Submitted by Valquíria Barbieri (kikibarbi@hotmail.com) on 2017-08-22T20:52:33Z No. of bitstreams: 1 DISS_2015_Juliana Segóvia Moreira.pdf: 6700475 bytes, checksum: 4f30203935e25c9fc72ada580fcc7cc2 (MD5) / Approved for entry into archive by Jordan (jordanbiblio@gmail.com) on 2017-08-24T11:57:18Z (GMT) No. of bitstreams: 1 DISS_2015_Juliana Segóvia Moreira.pdf: 6700475 bytes, checksum: 4f30203935e25c9fc72ada580fcc7cc2 (MD5) / Made available in DSpace on 2017-08-24T11:57:18Z (GMT). No. of bitstreams: 1 DISS_2015_Juliana Segóvia Moreira.pdf: 6700475 bytes, checksum: 4f30203935e25c9fc72ada580fcc7cc2 (MD5) Previous issue date: 2015-11-10 / Na cidade, produzem-se espaços de socialidade destinados a distintos públicos, com variáveis que vão desde a faixa-etária, gosto musical e níveis socioeconômicos, fundamentadas em relações de pertencimento e afinidades diversas que sedimentam o “estar-junto à toa”. O recorte temático da pesquisa se dá a partir do universo do idoso frequentador de bailes da terceira idade, na cidade de Cuiabá (Mato Grosso, Brasil), suas práticas de socialidade e seus processos de ressignificação da música, enquanto formas de consumo e produção de subjetividades. Analisa-se a música mais popular como um produto cultural que possibilita a produção de sentidos e interação entre indivíduos, quando inscrita em um universo social e simbólico específico, permeando mundos intersubjetivos circunscritos na cidade. Nove espaços de socialidade, classificados como bailões, foram identificados em bairros com localidades distintas entre si – em regiões centrais e periféricas, variando entre espaços públicos e privados – possibilitando o desenvolvimento de uma cartografia de um circuito especifico, daqueles que fazem dos bailes parte relevante de seus cotidianos. / In the city, socialization spaces are destined to different kinds of public, which vary according to age, appreciation for music and socioeconomic level, based on belonging relations and several affinities between people, which reinforce the “being together to spend time”. The thematic approach of the research is focused on the universe of old people who frequent elderly`s dancing parties in Cuiabá (Mato Grosso, Brazil), their social practices and their music re-signification process, as consumption forms and subjectivity production. The more popular music is analyzed as a cultural product which allows the meaning production and the interaction between individuals when it is inscribed in a specific social and symbolic universe, permeating intersubjective circumscribed worlds in the city. Nine socialization spaces, classified as “bailões”, were identified in distinct neighbors – downtown and suburbs, varying between public and private spaces – allowing a mapping of a specific route of those who have the dancing parties as a relevant part of their daily life.

La créativité, en tant que méta-compétence déployée dans divers domaines d’action, a suscité des travaux dans diverses disciplines des sciences sociales. Peu étudiée par les sciences de l’éducation, elle apparaît pourtant comme un capital aux ressorts particulièrement intéressants pour les trajectoires éducatives. Si le système éducatif français l’a tenue à l’écart de son curriculum, il s’interroge aujourd’hui sur l’intérêt de développer chez les jeunes les ressources nécessaires à ce mode d’action. En s’appuyant sur des données empiriques collectées auprès de 1551 jeunes ayant terminé leur formation initiale depuis moins de 10 ans, la thèse interroge, dans le contexte de faible prise en compte de la créativité par les institutions scolaires, trois points principaux : la répartition individuelle et sociale du potentiel créatif et de sa mobilisation, les effets associés à ce potentiel sur l’accès à l’emploi la qualité de l’emploi, ainsi que son mode de développement. Il ressort de l’ensemble des analyses des résultats à trois niveaux. Le potentiel créatif présente une forte dispersion interindividuelle mais il n’est pas déterminé par l’origine sociale. Ce potentiel créatif n’influe pas sur l’accès à l’emploi mais il accroît l’instabilité du parcours, diminue la probabilité d’occuper un emploi à durée indéterminée et favorise la satisfaction des besoins fondamentaux en contexte professionnel, étroitement liée au bien- être. Peu développé dans le contexte scolaire, son actualisation est avant tout favorisée par les activités extrascolaires et l’environnement professionnel. L’École semble permettre une certaine exposition au développement de la créativité, qui apparaît néanmoins socialement différenciée. En outre, les occasions données par le système éducatif de développer sa créativité dépendent des caractéristiques du parcours, et en particulier du statut des établissements fréquentés. / Creativity, as a meta-competence mobilized in various fields of action, has sparked work in various social science disciplines. If it received few interest in educational sciences, it nevertheless appears as a particularly interesting capital for whom study the educational trajectories. If the French education system has kept creativity out of his curriculum, he is now wondering about the value of developing the necessary resources for young people to exercise this mode of action. Based on an empirical survey involving 1551 young people who had completed their initial training for less than 10 years, in the context of the low take-up of creativity by educational institutions, this work rises questions about three main points: the shape of the distribution of the creative potential and achievements, the effects associated with this potential on the access to employment, the quality of employment and its mode of development. We emphazised results at three levels. The creative potential presents a strong inter- individual dispersion but is not determined by the social class. This creative potential does not affect access to employment, but it increases path instability, reduces the likelihood of a permanent contract, and promotes the satisfaction of basic needs in a professional context closely related to well-being. Little developed in the school context, creative potential is stimulated above all by the extracurricular activities and the professional environment. The educational activities seem to allow some exposure to the development of creativity, which nevertheless seems to be socially differentiated. Moreover, the opportunities given by the educational system to develop its creativity depend on the characteristics of the educational track, and in particular on the status of the attended schools.