Orientador: Josue Pereira da Silva / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-08-13T14:59:33Z (GMT). No. of bitstreams: 1 Camargo_SilvioCesar_D.pdf: 832428 bytes, checksum: 4241948fb3bd0562b4b225a31375f5b3 (MD5) Previous issue date: 2009 / Resumo: Nossa pesquisa se refere a debates em teoria social contemporânea. Nesta tese procuramos mostrar e ao mesmo tempo problematizar a categoria trabalho imaterial, considerando que tal categoria está se mostrando como historicamente central para o processo de produção da riqueza capitalista e acumulação do capital ao longo, aproximadamente, dos últimos trinta anos. A hipótese do trabalho imaterial como central para o atual momento histórico está, ao mesmo tempo, ligada às transformações da cultura contemporânea, principalmente, na forma de produção cultural. Procuramos conceber este entrelaçamento como o aspecto chave de um novo estágio do capitalismo, concebido pelo conceito de capitalismo tardio. Neste sentido, investigamos alguns problemas que também dizem respeito à tradição da Escola de Frankfurt. Em nossa hipótese de investigação conhecimento e cultura são conceitos centrais para o entendimento deste novo estágio do capitalismo tardio, possibilitando-nos um novo olhar quanto aos problemas da dominação e da emancipação na sociedade contemporânea. / Abstract: Our research concerns debates in contemporary social theory. In this dissertation we intend to show as well as query the immaterial labor category, considering that such category has shown itself as historically central for the production process of capitalist wealth and capital accumulation in the last thirty years, approximately. The hypothesis of immaterial labor as central for the present historical context is, at the same time, linked with the contemporary culture transformations, principally in the form of culture production. We intend to conceive this entwinement as the key aspect of a new stage of the capitalism, regarded under the late capitalism concept. In this sense we have investigated some issues that are also concerned to the Frankfurt School tradition. In our hypothesis of work, the concepts of knowledge and culture play a central part for the understanding of this new stage of late capitalism, providing a new outlook on domination and emancipation problems in contemporary society. / Doutorado / Doutor em Sociologia

Orientador: Olga Rodrigues de Moraes von Simson / Tese (doutorado) - Universidade Estadual de Campinas, Faculdade de Educação / Made available in DSpace on 2018-08-25T10:51:02Z (GMT). No. of bitstreams: 1 Araujo_AdrianaDiasGomide_D.pdf: 2983364 bytes, checksum: ee2833247e1f768924a950606bb39f02 (MD5) Previous issue date: 2014 / Resumo: A pesquisa reconstrói a história do Grupo Cultural Meninas de Sinhá formado, majoritariamente, por mulheres negras, da terceira idade, moradoras de uma favela da cidade de Belo Horizonte, que conquistaram reconhecimento com a prática de difusão das cantigas de roda. A reconstrução da trajetória de desenvolvimento do grupo teve como principal suporte metodológico a história oral e o diálogo com outras pesquisas. As mudanças ocorridas a partir da vivência de uma prática mais ritualística para uma prática burilada pela produção cultural ampliaram o reconhecimento do grupo. Portanto, a análise da prática é realizada pelos seus elementos constitutivos: o mito fundador, a ciranda, a dança, a música e a produção cultural / Abstract: This research reconstructs the story of the cultural group Meninas de Sinhá, which is mainly formed by middle-aged black women who live in a slum in Belo Horizonte and gained recognition through the performance of circle songs. The reconstruction of the group¿s trajectory had oral history and dialogue with other research reports as its methodological support. The changes which occurred from a more ritualistic approach to a practice guided by cultural production increased the group recognition. Therefore, the analysis of the practice is made from its constituent elements: the foundation myth, the ciranda, dance, music and cultural production / Doutorado / Ciencias Sociais na Educação / Doutora em Educação

