Thesis (Ph. D.)--University of Texas at Austin, 2006. / Vita. Includes bibliographical references.

Orientadora: Kathya Maria Ayres de Godoy / Banca: Rita de Cassia Franco de Souza Antunes / Banca: Ivo Ribeiro de Sá / Banca: Pelópidas Cypriano de Oliveira / Banca: Anna Claudia Agazzi / Acompanha CD com anexos / Resumo: A pesquisa teve por objetivo identificar os conceitos de Arte, Cultura e Educação presentes no currículo do curso de formação para docência em Dança da Universidade Federal de Viçosa (UFV). Concretizado como um Estudo de Caso, trata-se de uma pesquisa de natureza qualitativa que recorreu à análise documental do Projeto Pedagógico do Curso de Licenciatura em Dança. A sociologia do francês Pierre Bourdieu, em função de sua abordagem integrada e orgânica, foi o fio condutor do trabalho permitindo analisar os conceitos em pauta refletidos no currículo do ponto de vista desta pesquisadora. O que se dá em consonância com o pressuposto de que a Arte contém em si um potencial político e revolucionário para as transformações que se operam em face de contextos políticos e socioculturais. A discussão aqui estabelecida, portanto, abre campo para reflexão e defesa da tese de como um referencial conceitual pode induzir o direcionamento da formação inicial de professores, aproximar ou afastar da Arte, Cultura e Educação como potencializadoras da transformação social, tendo em vista a necessidade de articulação colaborativa entre elas a fim de construir e cultivar valores essenciais aos indivíduos envolvidos nesta formação. Desse modo, são apresentados apontamentos a serem sugeridos como contribuição na construção coletiva do próximo Projeto Pedagógico do Curso de Dança - Licenciatura (PPC/Dança) da UFV. / The research aimed to identify the concepts of Art, Culture and Education present in the curriculum of the training course in Dance at the Federal University of Viçosa (UFV). Accomplished as a Case Study, it is a qualitative research that was done by documentary analysis of the Pedagogical Project of Dance Degree Course. The sociology of the French Pierre Bourdieu due to its integrated and organic approach is the mainstreaming of the work, since it allows to analyze the concepts reflected in the agenda of the curriculum, that was particularly observed from the point of view of this researcher. It takes place in line with the assumption that art contains in itself a political and revolutionary potential for the transformations that operate in the face of political and sociocultural contexts. The discussion set forth herein, therefore, opens the field for reflection and defense the thesis as a conceptual framework that can induce the direction of initial teacher training. Approach or distance Art, Culture and Education as potentiating social transformation is regard in this paper, this way, is pointed the necessity of collaborative joint between them in order to build and cultivate core values to individuals involved in this training. Thus, notes are highlighted as suggestion to contribute with the collective construction of the next Pedagogical Project of the Dance Degree Course of UFV / Doutor

This research evolved as part of a personal struggle to understand my role as 'art' student. As such the essay is concerned with both the theory and practice of 'art', and the relationship between the two. It is, however, my experience of the lack of an analysis of the concept 'art' as a social and historical phenomenon, and the suppression of the politics of culture in most fine art courses, that has led me to concentrate on theoretical and political issues, rather than the formal aspects of painting. This essay is therefore not concerned with individual 'works of art', but with the general category 'art' as an organisational form. Despite its limitations, the essay goes beyond the personal by exploring some of the social, political, economic and cultural processes that form the broader social context in which the examination of 'art' should take place.

