed several photographs. Besides the field survey was necessary to the bibliographic and documentary in various institutions and entities. Communities Nova Esperança, Campo Verde and Jutaí- Mirim is located in the municipality of Concórdia do Pará, Pará State since the late 1990s, the families of these communities have been experiencing intense discussions about how best to achieve settlement of their possessions . The result of many years of discussion was that, instead of the three communities are recognized as remnants of Quilombo communities, which was originally proposed, two of them chose other procedures for the settlement. Social movements, church organizations and played an important role in these choices.

O estudo das comunidades Jutaí-Mirim, Campo Verde e Nova Esperança localizadas no município de Concórdia do Pará permite a compreensão acerca dos caminhos da regularização fundiária no Pará. O estudo busca elucidar a diversidade de formas de regularização das terras e, se esta serve de modelo ou não para a diversidade de configuração territorial na região. Busca também compreender como a diversidade de relações entre as comunidades e outros grupos externos a elas acaba por intervir no processo de escolha dos proprietários agrícolas sobre a melhor forma de regularizar suas terras. Para a realização do estudo foram de fundamental importância diversos procedimentos, como a pesquisa de campo, desenvolvida com base na Observação do Participante, na História de Vida, entrevistas abertas/livres e semi-estruturadas, e, diversos registros fotográficos como forma de retratar as práticas sócio-territoriais das famílias. Além da pesquisa de campo foi necessário o levantamento bibliográfico e documental em diversas instituições e entidades. As comunidades Nova Esperança, Campo Verde e Jutaí -Mirim estão localizadas no município de Concórdia do Pará, estado do Pará, e desde fins da década de 1990, as famílias destas comunidades vêm vivenciando intensas discussões sobre a melhor forma de conseguir a regularização de suas posses. O resultado de longos anos de debates foi que, ao invés das três comunidades serem reconhecidas como comunidades remanescentes dos quilombos, que era a proposta inicial, duas delas optaram por escolher outros procedimentos para a regularização. Movimentos sociais, Igreja e entidades tiveram um importante papel nessas escolhas. / The study communities Jutaí-Mirim, Campo Verde and Nova Esperança in the municipality of Concórdia do Pará gives an understanding about the ways of land tenure in Para The study aims to elucidate the diversity of forms of regularization of the land and forge it or not also a diversity of territorial configuration in the region. It also seeks to understand how the different relationships between communities and other groups external to them eventually intervene in the process of choice for farmers on how best to regulate their land. To conduct the study were of fundamental importance various procedures, such as field research, developed based on Participant Observation, in the History of Life, open interviews / open and semi-structured, and as a portrayal of the socio-territorial practices of families were performed several photographs. Besides the field survey was necessary to the bibliographic and documentary in various institutions and entities. Communities Nova Esperança, Campo Verde and Jutaí- Mirim is located in the municipality of Concórdia do Pará, Pará State since the late 1990s, the families of these communities have been experiencing intense discussions about how best to achieve settlement of their possessions . The result of many years of discussion was that, instead of the three communities are recognized as remnants of Quilombo communities, which was originally proposed, two of them chose other procedures for the settlement. Social movements, church organizations and played an important role in these choices.

Après avoir passé plus de 4 ans dans des camps de travail forcé, Jonas Mekas, lituanien, est déporté avec son frère par les Nations-Unies en 1949 aux États-Unis. Les deux rescapés de la seconde guerre mondiale dédient alors leur temps au cinéma. Dès leur arrivée, ils se procurent une caméra 16 mm bolex et se tournent vers le cinéma expérimental, grâce, entre autre, à une de ces cinéastes pionnières américaine Maya Deren. En marge de l'industrie cinématographique hollywoodienne, Jonas Mekas participe à l'édification de structures - coopératives, associations, magazines, journaux - afin de rendre accessible ce genre filmique, de lui obtenir une reconnaissance publique et de, ultimement, le préserver. En 1969, il réalise un film intitulé "Diaries, Notes and Sketches : Also Known as Walden". Mekas réalise ensuite des films qui réemploient des séquences qui se trouvent dans cette première ébauche filmique. Ce processus se retrace au sein de son « premier essai » numérique qu'il réalise à l'ère cybériste intitulé "The First Forty" (2006), composé de vidéos et de descriptions textuelles. Tout comme il l’avait fait avec Walden, Mekas présente explicitement celui-ci à un public, en l’occurrence son nouveau public d'internautes, qui en prend connaissance sur son site web officiel. La présentation numérique et la table des matières papier accompagnant "Diaries, Notes and Sketches : Also Known as Walden" rédigée par l'artiste en 1969 ont une fonction similaire au sens où, par elles, Jonas Mekas donne ces deux créations aux spectateurs. Nous avons choisi d'employer le terme de dispositif pour parler de ces « objets » qui font appel à diverses formes énonciatives afin de créer un effet spécifique chez le spectateur. En explorant la théorie sociologique moderne du don développée par Jacques T. Godbout, notre projet a été de relever « l'esprit de don » qui se retrace au sein de ces dispositifs. Cette étude nous permet de constater que les dispositifs audiovisuels / cinématographiques que développa Mekas sont des « objets » qui peuvent être reçus tel des dons suscitant le désir de donner chez les spectateurs. Ils sont le ciment symbolique personnel et collectif nécessaire à l’accomplissement du processus de « reconnaissance » qu’implique le don. / Having spent more than 4 years in camps of forced labor, Jonas Mekas, Lithuanian, is deported by the United-Nations in 1949 to the United States. With his brother, both survivors of the Second World War, they manage to acquire a bolex 16 mm camera. Outside the Hollywood cinematographic industry, Mekas participates to the institutionalization of the underground artistic community by creating cooperatives, associations and magazines. Mekas is devoting his time to make experimental film genre accessible and allows it to become publicly recognized for its artistic value, which would lead towards protecting and preserving it. In 1969, Mekas produced "Diaries, Notes and Sketches: Also Known has Walden" which condense 4 years of capturing everyday events, people, New York, nature. From his Walden, Mekas will reuse some sequences found in this first draft when comes the time to edit new films. In 2006, Mekas produces his “first digital essay” entitled "The First Forty" (2006). It consists in a presentation of his cinematic labor to a new public, his “new Internet Audience”, in which sequences of Walden appear. Accessible on his official website, this digital piece is composed by videos and their textual descriptions, reminding us of Diaries, Notes and Sketches: Also Known has Walden and its table of content drafted by the artist in 1969. These two apparatus have a similar function : by them, Jonas Mekas explicitly gives these two pieces to the spectators. By investigating the sociological “gift theory” developed by the Jacques T. Godbout, our project was to reveal how “the gift spirit" can be found within those two creations. This study allows us to believe that audiovisual/cinematographic apparatus created by Mekas are “objects” which can be received such as gifts leading to arrouse the spectator’s desire to give in his turn. In this way, they are personal and collective symbolic cement necessary for the fulfillment of the process of “recognition” which involves the gift spirit.

No description available.