Orientador: Andréia Galvão / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas / Made available in DSpace on 2018-08-16T16:57:20Z (GMT). No. of bitstreams: 1 Cicero_PedroHenriquedeMoraes_M.pdf: 1460228 bytes, checksum: 7491cb280a676248d94635a9a71ff3b6 (MD5) Previous issue date: 2010 / Resumo: A presente dissertação objetiva analisar as principais lutas sociais na Venezuela durante os dois primeiros mandatos do governo comandado por Hugo Chávez Frías (1999-2006). Para tanto, três eixos conceituais permearão o trabalho: as idéias de neoliberalismo, de lutas sociais e a de confronto político. A partir delas serão expostas as conexões entre a vitória conquistada por Hugo Chávez nas eleições de 1998 e duas variáveis: o aumento na quantidade e intensidade dos conflitos sociais durante a década de 1990 (não obstante a debilidade dos movimentos sociais venezuelanos) e os desastrosos resultados obtidos pela investida neoliberal no país. Uma vez eleito, porém, o governo bolivariano pouco avançou no sentido de enfrentar o principal entrave para o contínuo e sustentável desenvolvimento da referida nação: a estrutural dependência de sua economia frente aos proventos advindos do comércio petroleiro. As relações de produção na Venezuela mantiveram-se, pois, eminentemente capitalistas. Houve, entretanto, a partir das transformações impostas pela administração bolivariana, a solidificação um novo "bloco no poder". A atual correlação de forças sociais é reflexo direto do embate entre duas estratégias bastante distintas no seio do chavismo: de um lado a perspectiva hegemônica que estrutura suas ações políticas em práticas partidaristas, hierarquizadas e orientadas "de cima para baixo"; de outro, uma vertente de oposição pautada por esforços no sentido de incentivar a construção de um cenário político no qual os movimentos sociais atuem como forças políticas capazes de comandar a Revolução Bolivariana "de baixo para cima". A alternância entre estas estratégias são uma constante no desenrolar do processo político liderado por Hugo Chávez. Tal dinâmica mostra-se extremamente importante para as análises que buscam entendê-lo em sua totalidade / Abstract: This dissertation aims to explore the major political actions and popular struggles waged in Venezuela during the first two terms of the administration led by Hugo Chávez Frías (1999-2006). To this end, three central bases permeate the debate: the concepts of neoliberalism, social struggles and political confrontation. They all are necessary to express the clear interface between the victory by Hugo Chávez in the 1998 election and two variables: despite the weakness of the Venezuelan social movements, the increase in the quantity and intensity of social conflicts and, also, the disastrous results obtained by the neoliberal onslaught during the 1990s. However, once elected, the Chávez government has advanced little in order to confront the main obstacle to the continued and sustainable development of the country: its economy structurally depends on the proceeds from the oil market. In this sense, it is clear that the relations of production in Venezuela remained essentially capitalists. Yet, there was, since the transformations imposed by the Bolivarian administration, the solidification of a new "bloc in power". The current power correlation of social forces is a direct reflection of the clash between two very different strategies within the chavismo: in one side, the hegemonic perspective "top down", whose actions are structured in partisan and hierarchically oriented orders from the political party; on the another side, the view "bottom up": a strand of opposition guided by efforts to encourage the construction of a reality on which social movements end up acting as political forces capable of commanding the Bolivarian revolution "from below". The alternations between these strategies are constant in the course of the experience led by Hugo Chávez and, for that mean, are extremely important to analyze its entirety / Mestrado / Mestre em Ciência Política