Made available in DSpace on 2014-12-02T11:16:51Z (GMT). No. of bitstreams: 0 Previous issue date: 2013-06-28Bitstream added on 2014-12-02T11:21:20Z : No. of bitstreams: 1 000742212.pdf: 1127676 bytes, checksum: 1a55fb718ad204bad2ab4b76ce3e010e (MD5) / A pesquisa tem como foco a experiência do coletivo artístico Mapa Xilográfico em sua atuação entre 2006 e 2012 na metrópole paulistana e em outras capitais brasileiras e estrangeiras. Buscou-se relatar e analisar as ações do grupo nas diferentes localidades e especificidades junto a uma reflexão sobre a produção do espaço urbano. Diante de uma crítica aos conceitos hegemônicos de urbanização, o Coletivo faz uma espécie de residência artística em determinada localidade e propõe a criação de ―coletivos fluidos‖, que são agrupamentos com moradores locais ao redor de uma proposição poética no espaço vivido. Com o pressuposto de estabelecer aproximações que busquem a autonomia, o grupo propõe a coeducação - relações de trocas de saberes - e a coprodução - produções artísticas de autoria coletiva - no intuito de ativar a experiência e a participação no espaço urbano. O trabalho é apresentado como um livro-obra, em busca de proporcionar ao leitor diversos percursos possíveis entre as imagens, narrativas e conceitos sobre a trajetória do Coletivo / La investigación esta centrada en la experiencia del Colectivo Artístico Mapa Xilográfico y en el desarrollo de su actividad entre los años 2006 al 2012 en la metrópoli Paulista, en otras capitales brasileras y extranjeras. Se relataron y analizaron las acciones del grupo en las diferentes regiones con sus especificidades, realizando a su vez una reflección sobre la producción del espacio urbano. Como una crítica a los conceptos hegemónicos de urbanización, el Colectivo realiza una práctica artística en determinados locales y propone la creación de‖colectivos fluídos que son la agrupación de los vecinos del lugar alrededor de una propuesta poética en el espacio de su vivencias. Procurando establecer aproximaciones que busquen la autonomía, el grupo plantea la coeducación - relaciones de intercambio de saberes y - la coproducción – producciones artísticas de autoría colectiva – con el fin de activar la experiencia y participación en el espacio urbano. El trabajo es presentado como un libro-obra, buscando proporcionar a los lectores caminos diversos y posibles entre las imágenes, narrativas y conceptos sobre la trayectoria del Colectivo

A presente dissertação tem como objetivo ressaltar os caminhos dos fluxos literários estabelecidos dentro do macrossistema literário de língua portuguesa a partir dos romances São Bernardo, de Graciliano Ramos e Casa na Duna, de Carlos de Oliveira. A análise de ambos os romances é empreendida buscando destacar a codificação artística fruto de um rigoroso trabalho estilístico em correlação com a realidade social de ambos os escritores, evidenciamos assim a concepção (neo) realista da obra de arte como uma unidade sensível de forma e conteúdo que propicia um conhecimento do mundo dos homens sob a sociedade capitalista através dos destinos de Paulo Honório e Mariano Paulo. Buscamos também destacar elementos que evidenciam a apropriação que ambos os autores operam da tradição literária deste macrossistema, constituindo assim uma atualização do realismo como método de composição literária. / This paper aims to show the paths of literary flows established within the Portuguese literary macrossystem in the novels São Bernardo, by Graciliano Ramos and Casa na Duna, by Carlos de Oliveira. The analysis of both novels aims to highlight the artistic codification as a result of a close estilistic labor in relation to their social environment, emphasizing the (neo)realistic notion of the work of art as a sensitive unity of form and content which provides (self)consciousness of mens world in capitalism through Paulo Honório and Mariano Paulos destinies. We also try to highlight the aspects that show both writers appropriation of this macrossystem literary tradition, being an update of realism as a way of literary compostion.

