Oscar Berg
PhD candidate in Political science at Université du Québec à Montréal (UQAM), member of Canada Research Chair in Quebec and Canadian Studies. Working on Canadian politics, federalism and Indigenous peoples, democratic theory, nationalism and political parties.
Supervisors: Alain-G. Gagnon
Address: Montréal, Québec
Supervisors: Alain-G. Gagnon
Address: Montréal, Québec
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Papers by Oscar Berg
Palavras-chave: Quebec (Canadá). Nacionalismo. Minorias Nacionais. Parti Québécois
A presente pesquisa tem como objetivo analisar a produção cultural quebequense como expressão da afirmação da província canadense do Quebec enquanto nação. Buscamos responder às seguintes perguntas: (a) como a produção cultural nos permite identificar as principais características do nacionalismo québécois? (b) como ela nos permite compreender a evolução desse nacionalismo entre 1960 e 1980? Desse modo, o período foi dividido em três fases, cuja análise foi realizada com o apoio em textos de, ao menos, duas expressões culturais dentre ensaio, poesia, canção e cinema. Concluímos que o nacionalismo québécois se caracteriza pela vontade de abertura ao mundo, pela valorização da modernidade e laicidade enquanto valores fundamentais e pelo objetivo de independência do Quebec. No que diz respeito à sua evolução, percebemos através da produção cultural selecionada um ciclo de emergência-auge-declínio do nacionalismo québécois. Assim, em um primeiro momento, os artistas lideram a contestação da sociedade quebequense tradicional, cujo abandono será iniciado pela Revolução Tranquila, em 1960. Neste segundo momento, os artistas compartilham seu otimismo em relação ao futuro do Quebec com seus concidadãos e apoiam a ideia de independência da província. O fracasso deste ideal, a partir da derrota do referendo de 1980, dá lugar a uma grande desmobilização do movimento nacionalista. Denys Arcand, em particular, apresenta esta decisão como a escolha pelo conforto e pela indiferença, sugerindo que o engajamento dos artistas se mostrou insuficiente para a promoção da independência. Concluímos que a grande vantagem em analisar a afirmação nacional quebequense por meio da obra de artistas engajados é apresentarmos uma análise original, afinal, os artistas desfrutam de uma maior liberdade que os políticos na promoção de seus ideais, podendo fazê-lo com mais sinceridade que as elites econômicas ou políticas. Finalmente, o fracasso do projeto independentista fez com que o Quebec continuasse a ser o “País Incerto” dos contos de Jacques Ferron. Mais ainda, assistimos hoje a uma silenciosa destruição dos ganhos da Revolução Tranquila por meio de duras políticas de austeridade aplicadas no Quebec.
Palavras-chave: Quebec (Canadá), Nacionalismo, Revolução Tranquila, Produção Cultural Engajada.
ABSTRACT
The goal of this research is to analyse Quebecois cultural production as an expression of Canadian province of Quebec affirmation as a nation. We seek to answer the following questions: (a) how cultural production allows us to identify the main characteristics of the Québécois nationalism? (b) how it allow us to understand the evolution of this nationalism between 1960 and 1980? In this sense, the period was divided in three phases, whose analyse was made with texts of at least two cultural expressions among essay, poetry, song and cinema. We conclude that the Québécois nationalism characterizes itself by the desire for openness to the world, the valorization of modernity and secularism as fundamental values and the objective of Quebec independence’s. With regards to its evolution, we perceived through cultural production an emergence-peak-decline cycle to the Québécois nationalism. So in a first moment, artists took the leadership of Quebec traditional society contestation, which abandon is initiated by the Quiet Revolution in the 60’s. In this second moment, artists shared their optimism regarding Quebec’s future with citizens, backing the idea of Quebec independence. The failure of this ideal through the 1980 referendum defeat led nationalist movement to demobilization. Denys Arcand, in particular, presented the No-victory as a choice for the comfort and the indifference, suggesting that artists engagement was insufficient to the promotion of independency. We conclude that the greater advantage in studying Quebecois national affirmation through engaged artists works is to present an original analysis, once that artist enjoy of an higher degree of liberty than the politicians to promote their ideals, they can do it more sincerely than the economical or political elites. As a result to the fail of Quebecois independence project, Quebec continues to be the “Uncertain Country” of Jacques Ferron tales. Finally, we watch nowadays a noiseless destruction of Quiet Revolution gains through the austerity politics been applied in Quebec.
