World culture,

Mode of access: Internet.

Le Louvre des Sables : le dossier Abou Dhabi

Pour respecter les droits d'auteur, la version électronique de ce mémoire a été dépouillée de ses documents visuels. La version intégrale du mémoire a été déposée au Service de la gestion des documents et des archives de l'Université de Montréal.

Les cours de danse africaine à Montréal, émergence d’une production socioculturelle et esthétique

Ce mémoire traite de l’enseignement de la danse africaine en France et au Canada. Cette recherche a débuté en 2007, lorsque l’auteur a participé à un échange étudiant. À la fin de cette expérience, l’auteur en était arrivé à la conclusion que la danse africaine au Québec était abordée comme un bien de consommation et/ou une production socioculturelle relevant de l’imaginaire. La présente analyse explore les avantages et les limites de l’approche méthodologique adoptée par l’anthropologue (qui est, dans ce cas-ci, une ancienne danseuse classique), et les conditions de la rencontre entre les Africains et les occidentaux par la danse. Tandis qu’il reste à démontrer que les critiques postmodernes de l’art de masse s’appliquent dans ce cas-ci, l’analyse montre ici clairement que l’on trouve dans les cours de danse africaine au Québec une forme de conscience professionnelle. Les critiques de la danse et de d’autres formes de démocratisations artistiques tendent à se confondre dans la peur du discours populaire. L’objectif principal de cette recherche est par conséquent d’établir les limites du fétichisme par rapport à la danse africaine et d’explorer en détail les implications de la « hantise du Troisième Homme » communiquée par la recherche ethnographique et l’analyse anthropologique

L'impact de l'universalisation dans Grand Theft Auto VICE CITYtm

Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal

Acción de organizaciones no gubernamentales frente a las semillas genéticamente modificadas en Colombia

Los efectos ambientales, económicos, sociales y culturales generados por las Semillas Genéticamente Modificadas-SGM y su control por empresas transnacionales como Monsanto, han incentivado la acción colectiva liderada por ONGs, tanto internacionalmente como en Colombia. El objetivo principal es analizar cómo la ONG “Semillas” ha incidido en las políticas colombianas relacionadas con la introducción y uso de SGM durante el periodo 2002-2013. Se centra en la Teoría de Redes Transnacionales de Defensa expuesta por M. Keck y K. Sikkink (1998). Además, se analiza el papel de las ONGs ambientales y las corporaciones transnacionales. El argumento central es que al crear vínculos con actores nacionales e internacionales y vincularse con redes y campañas con impacto transnacional, “Semillas” ha posicionado la lucha en contra de las SGM y ha logrado presionar al Estado influyendo parcialmente en sus políticas y leyes, al igual que en su posición y discurso frente al uso de SGM.

Social dimensions of economic development and productivity: inequality and social performance

Includes bibliography

O programa sala de leitura e seus reflexos nas histórias de leitura de alunos e professores de uma escola estadual paulista

Pós-graduação em Letras - FCLAR

The empire beats on: Oyo, Bata drums and hegemony in nineteenth-century Cuba

The Lukumí people of Cuba, currently known as Yoruba, are descendants of one of the mightiest West African kingdoms, the Oyo, Empire. The Oyo-Yoruba were important cultural contributors to certain areas of the New World such as Cuba, Brazil, Trinidad, and to some degree Haiti and the Lesser Antilles. Anthropologist William Bascom has said that “no African group has had greater influence on New World culture than the Yoruba.” ^ After the devastation of the empire around 1825, two new Oyos resuscitated. The first, New Oyo, was established about 80 miles south of the ancient site around 1830. The second Oyo was instituted on the other side of the Atlantic Ocean, in the city of Havana and its surrounding towns. Much of Oyo lie, as ancient Oyo is now called, was transported to the New World, reformed and adapted according to its new surroundings, and, it preserved its reign over its “subjects” through the retention and dissemination of its cultural and religious practices. ^ Using an interdisciplinary approach, this investigation will argue that of all the African groups brought to Cuba, the Oyo-Yoruba were the most influential in shaping Afro-Cuban culture since their introduction in the nineteenth century. The existence of batá drums in Cuba and the cultural components of this musical genre will serve as one of many examples to illustrate the vitality of Oyo cultural hegemony over Afro-Cubans. It is arguable that these drums and the culture that surrounded them were very important instruments used by the Oyo to counter the acculturation of many Africans in Cuba. Likewise, this culture became acculturative in itself by imposing its religious world views on non-Oyo ethnics and their descendants. Oral histories and narratives collected among Lukumí practitioners on the island and abroad have been invaluable archives to supplement and/or complement primary and secondary sources of information. ^

Ficcion de racionalidad: La memoria como operador mitico en las esteticas polares de Jorge Luis Borges y Jose Lezama Lima