Categoria central da estética desde a modernidade, a autonomia da arte é sustentada até mesmo pelas teorias filosóficas que pretendem problematizar os aspectos sociais e políticos do fenômeno artístico. O caráter histórico das produções culturais não passou despercebido por pensadores como Adorno e Marcuse, por exemplo, mas os elementos culturalmente conservadores de suas estéticas talvez tenham imposto limitações importantes a suas pretensões críticas, a despeito da intenção de seus autores. Dentre os estudiosos do século XX que buscaram compreender o lugar e a função social da arte, investigamos o trabalho de Pierre Bourdieu, especialmente por vermos nele uma ruptura com a ideia de autonomia da arte e suas noções auxiliares, tais como gosto puro, poder transubstanciador da arte, leitor como co-autor, artista como gênio incriado, arte como esfera separada da vida prática, desinteresse da fruição estética etc. Ao investigar sua obra, pretendemos não somente demonstrar o caráter de legitimadores das desigualdades sociais que possuem os discursos filosóficos de autores como Peter Bürger, Arthur Danto, Terry Eagleton e os já citados Adorno e Marcuse, como também mostrar que há problemas teóricos importantes que podem ser explicitados e explicados pelo cotejamento de suas ideias com as de Bourdieu. Este caracterizou o consumo cultural como marcador social e, por meio de investigações empíricas e teóricas, numa interseção entre sociologia e filosofia, problematizou diversos fundamentos da estética erudita que explicam sua função de legitimadora social e permitem identificar sua permanência e força mesmo nos discursos filosóficos que buscam explicitar a raiz histórica e social dos fenômenos artísticos. / Central category from Aesthetic since modernity, the autonomy of art is supported even by philosophical theories that claim to discuss the social and political aspects of the artistic phenomenon. The historical character of cultural productions has not gone unnoticed by thinkers such as Adorno and Marcuse, for example, but the cultural conservative elements of their aesthetic perhaps have imposed crucial limitations on their critical pretensions, despite the intentions of the authors. Among the scholars of the twentieth century who sought to understand the place and the social function of art, we investigated Pierre Bourdieu\'s work, especially because we believe he breaks with the idea of autonomy of art and its auxiliary concepts such as pure taste art\'s transubstantiation power, reader as co-author, artist as uncreated genius, art as a separate sphere from practical life, aesthetic enjoyment disinterest etc. To investigate his work, we intend to not only demonstrate the legitimating character of social inequalities from the philosophical discourses of authors such as Peter Bürger, Arthur Danto, Terry Eagleton and aforementioned Adorno and Marcuse, but also show that there are important theoretical problems that can be clarified and explained by confronting his ideas with those of Bourdieu. His characterization the cultural consumption as a social marker and through empirical and, through theoretical investigations in the intersection of sociology and philosophy, problematized various grounds of scholar aesthetics explaining its social legitimizing function and identifying its permanence and strength even in philosophical speeches seeking to explain the historical and social roots of the artistic phenomena.

Orientadores: Omar Ribeiro Thomaz, Viktor Alleksanderovitch Shnirelman / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas / Made available in DSpace on 2018-08-21T21:37:36Z (GMT). No. of bitstreams: 1 Dunaeva_CristinaAntonioevna_D.pdf: 9545680 bytes, checksum: 723f88da16c4782aea09510f845ca197 (MD5) Previous issue date: 2013 / Resumo: A partir do exame da dicotomia entre os grupos "nós" e "outros", verificamos-se a existência e as possíveis causas do aumento da xenofobia e do preconceito racial na Rússia contemporânea. Por "nós", compreendem-se os russos e, também, os moradores de Moscou, capital do país, que se posicionam como o grupo receptor dos "outros": migrantes e moradores recém-chegados das outras regiões do país. As evidências de discriminação de alguns grupos sociais são descritas como xenofobia, migrantofobia, preconceito étnico e/ ou racial. O discurso discriminatório (institucional, midiático, coloquial) é, predominantemente, proferido em termos étnicos; a etnia aparece como um marcador de diferença e a pertença étnica como um dos principais fatores que levam à discriminação. A discussão sobre a problemática do uso de conceitos como "raça" e "etnia" e sobre a proximidade destes conceitos nas obras dos principais cientistas sociais e antropólogos soviéticos e russos traz contribuições a sua crítica e à compreensão de seus usos nas retóricas de exclusão e do fenômeno da xenofobia na Rússia contemporânea. O contexto específico da Rússia contemporânea é abordado em sua relação com os períodos históricos precedentes (império russo e URSS). Ao longo da tese, são descritos os processos de categorização étnica, a partir do primeiro censo promovido ainda no período imperial, na Rússia; e é abordada a relação entre os conceitos "raça" e "etnia". Afirma-se a evidência de retóricas e práticas racistas na Rússia contemporânea, incluindo a xenofobia e o preconceito a partir da diferença étnica. A análise específica do aumento da xenofobia na Rússia traz contribuições importantes para o debate científico em torno do contexto pós-socialista, pós-totalitarista e pós-colonialista / Abstract: Considering the examination of the dichotomy between the groups "we" and the "others", it is possible to notice the existence and the possible causes to the rise of xenophobia and racial prejudice in contemporary Russia. At the idea of "we", the Russians, and also, the residents of Moscow, the capital of the country, are comprehended - this is the group receiver of the "others": migrants and newcomers from other regions of the country. The evidences of discrimination of certain social groups are described as xenophobia, migrantophobia, ethnic and / or racial prejudice. The discriminatory discourse (institutional, at the media, or colloquial) is mainly pronounced in ethnic terms, and the ethnicity appears as a marker of difference and as one of the main factors leading to discrimination. The discussion on the issue of the use of concepts such as "race" and "ethnicity" and the proximity of them by leading Soviet and Russian social scientists and anthropologists brings contributions to its questioning and to the understanding of their uses in the rhetoric of exclusion and in the phenomenon of xenophobia in Russia nowadays. The specific context of actual Russia is discussed in relation with previous historical periods (Russian Empire and the USSR). Throughout the thesis, the processes of ethnic categorization, since the first census promoted at the imperial period in Russia, are described, and the relationship between the terms "race" and "ethnicity" is discussed. It is appointed the evidence of racist rhetoric and practices in Russia nowadays, including xenophobia and prejudice based on ethnic differences. And the analysis of the rise of xenophobia in Russia brings important contributions to the scientific debate about the postsocialism, postotalitarianism and postcolonialism / Doutorado / Ciencias Sociais / Doutora em Ciências Sociais