Key-words: Quebec (Canada), Nationalism, Quiet Revolution, Engaged cultural production
RÉSUMÉ
La présente recherche a pour but d’analyser la production culturelle québécoise comme expression de l’afirmation de la province canadienne du Québec en tant que nation. Nous cherchons à repodre les questions suivantes: (a) comment la production culturelle nous permet-elle d’identifier les principales caractéristiques du nationalisme québécois? (b) comment nous permet-elle de comprendre l’évolution de ce nationalisme entre 1960 et 1980? Pour autant, la période a été divisée en trois phases, dont l’analyse a été réalisée en s’appuyant sur des textes d’au moins deux expressions culturelles parmi l’essai, la poésie, la chanson et le cinéma. Nous concluons que le nationalisme québécois se caractèrise par une volonté d’ouverture sur le monde, une valorisation de la modernité et de la laïcité en tant que valeurs fondamentales et par l’objectif d’indépendance du Québec. En ce qui concerne son évolution, nous identifions à travers la production culturelle un cycle d’émergence-apogée-déclin du nationalisme québécois. Ainsi, dans un premier temps, les artistes prennent le leadership de la contestation de la société québécoise traditionnelle, dont l’abandon fut entamé par la Révolution Tranquille, en 1960. Dans ce deuxième temps, les artistes partagent leur optimisme à l’égard de l’avenir du Québec avec leurs concitoyens et soutiennent l’idée d’indépendance de la province. L’échec de cet idéal à travers la défaite référendaire de 1980 donne lieu à une démobilisation de la mouvance nationaliste. Denys Arcand, notamment, présente cette décision comme le choix du confort et de l’indifférence, en suggéreant que l’engagement des artistes s’est avéré insuffisant pour la promotion de l’indépendance. Nous concluons que la grande avantage d’analyser l’affirmation nationale québécoise à travers l’oeuvre des artistes engagés c’est de pouvoir présenter une analyse originale, car, après tout, les artistes jouissent d’une plus grande liberté que les politiciens dans la promotion de leurs idéaux. Ils le font avec une sincérité plus grande que les élites économiques ou politiques. Finalement, l’échec du projet indépendantiste fait en sorte que le Québec continue à être le « Pays Incertain » des comptes de Jacques Ferron. Encore plus, nous assistons aujourd’hui à une silencieuse destruction des acquis de la Révolution Tranquille à travers les dures politiques d’austérité mises en place au Québec.
Mots-clés : Québec (Canada), Nationalisme, Révolution Tranquille, Production Culturelle engagée
ABSTRACT: This paper is about the consolidation of cultural public policies in Brazil. We discuss the limits and possibilities of studying the supply and demand of cultural goods from the goal number 31 of Brazilian National Plan for Culture, as well as the conditions for diffusion and centralization of cultural facilities in Brazilian cities and regions. We decided to use a descriptive analysis approach using the data from the Study Munic-IBGE 2012. The results indicate that, despite the necessity of a systemic update of cultural facilities information and the historic, ethnic and cultural profile of each municipality, education and income are not explanatory variables of the availability of cultural facilities for the population of the studied metropolitan area.
Keywords: Cultural facilities. Porto Alegre Metropolitan Area. Brazilian National Plan for Culture.
Palavras-chave: Quebec (Canadá). Nacionalismo. Minorias Nacionais. Parti Québécois
A presente pesquisa tem como objetivo analisar a produção cultural quebequense como expressão da afirmação da província canadense do Quebec enquanto nação. Buscamos responder às seguintes perguntas: (a) como a produção cultural nos permite identificar as principais características do nacionalismo québécois? (b) como ela nos permite compreender a evolução desse nacionalismo entre 1960 e 1980? Desse modo, o período foi dividido em três fases, cuja análise foi realizada com o apoio em textos de, ao menos, duas expressões culturais dentre ensaio, poesia, canção e cinema. Concluímos que o nacionalismo québécois se caracteriza pela vontade de abertura ao mundo, pela valorização da modernidade e laicidade enquanto valores fundamentais e pelo objetivo de independência do Quebec. No que diz respeito à sua evolução, percebemos através da produção cultural selecionada um ciclo de emergência-auge-declínio do nacionalismo québécois. Assim, em um primeiro momento, os artistas lideram a contestação da sociedade quebequense tradicional, cujo abandono será iniciado pela Revolução Tranquila, em 1960. Neste segundo momento, os artistas compartilham seu otimismo em relação ao futuro do Quebec com seus concidadãos e apoiam a ideia de independência da província. O fracasso deste ideal, a partir da derrota do referendo de 1980, dá lugar a uma grande desmobilização do movimento nacionalista. Denys Arcand, em particular, apresenta esta decisão como a escolha pelo conforto e pela indiferença, sugerindo que o engajamento dos artistas se mostrou insuficiente para a promoção da independência. Concluímos que a grande vantagem em analisar a afirmação nacional quebequense por meio da obra de artistas engajados é apresentarmos uma análise original, afinal, os artistas desfrutam de uma maior liberdade que os políticos na promoção de seus ideais, podendo fazê-lo com mais sinceridade que as elites econômicas ou políticas. Finalmente, o fracasso do projeto independentista fez com que o Quebec continuasse a ser o “País Incerto” dos contos de Jacques Ferron. Mais ainda, assistimos hoje a uma silenciosa destruição dos ganhos da Revolução Tranquila por meio de duras políticas de austeridade aplicadas no Quebec.
