Esta tese trata de uma parcela minoritária da arquitetura paulista que foi partícipe da Contracultura brasileira, no período de 1956-1979. O trabalho teve como eixo temático a trajetória dos arquitetos Lina Bo, Sérgio Ferro, Rodrigo Lefèvre, Flávio Império, Eduardo Longo, Vitor Lotufo e Pitanga do Amparo; constatou a singularidade de suas produções em relação ao contexto hegemônico; analisou obras exemplares dessas produções através do re-desenho e levantamentos in loco; identificou correspondências entre tendências contemporâneas internacionais e o debate de ideias e ideais com a cena cultural ampliada às áreas de música, teatro, jornalismo, literatura, artes plásticas e cinema. A autonomia teórica e crítica e o comportamento diferenciado dos arquitetos elencados, constituiu-se num questionamento ao status quo sóciocultural, à linha hegemônica da Escola Paulista Brutalista e ao Estilo Internacional. Os projetos, da denominada Arquitetura Alternativa, se distinguiram pelas soluções plásticas, uso de materiais e técnicas construtivas vernaculares ou adotando novas abordagens, repúdio à serialização ou industrialização e busca de fontes de legitimação mediante interfaces multidisciplinares. A Arquitetura Alternativa, é, portanto, uma produção à margem da hegemonia que, por integrar a Contracultura brasileira, participou da Revolução Cultural que ocorreu em diversos países ocidentais nos anos 1950 e 1970. / This thesis deals with a minor portion of the São Paulo state architecture that was part of the Brazilian Counterculture in the period of 1956-1979. The work had as main theme the trajectory of the architects Lina Bo, Sergio Ferro, Rodrigo Lefèvre, Flávio Império, Eduardo Longo, Vitor Lotufo and Pitanga do Amparo, and established the uniqueness of their productions in relation to hegemonic context; evaluated exemplary works of these productions through the re- drawing and on-site surveys; and identified correspondences among contemporary international trends and the debate of ideas and ideals with the cultural scene extended to the areas of music, theater, journalism, literature, visual arts and cinema. The theoretical and critical autonomy and the differentiated behavior of the architects listed, constituted in a challenge to the \"status quo\" social and cultural, to the hegemonic line of the \"Escola Paulista Brutalista\" and to the International Style. The designs, of the denominated Alternative Architecture, were distinguished by plastics solutions, use of vernacular materials and construction techniques or adopting new approaches, rejection to serialization or industrialization and search for sources of legitimation by multidisciplinary interfaces. The Alternative Architecture is therefore, a production on the sidelines of the hegemony, which by integrating the Brazilian Counterculture, attended the Cultural Revolution that occurred in many Western countries in the 1950s and 1970s

