The 19th century represents the arrival of the Portuguese royal family in Brazil and, with it, significant changes in society and the local population. A formerly reclusive member of society begins to take shape not only in public life but also within the literature: the Brazilian woman. Despite her changing social role, prevailing hygienist and medical theories of the time pointed to the lack of vocation of the nineteenth-century woman for rational matters; which in naturalism implies that these pseudo-scientific theories would be the base to dissect and explain the social pathologies of Rio de Janeiro, Brazil, and society at large. In my thesis, I propose the analysis of the Naturalist novel Lar (Home), by Pardal Mallet—a lesser-known Brazilian author who was involved with Naturalist, pro-abolitionist, republican, and divorce issues from 1887 to 1894—while contesting its main argument that female characters in the novel sought only one thing: marriage in order to appease their sexual curiosity. Additionally, I will also analyze the representation of middle-class women in Rio and their greater participation in society in the last decades of the 1800s. For my theoretical basis, I use Gayatri Spivak's analysis of women as the Other, the subaltern; and the examination carried out throughout this work will ultimately focus on answering one question: does the carioca woman of the 19th century have a representation consistent with the advances of social insertion that the genre conquered throughout that century, in this novel?

Submitted by Luciana Ferreira (lucgeral@gmail.com) on 2018-10-23T10:58:38Z No. of bitstreams: 2 Tese - Flavia Maria Cruvinel - 2018.pdf: 6009844 bytes, checksum: 5fb50fd827e65310b99450a6a24a912c (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2018-10-23T11:08:39Z (GMT) No. of bitstreams: 2 Tese - Flavia Maria Cruvinel - 2018.pdf: 6009844 bytes, checksum: 5fb50fd827e65310b99450a6a24a912c (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2018-10-23T11:08:39Z (GMT). No. of bitstreams: 2 Tese - Flavia Maria Cruvinel - 2018.pdf: 6009844 bytes, checksum: 5fb50fd827e65310b99450a6a24a912c (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2018-08-23 / This thesis, as part of the line of research in education, Work and Social Movements, of the graduate program in education at the Federal Univesity of Goiás (UFG), results from the investigation of the uses and functions of music as a strategy of the reproduction of monarchical power in 19th century Rio de Janeiro. The construction of the concept habitus cortesão bragantino was processed from the analysis of the modus operandi in the field of musical production of the members of the house of Bragança and its continuity in the context of Rio de Janeiro. The musical practices linked to the ceremonies and official events of the monarchy and their distinction and consecration rituals; investments in the field of musical production as part of the Brazilian civilization process; the creation of the first Brazilian institutions related to the symbolic construction of the nation were apparent through the Praxiology brought by Pierre Bourdieu. The corpus of the research consisted of various sources such as manuscripts, newspapers and periodicals, musical works scores, as well as literature dealing with Brazilian historical, cultural, and musical formation. As a result of the transfer of the Portuguese court to Rio de Janeiro, it is noted the Formation of the Musical Scene, Formation of the Musical Taste, and Formation of the Professional Work Field of the musicians. The path of construction of this object made possible the recognition of the importance of music in the daily life of the members of the House of Bragança, as well as part of the civilizing project and the fabrication of the Brazilian Empire. / Esta tese, vinculada à Linha de Pesquisa Educação, Trabalho e Movimentos Sociais, do Programa de Pós-Graduação em Educação da Universidade Federal de Goiás (UFG), resulta da investigação dos usos e funções da música como estratégia de reprodução do poder monárquico no Rio de Janeiro oitocentista. A construção do conceito habitus cortesão bragantino foi processada a partir da análise do modus operandi no campo de produção musical dos membros da Casa de Bragança e a sua continuidade no contexto fluminense. As práticas musicais ligadas às cerimônias e aos eventos oficiais da monarquia e seus rituais de distinção e de consagração; os investimentos no campo de produção musical como parte do processo civilizatório brasileiro; a criação das primeiras instituições brasileiras relacionados à construção simbólica da nação foram evidenciados por meio da Praxiologia trazida por Pierre Bourdieu. O corpus da pesquisa foi constituído por fontes plurais como manuscritos, jornais e periódicos da época, obras e partituras musicais, bem como, literatura que trata da formação histórica, cultural e musical brasileira. Como resultado da transferência da corte portuguesa para o Rio de Janeiro aponta-se para a Formação da Cena Musical, a Formação do Gosto Musical e a Formação do Campo de Trabalho Profissional dos músicos. O trajeto de construção do objeto possibilitou o reconhecimento da importância da música no cotidiano dos membros da Casa de Bragança, bem como, parte do projeto civilizatório e de fabricação do Império Brasileiro.