Palavras-chave: Quebec (Canadá), Nacionalismo, Revolução Tranquila, Produção Cultural Engajada.
ABSTRACT
The goal of this research is to analyse Quebecois cultural production as an expression of Canadian province of Quebec affirmation as a nation. We seek to answer the following questions: (a) how cultural production allows us to identify the main characteristics of the Québécois nationalism? (b) how it allow us to understand the evolution of this nationalism between 1960 and 1980? In this sense, the period was divided in three phases, whose analyse was made with texts of at least two cultural expressions among essay, poetry, song and cinema. We conclude that the Québécois nationalism characterizes itself by the desire for openness to the world, the valorization of modernity and secularism as fundamental values and the objective of Quebec independence’s. With regards to its evolution, we perceived through cultural production an emergence-peak-decline cycle to the Québécois nationalism. So in a first moment, artists took the leadership of Quebec traditional society contestation, which abandon is initiated by the Quiet Revolution in the 60’s. In this second moment, artists shared their optimism regarding Quebec’s future with citizens, backing the idea of Quebec independence. The failure of this ideal through the 1980 referendum defeat led nationalist movement to demobilization. Denys Arcand, in particular, presented the No-victory as a choice for the comfort and the indifference, suggesting that artists engagement was insufficient to the promotion of independency. We conclude that the greater advantage in studying Quebecois national affirmation through engaged artists works is to present an original analysis, once that artist enjoy of an higher degree of liberty than the politicians to promote their ideals, they can do it more sincerely than the economical or political elites. As a result to the fail of Quebecois independence project, Quebec continues to be the “Uncertain Country” of Jacques Ferron tales. Finally, we watch nowadays a noiseless destruction of Quiet Revolution gains through the austerity politics been applied in Quebec.
Key-words: Quebec (Canada), Nationalism, Quiet Revolution, Engaged cultural production
RÉSUMÉ
La présente recherche a pour but d’analyser la production culturelle québécoise comme expression de l’afirmation de la province canadienne du Québec en tant que nation. Nous cherchons à repodre les questions suivantes: (a) comment la production culturelle nous permet-elle d’identifier les principales caractéristiques du nationalisme québécois? (b) comment nous permet-elle de comprendre l’évolution de ce nationalisme entre 1960 et 1980? Pour autant, la période a été divisée en trois phases, dont l’analyse a été réalisée en s’appuyant sur des textes d’au moins deux expressions culturelles parmi l’essai, la poésie, la chanson et le cinéma. Nous concluons que le nationalisme québécois se caractèrise par une volonté d’ouverture sur le monde, une valorisation de la modernité et de la laïcité en tant que valeurs fondamentales et par l’objectif d’indépendance du Québec. En ce qui concerne son évolution, nous identifions à travers la production culturelle un cycle d’émergence-apogée-déclin du nationalisme québécois. Ainsi, dans un premier temps, les artistes prennent le leadership de la contestation de la société québécoise traditionnelle, dont l’abandon fut entamé par la Révolution Tranquille, en 1960. Dans ce deuxième temps, les artistes partagent leur optimisme à l’égard de l’avenir du Québec avec leurs concitoyens et soutiennent l’idée d’indépendance de la province. L’échec de cet idéal à travers la défaite référendaire de 1980 donne lieu à une démobilisation de la mouvance nationaliste. Denys Arcand, notamment, présente cette décision comme le choix du confort et de l’indifférence, en suggéreant que l’engagement des artistes s’est avéré insuffisant pour la promotion de l’indépendance. Nous concluons que la grande avantage d’analyser l’affirmation nationale québécoise à travers l’oeuvre des artistes engagés c’est de pouvoir présenter une analyse originale, car, après tout, les artistes jouissent d’une plus grande liberté que les politiciens dans la promotion de leurs idéaux. Ils le font avec une sincérité plus grande que les élites économiques ou politiques. Finalement, l’échec du projet indépendantiste fait en sorte que le Québec continue à être le « Pays Incertain » des comptes de Jacques Ferron. Encore plus, nous assistons aujourd’hui à une silencieuse destruction des acquis de la Révolution Tranquille à travers les dures politiques d’austérité mises en place au Québec.
Mots-clés : Québec (Canada), Nationalisme, Révolution Tranquille, Production Culturelle engagée
ABSTRACT: This paper is about the consolidation of cultural public policies in Brazil. We discuss the limits and possibilities of studying the supply and demand of cultural goods from the goal number 31 of Brazilian National Plan for Culture, as well as the conditions for diffusion and centralization of cultural facilities in Brazilian cities and regions. We decided to use a descriptive analysis approach using the data from the Study Munic-IBGE 2012. The results indicate that, despite the necessity of a systemic update of cultural facilities information and the historic, ethnic and cultural profile of each municipality, education and income are not explanatory variables of the availability of cultural facilities for the population of the studied metropolitan area.
Keywords: Cultural facilities. Porto Alegre Metropolitan Area. Brazilian National Plan for Culture.