Submitted by Maicon Juliano Schmidt (maicons) on 2015-05-27T17:15:58Z No. of bitstreams: 1 Rosana Vieira de Souza.pdf: 10043069 bytes, checksum: 6a54f6c82f32e484efaa1ed37e7a5541 (MD5) / Made available in DSpace on 2015-05-27T17:15:58Z (GMT). No. of bitstreams: 1 Rosana Vieira de Souza.pdf: 10043069 bytes, checksum: 6a54f6c82f32e484efaa1ed37e7a5541 (MD5) Previous issue date: 2014-12-16 / FORD - Programa Internacional de Bolsas de Pós-Graduação da Fundação Ford / O objetivo geral deste estudo é compreender de que forma vêm sendo articuladas táticas de resistência cotidiana dos usuários do ecossistema iOS/Apple. De forma específica, buscamos (1) identificar em que medida os usuários destes sistemas percebem limitações na sua apropriação; (2) compreender como são manifestadas táticas de resistência cotidiana entre diferentes grupos de usuários do ecossistema iOS; (3) discutir possíveis fatores moderadores da percepção de limitações e das táticas de resistência; e (4) compreender de que forma o iOS atua em conjunto com estratégias corporativas de controle da experiência de consumo. Ao longo da trajetória da computação pessoal e da internet, a noção de “abertura” constituiu um valor central na experiência do usuário. O PC conectado e aberto a softwares criados por terceiros se consolidou como artefato generativo em essência (ZITTRAIN, 2006). Sua arquitetura flexível permitia ao usuário alterar os propósitos de usos ao longo da apropriação, para além das configurações imaginadas pelas empresas que os comercializavam. Propomos, assim, uma reflexão acerca do crescente protagonismo de ambientes menos generativos, como é o caso do ecossistema iOS, da Apple. Em conjunto, tecnologia e estratégia promovem o discurso de prover experiências mais personalizadas, otimizadas, estáveis e seguras, pois a generatividade deixa de ser espaço de criação do usuário para ser sinônimo de vulnerabilidade. A partir da Teoria Fundamentada (STRAUSS e CORBIN, 1990) com o auxílio de entrevistas em profundidade, investigamos quatro grupos de usuários: Fanboys, Usuário Padrão, Jailbreakers e Desertores. Os resultados oferecem indícios de que as manifestações e a intensidade da resistência são moderadas pelo envolvimento com a Apple e pela presença do ecossistema de produtos. / The aim of this study is to understand how the users articulate tactics of everyday resistance to iOS/Apple ecosystem. Specifically, we sought to (1) identify the extent to which the users of those systems are aware of its restrictions; (2) understand how tactics of everyday resistance are manifested among different groups of iOS ecosystem users; (3) discuss possible moderating factors of the perceived limitations and resistance tactics; and (4) understand how the iOS interacts with corporate strategies as a way to control the consumer experience. Along the history of personal computing and the Internet, the idea of "openness" has been a core value in the user experience. The connected PC was opened to softwares created by third parties and constituted a generative device in essence (Zittrain, 2006). Its flexible architecture allowed the user to change the purposes of use beyond the scripts defined by companies. Thus, we propose a discussion on the growing importance of less generative environments such as the Apple's iOS ecosystem. Together, technology and strategy promote the discourse of providing more personalized, optimized, stable, and secured experiences, since generativity is no longer a space for creativity to become synonymous with vulnerability. The study is based on the Grounded Theory (Strauss and Corbin, 1990) through in-depth interviews with four user groups: Fanboys, Standard User, Jailbreakers and Deserters. The present results provide evidence for a moderator role of the involvement with Apple and the ecosystem presence in the manifestation and intensity of resistance.

Mon projet porte sur le concept de marginalité dans trois romans, Al-Riwayah (Le Roman) de Nawal El Saadawi, Les Intranquilles d’Azza Filali et Jeux de rubans d’Emna Belhaj Yahia. L’étude la marginalité « femme », plus que toute autre marginalité, nous renseigne sur les orientations d’une société, sur ses aspirations et nous informe des dynamiques qui la travaillent. Dans ce sens, le marginal « sert de miroir à la société » (Barel). Il s’agit de voir ce que la marginalité femme fait des normes sociales qui l’infériorisent, qui font d’elle une marginalité, c’est-à-dire un objet visible mais tenu à l’écart. La marginalité « femme » chez Nawal El Saadawi, Azza Filali et Emna Belhaj Yahia parvient-elle à rejeter d’emblée les normes qui sont à l’origine de sa mise à l’écart ? Est-il possible d’envisager un processus d’autonomisation à partir des normes existantes ? Mon hypothèse est qu’il ne suffit pas de se réapproprier les normes sociales de sorte à s’affirmer à l’intérieur des traditions établies. Dans les trois romans étudiés, les traditions qui cautionnent certaines normes et pratiques sociales finissent par être rejetées. Il ne suffit pas d’« élargir » les normes sociales et de multiplier les analyses et interprétations des textes qui cautionnent certaines idées qui sont à l’origine de la mise à l’écart des « femmes » et autres groupes sociaux et minorités. L’individu doit être en mesure d’envisager une existence qui lui est propre sans avoir à se référer aux traditions héritées. Dans les trois romans étudiés, la marginalité « femme », pour envisager une existence libérée des contraintes du groupe, doit défaire la norme, c’est-à-dire redéfinir ce qui est de l’ordre des priorités pour elle et remettre en cause les idées reçues. Je pars du présupposé butlérien selon lequel la norme est à la fois une nécessité et une contrainte. La norme sert à définir les rapports entre individus et à organiser les activités. C’est ce qui organise aussi la vie en commun. Il n’y a pas d’existence à l’extérieur de la norme (Butler). Le marginal doit subvertir la norme, être dans la norme et à l’extérieur de celle-ci. Il s’adapte mais ne se conforme pas. S’il envisage de se constituer en tant que sujet grâce à la norme et à partir de la norme, l’individu doit avant tout admettre que la norme lui confisque sa liberté et son libre-arbitre. Il doit reconnaître que l’initiative individuelle est prohibée par les normes de groupe. Les frontières entre la marginalité et son opposé, la normalité, sont mouvantes. C’est dans cette perspective que des changements sociaux peuvent être envisagés. Des interactions entre la marginalité et la société « normale » ont lieu. La marginalité qui était socialement visible et spatialement localisable devient diffuse. Les divisions entre le centre, lieu de concentration des activités et lieu central dans l’espace, et la périphérie, lieu d’exclusion, et entre normalité et marginalité sont remises en cause. L’individu de la marge et celui de la société « normale » ont en réalité les mêmes préoccupations. / My project explores the concept of marginalization in three novels: Al-Riwâyah (Nawal El Saadawi), Les Intranquilles (Azza Filali) and Jeux de rubans (Emna Belhaj Yahia). The study of these novels shows that the marginalization of women (more so than the study of any other marginalized group) reveals society’s aspirations, the direction society is headed in and the dynamics that drives it. In essence, this marginalized group mirrors society (Barel). I concentrate on the way in which women are marginalized by societal norms, the very norms that ensure women are lesser beings and how they are viewed by society. Can the marginalized women in El Saadawi, Filali and Yahia’s novels succeed in rejecting the norms that place them on the outskirts of society? Do the existing norms allow for a process of empowerment? My contention is that taking ownership of societal norms is not enough. In each of the three novels in question, traditions that uphold certain norms and social practices are rejected by the women characters. It takes more than an “extension” (Butler) of social norms and analyses of notions that contribute to the exclusion of women and other minorities to create transformation. The individual must be capable of imagining his/her own place in society without having to remain bounded by inherited traditions. In these three novels, the marginalized women redefine their priorities and question convention, thus tearing down norms in order to visualize a role free from the constraints of the majority. I argue that norms are shown in these novels to be both necessary and restrictive (Butler). Societal norms define relationships and common activities. They add structure to the community. The marginalized individuals and groups must topple the norms all the while existing both inside and outside those norms. They adapt but do not conform. If the marginalized wishes to challenge and change existing norms, s/he must first admit that norms prevent him or her from enjoying freedom and free will. S/He must recognize that individual initiative is outlawed by societal norms. The boundaries between the margins and mainstream society can shift. Unexpected interactions between marginalized individuals and groups and what is known as the mainstream can occur. Minority groups and the majority can share the same concerns. If social changes have to take place, it will be due to the involvement of all of the social groups.