Orientador: Pedro Paulo Zahluth Bastos / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Economia / Made available in DSpace on 2018-08-11T00:17:22Z (GMT). No. of bitstreams: 1 Bernardi_LiviaBeatrizMoreira_M.pdf: 887794 bytes, checksum: 84a2bd66bcf1d1c18bb12389971b12a1 (MD5) Previous issue date: 2007 / Resumo: A dissertação tem por objetivo realizar uma análise sobre a recuperação da economia brasileira, baseada em uma resenha crítica das divergências interpretativas suscitadas pela controvérsia inicial entre Celso Furtado (1959) e Cláudio Manoel Peláez (1968) e (1972), estendida posteriormente por outros autores. A principal conclusão é que a política econômica na década de 1930 não pode ser entendida apenas procurando-se inferir, do resultado das políticas implementadas, ou de sua legitimação retórica, qual orientação ideológica a orientou. É necessário reconstituir o contexto histórico complexo marcado pela crise de hegemonia política local e pela crise financeira global para entender os conflitos e motivações que, sob um jogo contraditório de pressões, orientaram a política econômica para uma superação gradual (mas não linear) da ortodoxia econômica na década de 1930 / Abstract: The main goal of this dissertation is to make an analysis of the recovery of the Brazilian economy, based in a critical summary of the divergences of interpretations excited by the initial controversy between Celso Furtado (1959) and Cláudio Manoel Peláez (1968) e (1972), extended later by other authors. The main conclusion is that the economic policy that took place during the years of 1930 can¿t be understood only by looking at the results of the politics implemented, or trying to understand the rhetorical that guided the ideological orientation. It is necessary to rebuild the complex historical context marked by the crisis of hegemony of the local politics and by the global financial crisis to be able to understand the conflicts and motivations that, under a contradictory game of pressures, had guided the economic policy for an overcoming gradual (but not linear) of the economic orthodoxy during the years of 1930 / Mestrado / Historia Economica / Mestre em Desenvolvimento Econômico

Orientador: Renato Jose Pinto Ortiz / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-08-01T22:45:24Z (GMT). No. of bitstreams: 1 Mazzeu_RenatoBrasil_M.pdf: 16057028 bytes, checksum: 7100cbd0184058dcf32b3fb3a7eeb5ee (MD5) Previous issue date: 2002 / Resumo: o presente trabalho consiste numa análise sociológica da trajetória e das idéias do compositor brasileiro Heitor Villa-Lobos em suas relações com as problemáticas mais amplas da Questão Nacional e da Cultura Brasileira entre 1920 e 1945. O desenvolvimento da argumentação se estrutura sobre as temáticas do Modernismo Brasileiro, do Governo de Getúlio Vargas e da Educação Brasileira, articuladas em torno do eixo temático-sociológico representado pela questão nacional no Brasil. O objetivo principal é o de situar Villa-Lobos nos contextos social, cultural, político, artístico e ideológico do período, apresentando e discutindo as principais aproximações e os principais distanciamentos entre as idéias, as ações e os projetos do compositor e os de outros grupos da época / Abstract: The present research consists in a sociological analysis about the career and ideas of the Brazilian composer Heitor Villa-Lobos concerning his relations with a huge set of problems related to National Question and Brazilian Culture between 1920 and 1945. The development of the present issue is based on the set of themes in Brazilian Modernism, on Getulio Vargas Government and on Brazilian Education. They are focused on the sociological axle represented by the national question in Brazil. The main goal is to place Villa-Lobos in the social, cultural, artistical and ideological context in that period, presenting and debating the main points among the composer's ideas, actions and projects, as well as other groups from that time / Mestrado / Mestre em Sociologia