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This research aims to discuss Deaf cultural productions from the media space You Tube, taking such context as a place of education, cultural demarcation, and for the constitution of identities. The culture, in the perspective which I take myself to conduct this work, is crossed by the discursive process and begins to be studied within its social complexity situated in an arena of conflicts generated by the search for meaning and, hence they are part of the games of the relations of power / knowledge. Inserted in these issues I direct it specifically to the virtual environment You Tube, where videos are posted for free access to internet users. The choice of this space to search the materiality of the research is related to the significant cultural content produced and released by deaf people. I seek, on the discourse of difference, to investigate the production strategies of deaf people nowadays, taking the videos here analyzed as output devices. Five videos inserted into two analytical categories were chosen, selected based on a cataloged spreadsheet that allowed a graphic display of the contents of cultural deaf, highlighting the humor and educational issues. Accordingly, the directions that follow in this research guiding the formation of these identities in the context of media and production of meanings is what keeps the deaf cultural difference. In the humoristic Field these meanings are put into circulation by producing representations that operate in contemporary logic, using comedy as a strategy to establish other deaf identities, not less cultural, but perhaps over other truths. In the educational field, these videos tighten the system of inclusive education, identifying such legal actions as a threat to deaf cultural constitution of subjects. These tensions still make sense in these times that the inclusion takes the stage of discussions in contemporary educational policy. Grounded in the field of Cultural Studies in Education, I take the methodological research projects from a posture of suspicion, avoiding immobilization and ready methods, giving malleable directions to the research. / Esta pesquisa propõe discutir produções culturais surdas a partir do espaço midiático You Tube, tomando tal contexto como um lugar de ensino, de demarcação cultural e de constituição de identidades. A cultura, na perspectiva à qual me filio para desenvolver este trabalho, está atravessada pelo processo discursivo e começa a ser estudada dentro de sua complexidade social, situada em uma arena de conflitos gerados pela busca de significação, que, portanto, fazem parte dos jogos das relações de poder/saber. Inserida nessas questões, direciono-me especificamente ao ambiente virtual You Tube, onde são postados vídeos de livre acesso aos internautas. A escolha desse espaço para busca da materialidade da pesquisa está relacionada com o significativo conteúdo cultural produzido e divulgado por sujeitos surdos Busco, diante do discurso da diferença, investigar as estratégias de produção de sujeitos surdos na contemporaneidade, tomando os vídeos aqui analisados como dispositivos de produção. Foram escolhidos cinco vídeos inseridos em duas categorias analíticas, selecionadas com base em uma planilha catalogada que permitiu a visualização gráfica dos índices de produções culturais surdas, destacando os assuntos humor e educação. Nesse sentido, os direcionamentos que se seguem na pesquisa balizam a constituição dessas identidades no contexto midiático e a produção de significados que mantêm a diferença cultural surda. No campo humorístico, esses significados são colocados em circulação, produzindo representações que operam na lógica contemporânea, usando a comédia como estratégia para constituir outras identidades surdas, não menos culturais, mas talvez sobre outras verdades. No campo educacional, esses vídeos tensionam o sistema de ensino inclusivo, identificando ações legais como uma ameaça à constituição do sujeito cultural surdo. Esses tensionamentos ainda fazem sentido nestes tempos em que a inclusão toma o palco das discussões políticas educacionais na contemporaneidade. Fundamentada no campo dos Estudos Culturais em Educação, tomo os empreendimentos metodológicos da investigação a partir de uma postura de suspeita, evitando os engessamentos e métodos prontos e dando à pesquisa direcionamentos maleáveis.

The Russian Orthodox Church has had an incredibly fascinating story during its long history in Russia, where its status, political as well as economic power has drastically changed over the course of its existence. The church has gone from being almost completely undistinguishable from the sovereign power during the Russian Empire to nearly being completely wiped out by the times of the communist regime in the soviet era, who saw it as a threat to the revolutionary ideas. But how is the Russian Orthodox Church viewed in today's Russia? The aim of this study is to analyse the ways in which the ruling government is trying to portray the Russian Orthodox Church and its role in society on the largest and oldest television channel in Russia, Channel One Russia. How is the Russian Orthodox Church legitimized by the power and what are the government's reasons for the strong cooperation with the Russian Orthodox Church? This essay is based upon the theory of cultural production and its insight into that the fact that the dominant groups in a society have more power to influence the public discourse. In order to remain dominant these groups will try to create legitimacy for the social structures which have granted them the dominant position, one way to achieve this is by using the mass media as a tool. The television broadcasts that have served as the material for this essay have been analysed by using a combination of qualitative content analysis and a critical discourse analysis. The results of the study show that the Russian Orthodox Church is being depicted in an overwhelmingly positive light on the television channel. It is being portrayed as an integral part of the Russian identity, as an element that cannot be separated from the Russian people and their history. The Russian Orthodox Church is being viewed as a shield against the anomie of the outside world that prevents the country's degradation into a chaotic darkness. In this constructed view, where all the positive attributes are being assigned to one’s own group while condemning everything foreign the Russian Orthodox Church serves as a supporting force for the country's politics as well as a tool uniting the nation around the Russian leaders.

This dissertation responds to the problem that intervention on historical architecture generally represents a loss of value to the existing building and new programme. It investigates the relationship between the alteration of historical architecture and the introduction of new intervention which reflects current users, time and programme through cultural production. Historical architecture is static and rejects the notion of change. Interior design opts to alter the existing to ensure new inhabitation in changing times. Cultural production is the process by which products are designed to relate intrinsically to their user group culture and identity. The study links all three factors through the design of the People’s Upliftment Programme skills training centre in Salvokop (2011 POPUP), in a building which was constructed in 1909 as the chief engineer’s office (1909 CEO) for Pretoria’s railway line. The project seeks to identify a balance between retaining the identity and character of the existing (“historical ideal”), and explicitly reflecting the energy of the skills learners and skills training programmes which have subsequently occupied the building. / Dissertation (MInt(Prof))--University of Pretoria, 2011. / Architecture / unrestricted

No description available.