Dos Estados Unidos da América, o movimento denominado \"contracultura\" se propagou, nos anos sessenta do século XX, para diversos países, entre os quais o Brasil. Em meio à repressão imposta pelo regime militar, sobretudo a partir do AI-5, de dezembro de 1968, o ideário libertário da contracultura foi discutido por Luiz Carlos Maciel na coluna Underground de O Pasquim. Este trabalho analisa as motivações do movimento contracultural internacional e sua introdução no Brasil em um período marcado por fortes rivalidades políticas e ideológicas. Questiona, com base no discurso do autor acima citado, se a concepção de liberdade proposta pelo movimento é, como defende a crítica, mera expressão de escapismo hedonista ou efetivamente revolucionária. Investiga as origens históricas desse ideário, o qual é identificado como uma resposta à emergência do capitalismo e do cientificismo. / In the 1960s, a movement named counterculture spread out from the United States of America over many other countries in the world, including Brazil. Along with the repression imposed by the Brazilian military regime - mainly just after AI-5 - the set of libertarian doctrines of the counterculture started being discussed by Luiz Carlos Maciel in his column called \"Underground\" in the weekly newspaper O Pasquim. This study goes through the motivations of the international countercultural movement and its introduction into Brazil in a period distinguished by severe political and ideological rivalries. Furthermore, based on Maciel´s viewpoints, the text raises questions whether the concept of freedom proposed by the movement is either a simple expression of a hedonistic escapism - as defended by the critics - or actually revolutionary. The text also investigates the historical origins of these doctrines which are identified as an answer to the rise of both the capitalism and the scientificism.