Henry James (1843-1916) is a curious and, by his own choice, enigmatic figure. We have a great many dates, a few letters, and little else. James's fragment of autobiography, vast as it is; is strangely unrevealing. There is a wealth of impressions as one would expect from such a writer but precious little about the man. Henry James was chary of describing his personal feelings - so much so that some doubted his ability to have any strong emotions. His autobiography, interesting as it is, is pure observation, memories of people, places and impressions, all marvellously sensitive, but little personal feeling. Intro., p. 1.

Cultural leadership has been a key concept in cultural policy and training since 2002. Most closely associated with the UK’s Clore Leadership Programme, it has been developed through various courses and initiatives domestically and internationally, initially as a response to crises of financial management and governance within major cultural institutions. This emergence of cultural leadership coincided with growing political interest in the social benefits of the arts and the economic potential of the creative industries. However, the concept is rarely clearly defined or critically analysed, while the political and economic environment in which the cultural sector operates has been transformed since the term was coined. This research investigates the evolution of cultural leadership as a discursive formation in these contexts. It traces the short history of the term itself and situates it within longer trajectories of cultural policy. Through critical discourse analysis the research questions the relationship between ‘cultural leadership’ and ‘cultural leaders’, asking who creates the circumstances in which art is produced and culture shaped. Leadership itself is reconsidered theoretically as an aspect of political action. Detailed interviews with influential cultural sector professionals are analysed as an empirical complement to literature around cultural history, policy and artistic leadership. The analysis reconfigures cultural leadership as a dynamic process arising from relationships between creative practice and social, political and organisational development. Outlining the respective roles of government, the public and the sector, it proposes a framework for understanding leadership through the interplay of action and influence within and beyond the cultural workforce. Indicating that cultural leadership has a vital critical role to play in democratic society, the research argues for more effective engagement between sectoral leaders, including artists, and questions of policy and cultural value. Its findings are significant for the future study and development of cultural leadership nationally and internationally.

I have examined the relationship between the art institution and its social base, and the way in which legitimacy is sought and maintained under changing social circumstances. The social pattern of 'avante garde artist' vs. 'philistine public' has tended to be the context within which 20th century art has developed. The consequent disjuncture between the public art institution and its social base was subsequently accepted as the natural condition of Fine Art production. During the 1980's, two significant factors were to influence this 'natural' condition: i) The demise of 'modernism' internationally, ' which broadened the scope of allowable objects for consideration as Fine Art. ii) Political mobilisation in South Africa was accompanied by calls for democratisation and charges of 'elitism' being levelled against many public institutions. These factors have combined to make the S.A. art institutions (public galleries, tertiary teaching institutions and national art competitions) re-assess their legitimacy, particularly in terms of 'accountability' and 'representativeness' . A close examination of these two factors is essential if one is to gain insight into the current condition of the public art institutions. This research is an attempt to understand the history and the current nature of the shifting relationship between the art institutions and the 'public' in South Africa. A further goal is to assess the extent to which concepts that are valid within the realm of the polity can be transposed into the cultural realm: A tendency prevalent within the cultural debate in South Africa during the 1980's. The emphasis of this mini thesis is on the artworld's perception of its social role. I therefore look at the way changing attitudes are reflected in the statements and writing of leading figures within this sector. The method is to critically analyse texts that pertain to my chosen area of research.