Based on ethnographic fieldwork among the individuals, groups, and institutions that comprise Moscow's contemporary restaurant industry, this dissertation explores the production and consumption of Moscow's postsocialist culinary culture and landscape. Approaching cuisine as both a social product and a cultural process, I examine the agents and avenues of the local globalization of culinary culture. In my analysis, these "agents" include restaurateurs, chefs, cooks, professional associations, and educators and educational institutions, among others. I attend to the various meanings, practices, and contexts of their work, as well as to the political, aesthetic, and performative dimensions of cooking, cuisine and restaurants. I also examine how Russian consumers engage with and make sense of Moscow's emerging culinary culture and restaurant scene. I see these producers of cuisine and restaurants as authors of the capital's postsocialist consumer landscape and intermediaries between the local and the global. Articulating global culinary culture into local contexts, these cultural producers redeploy contemporary and historical culinary practices, aesthetics, and forms as representations of culture on both local and global stages. I call these practices culinary strategies and argue that they are vehicles through which new social actors struggle over the meanings and values at stake in the marketization of Russian society. Cuisine and restaurants are thus contested sites for the construction of Moscow as a world-class city and the production, dissemination, and negotiation of community, nation, identity, and class. I suggest that cuisine and restaurants play important roles in processes of globalization, serving as sites for reproduction and contestation of global hegemonies of form. Drawing on and expanding work in the anthropologies of food, visual communication, postsocialism, and globalization, my project suggests how ethnography and micro-analysis of the visual, sensual, performative, and structural dimensions of cultural production can open critical understandings of the complex and shifting interactions between local, national, and global contexts. / Anthropology

This dissertation explores how discourses surrounding race and economics inform the way in which videogame creators understand their world and use that understanding to create content. Employing a Foucauldian discourse analysis, the content of two videogames, Skyrim and Max Payne 3, were analyzed. The analysis of Skyrim revealed that race is constructed as an inherently biological phenomenon. Moreover, culture is constructed as emerging from biology. The analysis of Max Payne 3 revealed that capitalism grounds the construction of race so that biology and culture serves to justify the economic position of light-skinned and dark-skinned Brazilians. These constructions come from various sources such as the works of J. R. R. Tolkien and film noir. The dissertation also interviews videogame developers using semi-structured interviews to examine the extent to which content creators are aware of these discourses and how industry norms and economics affect those discourses. Videogame developers revealed that these discourses stem from a market pressure to make videogame narratives understandable and sellable. / Media & Communication

Trata-se de uma etnografia que visa interpretar a produção cultural da periferia paulistana, a partir do trabalho desenvolvido pela Cooperifa (Cooperação Cultural da Periferia) nos anos de 2001 e 2011. Entre outras atividades, este autodenominado movimento cultural promove saraus literários que operam como encontros comunitários e oportunizam novas opções de lazer, produção e participação político-cultural. Nesse sentido, busco apreender os discursos acerca da periferia, tanto no que se refere ao espaço social quanto à sua cultura peculiar, construído pelos protagonistas deste movimento no cenário contemporâneo. Observa-se, assim, um processo de produção cultural em que não somente os produtos e circuitos de consumo periféricos apresentam-se como soluções criativas ao mercado cultural, mas, também, coloca novamente os moradores da periferia no centro da cena pública, a partir da elaboração de uma agenda comum. / This is an ethnography that aims to interpret the cultural production of the suburbs of São Paulo, from the work done by Cooperifa (Cultural Cooperation in the Periphery) between 2001 and 2011. Among other activities, cultural movement that promotes self-styled literary soirees that operate as community meetings and nurture new leisure facilities, production and participation in political and cultural. In this sense, seeking to understand the speeches about the periphery, both in terms of social space as to its peculiar culture, built by the protagonists of this movement in a contemporary setting. There is thus a process of cultural production that not only the consumer products and peripheral circuits are presented as creative solutions to the cultural market, but also raises again the residents of the periphery in the center of the public stage, from the development of a common agenda.

Esta pesquisa procura identificar e analisar como um modelo de gestão cultural auxilia e potencializa a formação artística, pedagógica e política de um artista ou grupo cooperado, a partir do modelo usado pela Cooperativa Paulista de Teatro, importante organização cultural formada em 1979. A entidade, atualmente, reúne cerca de 800 núcleos e mais de 4.000 associados, respondendo pela maior parte da produção artística teatral do Estado de São Paulo. Pretende-se demonstrar que diferentes aspectos da gestão desta organização impactam diretamente sobre a qualificação, a experimentação e a reflexão do artista, criando condições para o pleno exercício das atividades de seus cooperados, constituindo-se como uma precursora de um modelo macro de gestão cultural no Brasil. / This research aims to identify and analyze how a model of cultural management helps and enhances the artistic, pedagogical and political formation of a cooperative artist or group, based on the model used by Cooperativa Paulista de Teatro, an important cultural organization formed in 1979. The entity, currently, gathers around 800 groups and more than 4.000 associates, accounting for most of the theatrical artistic production of the State of São Paulo. It is intended to demonstrate that different aspects of the management of this organization have a direct impact on the qualification, experimentation and reflection of the artist, creating conditions for the full exercise of the activities of its members, constituting as a precursor of a macro model of cultural management in Brazil.