Dos Estados Unidos da América, o movimento denominado \"contracultura\" se propagou, nos anos sessenta do século XX, para diversos países, entre os quais o Brasil. Em meio à repressão imposta pelo regime militar, sobretudo a partir do AI-5, de dezembro de 1968, o ideário libertário da contracultura foi discutido por Luiz Carlos Maciel na coluna Underground de O Pasquim. Este trabalho analisa as motivações do movimento contracultural internacional e sua introdução no Brasil em um período marcado por fortes rivalidades políticas e ideológicas. Questiona, com base no discurso do autor acima citado, se a concepção de liberdade proposta pelo movimento é, como defende a crítica, mera expressão de escapismo hedonista ou efetivamente revolucionária. Investiga as origens históricas desse ideário, o qual é identificado como uma resposta à emergência do capitalismo e do cientificismo. / In the 1960s, a movement named counterculture spread out from the United States of America over many other countries in the world, including Brazil. Along with the repression imposed by the Brazilian military regime - mainly just after AI-5 - the set of libertarian doctrines of the counterculture started being discussed by Luiz Carlos Maciel in his column called \"Underground\" in the weekly newspaper O Pasquim. This study goes through the motivations of the international countercultural movement and its introduction into Brazil in a period distinguished by severe political and ideological rivalries. Furthermore, based on Maciel´s viewpoints, the text raises questions whether the concept of freedom proposed by the movement is either a simple expression of a hedonistic escapism - as defended by the critics - or actually revolutionary. The text also investigates the historical origins of these doctrines which are identified as an answer to the rise of both the capitalism and the scientificism.

Out of the politically charged atmosphere of the 1960s and 1970s emerged a migration to "the land" and communes, which popularly became known as the back-to-the-land movement. This migration occurred throughout the United States, as well as many other countries, and included clusters of land based communities in southern Oregon. Within these clusters, lesbian feminist women created lesbian separatist lands and communes. These women were well educated, and politically active in movements such as the New Left, Civil Rights, Women's Liberation, and Gay Liberation. These lands or communes functioned together as a community network that developed and commodified lesbian art, which impacted and influenced the development of lesbian art over time. In Oregon, as of 2011, at least ten known lesbian lands still existed. This cluster belonged to an extended community that stretched down into California and over into New Mexico. Over a two-year period I collected, transcribed, and studied the oral histories of eight of the elders of the women's land movement in southern Oregon. The purpose of this study is to better understand this movement of lesbian feminists the development of lesbian art and culture over time. The lesbian feminist back-to-the-land movement made the conscious choice to disengage from the patriarchal mainstream rather than continue participation in their own oppression. They viewed lesbian feminist separatism and the creation of safe lesbian land as a way to reconstruct their self-identity and influence the continued self-perception of lesbians the world over through art and literature. Based on these oral histories and archival materials, it became evident that the women within the lesbian land communities developed and maintained land on which they could re-examine who they were, re-educate themselves and each other, learn practical skills, construct new identities, create art, and broadcast their creations out into the world through organized media networks. One of the key features of this construction of lesbian land culture was the desire to share--share power, share money, share responsibilities, share knowledge, share land, share lovers. On the one hand, ownership was eschewed as elitist and patriarchal, while simultaneously important to the continuity of women's land and its protection from what could be described as patriarchal profit motives. They developed infrastructure, altered language, created a spiritual practice, and made art. The material and artistic culture was created in concert with modes or mediums of transmission, casting it out to a much wider audience. These creative activities influenced and impacted women beyond Oregon, beyond the lesbian land communities, and beyond the 1970s. By examining the lesbian land movement in southern Oregon, we can better understand the impact on LGBTQ culture, and the continued albeit unintentional impact on the questioning of the gender binary and sexual identity. In other words, the feminist and queer questioning of identity construction and symbolic language began here.

This thesis discusses the impact of the counterculture on Australian cinema in the late 20thcentury through the work of the Sydney Underground Film group, Ubu. This group, active between 1965 -1970, was a significant part of an underground counter culture, to which many young Australians subscribed. As a group, Ubu was more than a rat bag assemblage of University students. It was an antipodean aspect of an ongoing artistic and political movement that began with the European avant-garde at the beginning of the 20th century and that radically transformed artistic conventions in theatre, painting, literature, photography and film. Three purposes underpin this thesis: firstly to track the art historical links between a European avant-garde heritage and Ubu. Experimental film is a genre that is informed by cross art form interrelations between theatre, painting, literature, photography and film and the major modernist aesthetic philosophies of the last century. Ubu's revolutionary aesthetic approaches included political resistance and the involvement of audiences in the production of art. Their creative wellspring drew from: Alfred Jarry, Dadaism, Surrealism, Futurism, Fluxus, Conceptual and Pop art. This cross fertilization between the arts is critical to understanding not only the Australian experimental movement but the history of contemporary image making. The second purpose is to fill a current void of research about early Australian Experimental film. This is a significant gap given it was a national movement with many international connections. The counterculture movement also contains many major figures in Australian art history. These individuals played their parts in the Sydney Push, Oz magazine and the activities of the Yellow House and have since become important multi arts practitioners and commentators. Thirdly, the thesis attempts to evaluate Ubu's political and social agenda for the democratization of film appreciation through their objectives of: production, exhibition, distribution and debate of experimental film both nationally and internationally. Ultimately the group would succeed in these objectives and in winning the war on repressive censorship laws. Their influence has informed the practice of many of Australia's current film heavy weights. Two key films have been selected for analysis, It Droppeth as the Gentle Rain (1963) and Newsfront (1978). The first looks forward to Ubu's contemporary practices and political agenda while the second demonstrates their longer term influences on mainstream cinema.