Submitted by Maria Dulce (mdulce@ndc.uff.br) on 2014-01-10T19:23:02Z No. of bitstreams: 2 Castro, Clarissa-Dissert-2013.pdf: 6407586 bytes, checksum: 0674ef34ca0ad59944120dae26506c75 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Made available in DSpace on 2014-01-10T19:23:02Z (GMT). No. of bitstreams: 2 Castro, Clarissa-Dissert-2013.pdf: 6407586 bytes, checksum: 0674ef34ca0ad59944120dae26506c75 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Previous issue date: 2013 / Universidade Federal Fluminense. Programa de Pós-Graduação em História / Analisar os Cinejornais do Governo Democrático de Vargas como produções construtoras de uma memória e imagem do período pela ótica do Estado. A relação entre Vargas e os meios de comunicação e a utilização destes canais como veiculadores de propagandas políticas, permite o estudo da exibição de um poder que, não mais pela força, mas pelo esforço de convencimento e persuasão, através da produção midiática, busca sua legitimação perante o público receptor. Identificar nestes Cinejornais tanto o tipo de conteúdo por eles veiculado quanto elementos da linguagem cinematográfica presentes em suas construções, permite-nos analisar o discurso que permeia tais produções e as enxergar como escolhas feitas a partir de intenções e interesses que, em contato com o público receptor, podem ou não atingir seus objetivos. Parte de uma Cultura Política criada em torno da figura de Vargas, os Cinejornais desse período são uma das expressões do diálogo entre o Poder e seus interlocutores. / Analyze the newsreels of the Vargas Democratic government productions buiders of memory and an image of the period through the eyes of the state. The relationship between Vargas and the media channels and use these as vehicles for political propaganda, it allows the study of a display of power, not by force but by the effort of convincing and persuasion through media production, seek its legitimacy receiver to the public. Identifying these newsreels both the type of content conveyed by them as elements of film language present in their buildings, allows us to analyze the discourse that permeate such products and see how choices made from the intentions and interests which, in contact with the public receiver may or may not achieve their goals. Part of a culture built around the figure of Vargas, the newsreels of the period are an expression of dialogue between the Power and its partners.

Doctorat en philosophie et lettres / info:eu-repo/semantics/nonPublished

Tesis para optar al grado de Magíster en Estudios Culturales Latinoamericanos

This thesis examines images of women shopping in the art of Kenneth Hayes Miller and Reginald Marsh during the 1920s and 1930s. New York City's Fourteenth Street served Kenneth Hayes Miller and Reginald Marsh, respectively, as a location generating the inspiration to study and visually represent its contemporaneity. Of particular interest to this thesis are relationships between developments in shopping and the images of women shopping in and around Fourteenth Street that populate the paintings of Miller and Marsh. Although, as Ellen Todd Wiley has shown, the emerging notion of the New Woman helped to shape female identity at this time, what remains unstudied are dimensions that geographically specific, historical developments in shopping contributed to the construction of female identity which, this thesis argues, Marsh and Miller related to, by locating in, the department store and bargain store.

Orientador: Vera Maria Chalmers / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-22T03:38:25Z (GMT). No. of bitstreams: 1 Bittencourt_JoaoFabio_M.pdf: 15457821 bytes, checksum: c7b38b07a76d08e3c534261427e81b26 (MD5) Previous issue date: 2013 / Resumo: Entre os anos de 1909 e 1912 o jovem repórter Oswald de Andrade observou, anotou e perambulou pelas salas de cinemas e espetáculos teatrais apresentados na cidade de São Paulo, inicialmente como "foca" da seção Theatros e Salões do jornal Diario Popular, exercício de observação e de crítica fundamentais na criação da revista O Pirralho, semanário mundano e literário redigido e editado pelo escritor. Esses dois periódicos constituem, nesta dissertação, tanto uma documentação que traça e revela o panorama social, econômico e cultural da Belle Époque das cidades do Rio de Janeiro e São Paulo na primeira década do século vinte, como suscitaram elementos para novas interpretações das primeiras obras ficcionais de Oswald de Andrade. Nesse sentido os romances Os Condenados e Memórias Sentimentais de João Miramar são observados de acordo com a hipótese de Haroldo de Campos (2007) em que a maioria das figuras que compõem estas obras "são basicamente extraídas do ambiente em que circulava Oswald na São Paulo anterior e contemporânea a primeira grande guerra (in: ANDRADE, p. 25)". Ainda de acordo com a perspectiva da influência da Belle Époque, mas sob o ponto de vista da busca por um teatro nacional, estudamos em conjunto quatro peças oswaldianas: A Recusa (1913) e O Filho do Sonho (1917), inéditas e manuscritas; Mon Coeur Balance e Leur Âme (1916). Por fim, o teatro ligeiro, principalmente português, é a pedra de toque para o estudo de Serafim Ponte Grande / Abstract: Between 1909 and 1912 the young reporter Oswald de Andrade observed, took notes and wandered through the movie theaters and theatrical performances presented in São Paulo, initially as "foca" of the section Theatros e Salões of the newspaper Diario Popular, exercise of observation and critical that were fundamental in the creation of the magazine O Pirralho, mundane and literary weekly publication written and edited by the writer. These two journals are, in this thesis, both a documentation that reveals the social, economic and cultural panorama of the Belle Époque in the cities of Rio de Janeiro and Sao Paulo in the first decade of the twentieth century; and the rising of elements that allow new interpretations of the first fictional works of Oswald de Andrade. In this sense the novels Os Condenados and Memórias Sentimentais de João Miramar are observed according to the hypothesis of Haroldo de Campos (2007) in which most of the figures that make up these works "are basically extracted from the environment in which Oswald circulated in Sao Paulo earlier and contemporary of the first big war (in: ANDRADE, p. 25). "Also according to the perspective of the influence of the Belle Époque, but from the point of view of the search for a national theater, we studied together four pieces of the author: A Recusa (1913) and O Filho do Sonho (1917), both unpublished and manuscript; Mon Coeur Balance and Leur Âme (1916). Finally, the mild theater, mostly Portuguese, is the touchstone for the study of Serafim Ponte Grande / Mestrado / Teoria e Critica Literaria / Mestre em Teoria e História Literária

