Made available in DSpace on 2014-12-17T13:53:34Z (GMT). No. of bitstreams: 1 AndessonAC_DISSERT.pdf: 1284523 bytes, checksum: 20f0d31b68c348aad2fbd67ecc3bd15c (MD5) Previous issue date: 2012-08-17 / Since the emergence of the first demands for actions that were intended to give greater attention to culture in Brazil, came the first discussions which concerned the way the Brazilian government could have a positive influence in encouraging the culture, as is its interaction with the actors interested and involved with the cause. During the military dictatorship, there were programs which relied on the direct participation of the State to ensure that right, from the viewpoint of its support and implementation of public resources in developing the "cultural product" to be brought to society in its various forms of expression - all this, funded by the government. It is an example of "EMBRAFILMES" and "Projeto Seis e Meia", continued until the present day in some regions of the country, though maintained by entities not directly connected with the administration or the government. However, it was from the period of democratization and the end of the dictatorship that the Brazilian government began to look at the different culture, under its guarantee to the society. Came the first incentive laws, led by "Lei Sarney" N? 7.505/86, which was culture as a segment which could receive foreign assistance in order to assist the government in fulfilling its public duty. After Collor era and the end of the embargo through the encouragement of culture incentive laws, consolidated the incentive model proposed in advance of Culture "Lei Sarney" and the federal laws, state and local regimentares as close to this action. This applies to the Rouanet Law (Lei Rouanet), C?mara Cascudo Law (Lei C?mara Cascudo) and Djalma Maranh?o Cultural Incentive Law (Lei de Incentivo ? Cultura Djalma Maranh?o), existing in Natal and Rio Grande do Norte. Since then, business entities could help groups and cultural organizations to keep their work from the political sponsorship under control and regiment through the Brazilian state in the form of their Cultural Incentive Law. This framework has contributed to the strengthening of NGOs and with the consolidation of these institutions as the linchpin of Republican guaranteeing the right to access to culture, but corporate social responsibility was the one who took off in the segment treated here, through the actions of Responsibility Cultural enterprises arising from the Cultural Organizations. Therefore, in the face of this discourse, this study ascertains the process of encouraging the Culture in Rio Grande do Norte from the Deviant Case Analysis at the Casa da Ribeira, the main Cultural Organization that operates, focused action in Natal in order to assess the relationships established between the same entity and the institutions which are entitled to maintain the process of encouraging treated in this study - Enterprise, from the viewpoint of corporate sponsorship and Cultural Responsibility and State in the form of the Laws Incentive Funds and Public Culture Incentive / Com o surgimento das primeiras demandas por a??es que visassem dar maior aten??o ? Cultura no Brasil, vieram as primeiras discuss?es as quais diziam respeito ao modo como o Estado brasileiro poderia interferir positivamente no ?mbito do incentivo ? Cultura, tal qual a sua intera??o com os atores interessados e envolvidos com a causa. Durante a Ditadura Militar, surgiram programas os quais contavam com a participa??o direta do Estado na garantia desse direito, na ?tica do seu apoio e na aplica??o de recursos p?blicos na elaborar do produto cultural a ser levado ? sociedade nas suas diversas formas de express?o isto tudo, financiado pelo pr?prio governo. ? o exemplo da EMBRAFILMES e do Projeto Seis e Meia , continuado at? os dias de hoje em algumas regi?es do pa?s, ainda que mantido por entidades n?o vinculadas ? administra??o direta ou ao poder p?blico. Todavia, foi a partir do per?odo da redemocratiza??o e do fim da ditadura que o Estado brasileiro passou a olhar para a Cultura diferente, no ?mbito de sua garantia junto ? sociedade. Surgiram as primeiras leis de incentivo, encabe?adas pela Lei Sarney , N? 7.505/86, na qual tratava a Cultura como um segmento o qual poderia receber ajuda externa, de modo a auxiliar a administra??o p?blica no cumprimento do seu dever p?blico. Ap?s a era Collor e o fim do embargo ao incentivo ? Cultura atrav?s das Leis de Incentivo, consolidou-se o modelo de incentivo ? Cultura de antem?o proposto na Lei Sarney e as Leis federais, estaduais e municipais como regimentares junto ? essa a??o. ? o caso da Lei Rouanet, Lei C?mara Cascudo e Lei de Incentivo ? Cultura Djalma Maranh?o, vigentes em Natal e no Rio Grande do Norte. A partir de ent?o, entidades empresariais poderiam auxiliar grupos e organiza??es culturais a manter o seu trabalho a partir das pol?ticas de patroc?nio, sob interm?dio e controle regimentar do Estado brasileiro na forma de suas Leis de Incentivo ? Cultura. Este marco contribuiu com o fortalecimento das Organiza??es N?o Governamentais e com a consolida??o dessas institui??es como o eixo central da garantia do direito republicano ao acesso ? cultura, mas, a Responsabilidade Social foi quem deu impulso no segmento aqui tratado, atrav?s das a??es de Responsabilidade Cultural oriundo das empresas junto ?s Organiza??es Culturais. Logo, em face deste discurso, este trabalho tem o objetivo de averiguar o processo de incentivo ? cultura no Rio Grande do Norte a partir da An?lise Deviant Case junto ? Casa da Ribeira, Organiza??o Cultural que atua no Munic?pio do Natal, a fim de verificar as rela??es estabelecidas entre a mesma entidade e as institui??es as quais fazem jus ? manuten??o do processo de incentivo tratado neste estudo Empresas, na ?tica do patroc?nio empresarial e da Responsabilidade Cultural, e Estado, na forma das Leis de Incentivo e dos Fundos P?blicos de Incentivo ? Cultura