Through a critical examination of the works of Tom Robbins, this thesis interrogates the historical evolution and appropriation of the magic(al) realist tradition. In so doing, it situates Robbins’ writing within the framework of postmodernism, and explores the ontological implications inherent in Robbins’ use of magic(al) realist concepts and conventions. With a specific emphasis on the notion of cultural consciousness, this thesis analyzes the object- oriented cosmologies embodied and espoused in three of Robbins’ novels: Still Life with Woodpecker (1980), Skinny Legs and All (1990), and B is for Beer (2009). It unpacks the ideological figuration of various textual devices evident in Another Roadside Attraction (1971) and Even Cowgirls Get the Blues (1976) – particularly the gendered use of unreliable narrators – and, with reference to Jitterbug Perfume (1984), relates Robbins’ appropriation of the magic(al) realist tradition to the American counterculture movement of the 1960s and 70s. Employing poststructuralist, feminist, ecofeminist, and postcolonial discourses, this thesis ultimately seeks to position Robbins’ writing within the context of a radical emancipatory politics that views (and uses) literature as an ideological space in which to challenge, reinterpret, and democratize Western metanarratives.

Au tournant des années 70, Paul Chamberland, cofondateur de la revue Parti pris, délaisse le nationalisme québécois pour épouser les idéaux de la contre-culture. Ce mémoire étudie la continuité discursive et poétique de cette conversion en surmontant la tentation de voir là un strict reniement des idéaux politiques de Chamberland. En utilisant la pragmatique littéraire, plus précisément les notions de discours constituant, d’ethos et de scénographie tels que développés par Dominique Maingueneau nous étudierons deux recueils emblématiques des positions politiques que prônait Chamberland au moment de leur rédaction, soit L’afficheur hurle et Éclats de la pierre noire d’où rejaillit ma vie. Nous les mettrons en étroit rapport avec les communautés discursives les ayant façonnés, soit celles constituées par Parti pris et la contre-culture. Nous verrons ainsi que les discours constituants éclairant les positionnements de Chamberland conditionnent son travail poétique en fonction de l’idéal humaniste du progrès humain et du dépassement de toute aliénation. Ainsi, le néonationalisme et la contre-culture, selon ce qu’ils définissent comme étant la cause de cette aliénation, conditionnent étroitement la scénographie présentée par chacun des recueils. Il sera alors possible de voir comment la démystification coloniale sur laquelle repose la rédaction de L’afficheur hurle se prolonge en se radicalisant dans le désir d’échapper à la dictature de la raison instrumentale, comme l’explore Chamberland dans Éclats de la pierre noire d’où rejaillit ma vie. / In the early 70's, Paul Chamberland, co-founder of the journal Parti pris, abandons nationalism to embrace the counterculture’s ideals. This master thesis examines the continuity of this discursive and poetic conversion by overcoming the temptation to see this as an absolute denial of the poet’s own political views. Using the literary pragmatic, more particulary the notions of constitutive discourse, of ethos and of scenography as developped by Dominique Maingueneau, we will consider two collections of poetry which captures the iconic political positions advocated by Chamberland at the time he wrote each one, namely L’afficheur hurle and Éclats de la pierre noire d’où rejaillit ma vie. We will see how the discursive positioning of Chamberland configurate his poetic work according to an humanist ideal of human progress which lies in the liberation of man from his alienation. Thus, the neonationalism and the counterculture, according to what they define each as the cause of this alienation, closely define the scenography adopted by the two books. It will then be possible to see how the colonial demystification displayed by L’afficheur hurle is continued and radicalized by the desire to escape the technocratic intrumentalization of reason, as explored by Chamberland in his Éclats de la pierre noire d’où rejaillit ma vie.

Thesis (Ph. D.)--University of Hawaii at Manoa, 2004. / Includes bibliographical references (leaves 256-265). / Also available by subscription via World Wide Web / xii, 265 leaves, bound ill. 29 cm