I contend that young students should be introduced to intercultural contemporary music, as this exposure brings benefits to their artistic development and fosters appreciation of other cultures. Variations sur un thème populaire coréen by Sung-Ki Kim (b. 1954) and Six Pieces for Piano ‘Nori' by Chung-Sock Kim (b. 1940) are effective pedagogical works that fit perfectly into the intercultural mold mentioned above, and both are suitable for late intermediate or early advanced level students. A detailed comparison of these two works can help instructors understand the ways by which these composers incorporate Korean folk materials and blend them with Western contemporary techniques. An analysis of Sung-Ki Kim's Variations sur un theme populaire coréen and Chung-Sock Kim's Six Pieces for Piano ‘Nori' can be divided into three categories: harmony, rhythm, and performance-related aspects. By analyzing these two pieces, these study illustrates in greater depth their intercultural aspects, showing the way by which both composers merged traditional Korean folk idioms through the inclusion of traditional Korean rhythms, and the imitation of sounds of several traditional Korean instruments with Western contemporary technique such as non-traditional sounds and use of sostenuto pedal. Finally, this study provides some practicing suggestions and listing exercise on how to practice musical and technical challenges.

According to the American League of Orchestras' most recent report, Michael Daugherty is one of the ten most performed American composers of concert music in modern times. He has received six GRAMMY awards, including awards for Best Contemporary Classical Composition in 2011 and 2017. Characteristics of Daugherty's music are diverse: colliding tonalities and blocks of sound, driving polyrhythmic counterpoint, and jazz and pop elements. His music can be minimalistic at times and at others, stirringly melodic. Amongst this eclecticism, a fascination with American iconography remains a consistent hallmark of his music, exemplified by titles such as American Gothic, Jackie O, or Lost Vegas. Daugherty has stated that his goal is to create sophisticated, abstract music that is also catchy or memorable, with melodies and cultural allusions that audiences can "hang their hat on." Despite widespread success, relatively little scholarly work has been done on Daugherty's music, providing an opportunity for further research. The primary goal of this study is to add to the literature on Michael Daugherty by providing an analysis and conductor's guide of his first choral-orchestral work, Mount Rushmore. It is a genuine show piece, galvanizing and colorful, modestly demanding of the listener, and appreciated by individuals of diverse musical backgrounds. The work also contains multitudes, offering layers of musical complexity and extensive historical symbolism for those who wish to engage further. Daugherty's Mount Rushmore offers immediate appeal and an excellent return on investment. Using interviews with the composer as well as detailed formal, harmonic, and historical-textual analysis, this paper provides in-depth information and guidance to future conductors who wish to present an appealing choral-orchestral work by a prominent, living American composer. Conductors who program Daugherty's Mount Rushmore will find it valuable for their ensemble and community for years to come.