The aesthetic placement and period designation of Jorge Luis Borges (1899–1986) and José Lezama Lima (1910–1976) are complicated issues among critics. Borges is considered a predecessor of the Latin American literary “boom,” but despite that taxonomy his work transcends that definition and provides a foundation for new trends, such as the “neobarroco” cultivated by Severo Sarduy. Lezama is considered part of the second wave of the “boom,” but his work feeds, stylistically, from the Spanish baroque. At the same time, Lezama's daring treatment of homoeroticism and his system of images place him after the “boom” in a narrative style that is postmodern. This study undertakes a revision of external and internal issues, revealing the key fictive elements that characterize both writers. Through discourse analysis, a poetic system is formulated, which incorporates features of the “neobarroco,” and postmodern narrative styles. ^ This dissertation uses a polar structure to analyze both poetic visions and finds that they are symmetrical. From this perspective, Borges and Lezama belong to the “core” of literature that centers its emphasis in the creation of a system versus other modes of writing in which mimetic function prevails. By doing this and by recycling world culture, they create postmodern myth: the new building material for Hispanic American literature. ^ There are a few studies that explore the works of Borges and Lezama within the context of Baroque aesthetics. This dissertation offers a comprehensive analysis that considers their poetic visions at large. Besides the difference in perspective, defined as macro-spatial in Borges and micro-spatial in Lezama, there are many similarities. Both writers question the cause and effect relationship and the use of metaphor. They share a redefinition of genre as well as a hedonistic approach to literature. This kinship in poetic vision is revealed through the polar method used for this study, which proposes a new form of aesthetic placement and period designation. ^

Ficción de Racionalidad: La memoria como operador mítico en las estéticas polares de Jorge Luis Borges y José Lezama Lima

The aesthetic placement and period designation of Jorge Luis Borges (1899-1986) and José Lezama Lima (1910-1976) are complicated issues among critics. Borges is obviously considered a predecessor of the Latin American literary “boom,” but despite that taxonomy his work transcends that definition and provides a foundation for new trends and styles, such as the “neobarroco” cultivated by Severo Sarduy. Lezama is considered part of the second wave of the “boom,” but his work feeds, stylistically, from the Spanish baroque. At the same time, Lezama’s daring treatment of homoeroticism and his revolutionary system of images place him after the “boom” in a narrative style that is postmodern. This study undertakes a thorough revision of external and internal issues, revealing the key linguistic and fictive elements that characterize both writers. Through discourse analysis and close reading, a poetic system is formulated, which incorporate features of the “neobarroco,” “boom” and postmodern narrative styles. This dissertation uses a polar structure to analyze both poetic visions and concludes that they are compatible and symmetrical. From this perspective, Borges and Lezama belong to the “core” of literature that centers its emphasis in the creation of a system versus other modes of writing in which mimetic function prevails. By doing this and by recycling world culture, they create postmodern myth: the new building material for Hispanic American literature. There are only a few studies that explore the works of Borges and Lezama within the context of Baroque aesthetics. For the first time, this dissertation offers a comprehensive analysis that considers their poetic visions at large. Besides the difference in perspective, defined as macro-spatial in Borges and micro-spatial in Lezama, there are many similarities in content and form. Both writers question the cause and effect relationship and the modern use of metaphor. They also share a redefinition of genre as well as a hedonistic approach to literature and culture. This kinship in poetic vision is revealed through the polar method used for this study, which proposes a new form of aesthetic placement and period designation.

Museus e Diversidade Cultural: Da Representação aos Públicos

Na Europa a realidade sociodemográfica das cidades tem vindo a mudar substancialmente nas últimas décadas devido à intensificação dos fluxos migratórios e dos efeitos da globalização. Hoje os espaços urbanos são cada vez mais multiculturais, evidenciando diferentes expressões culturais, mas também tensões várias. Como podem os museus contribuir para a discussão sobre diversidade cultural e migração? Que políticas museológicas desenvolvem em torno da diversidade cultural e do diálogo intercultural? Que contributos e iniciativas promovem? Este livro explora as relações que os museus estabelecem com comunidades e grupos associados à imigração, a partir de três estudos de caso: o Museum of World Culture (Suécia), o World Museum Liverpool (Reino Unido) e o Museu Nacional de Etnologia (Portugal). A autora analisa as estratégias desenvolvidas com as comunidades e grupos numa dupla perspectiva, por um lado, enquanto participantes na construção de narrativas contemporâneas sobre património cultural (material e imaterial) e identidade e, por outro lado, enquanto públicos locais no contexto de estratégias de captação de públicos diversos. Uma abordagem histórica dos percursos e contextos institucionais de cada um dos museus revelou as suas especificidades e diferenças, enquanto o balanço comparativo perspectivou problemas e motivações partilhados. Os museus etnográficos estão entre os museus que mais desafios têm enfrentado nas últimas décadas e onde o tema da diversidade cultural interpela de forma transversal as várias frentes de actuação – desde as colecções, à documentação e investigação, às exposições, ao envolvimento de públicos e comunidades, à deontologia, à gestão e ao financiamento. Como demonstra esta obra, a contemporaneidade convoca mudanças significativas na forma como os museus se organizam e no fortalecimento da sua função social.