Este estudo partiu da premissa que toda prática social é uma prática simbólica, portanto, educativa. Teve como foco de análise o Reinado de Nossa Senhora do Rosário (também conhecido como Congado), manifestação católica, típica dos negros, popular e importante em nosso Estado, tanto no interior quanto na capital, que aqui privilegia alguns grupos da cidade de Belo Horizonte. Esta manifestação se funda em uma narrativa mítica em torno da Santa de mesmo nome e constitui o imaginário de seus devotos. Dito de outro modo, por meio da narrativa, os devotos de Nossa Senhora do Rosário (os Filhos do rosário) definem não só a sua crença como todo seu modus vivendi. Estamos diante de uma prática social educativa (abusando da redundância). O estudo teve como perguntas mobilizadoras: que imagens estão presentes no mito de Nossa Senhora do Rosário? Como essas imagens constituem o modus vivendi de todos aqueles que seguem o rosário de Maria? Que significantes elas concretizam no imaginário de seus devotos? Como se dão os processos educativos na construção desse imaginário? Seu principal objetivo foi analisar as imagens míticas do Reinado, investigando as modulações entre o imaginário, o mito, a festa e as práticas educativas que lhes são intrínsecas. Para isso, elegeu como base epistemológica o paradigma da complexidade, e dentro dele, as teorias da antropologia do imaginário, da psicologia profunda e da festa. Os principais autores que alicerçaram este estudo foram Edgar Morin, Joseph Campbell, Gaston Bachelard, Gilbert Durand, Jean Duvignaud, Erich Neumann e Edward Whitmont. Este referencial teórico permitiu analisar o arquétipo da Grande-Mãe e seu desdobramento na vida dos congadeiros. Assim, os objetivos propostos para o estudo foram alcançados. Espera-se que os resultados encontrados possam contribuir para com os conhecimentos sobre as comunidades afrodescendentes, ampliando a nossa compreensão da sociedade, de educação e de nós mesmos. / This study has assumed that all social practice is symbolic, therefore, an educational practice. Its focus of analysis is Nossa Senhora do Rosário\'s reign (Our Lady Rosario\'s reign) - also known as \"Congado\" (folk and religious dance), in Belo Horizonte/MG - that is a demonstration that privilege some groups of people in this city. This demonstration is typical of Afro-Brazilian people and it is very popular and important in the State of Minas Gerais, not only in the capital as well in other cities of the State. Its origin is based on the mythical narrative concerning the Saint Rosario and represents the conception of the Saint\'s devout. It means that Nossa Senhora do Rosário\'s devout (the sons of rosary) define not only their beliefs as well their modus vivendi through that narrative. This study calls in questions some considerations such as: Which images are present in the myth of Nossa Senhora do Rosário? How do these images consist the modus vivendi for all those people who follow Maria\'s rosary? How do these images become real or concrete in the devout\'s minds? How do the educational processes happen in the construction of this conception? Then, this study mainly aims to analyze the mythical images of that reign, investigating the modulations occurred in the conception, the myth and the celebration related to their educational processes. For that, the paradigm of complexity was chosen as an epistemological basis and inside it, the theories involving imaginary anthropology, profound psychology and the celebration. Besides, this study was based on preliminary studies of several authors, such as: Edgar Morin, Joseph Campbell, Gaston Bachelard, Gilbert Durand, Jean Duvignaud, Eerich Neumann and Edward Whitmong. These theoretical references allowed to analyze the archetype of Grande-Mãe (Our Great Lady) and its influence in the \"congadeiros\" (conga dancers)\' life. Then, the proposed objectives for this study were successful. The found results are expected to contribute to the knowledge about afro-descendant communities, enlarging our comprehension about society and education and even about ourselves.

O foco dessa dissertação é a Exposição Histórica do Brasil organizada no interior da Exposição do Mundo Português, em Lisboa, no ano de 1940, quando Oliveira Salazar decidiu comemorar os centenários da fundação de Portugal (1139) e o da Restauração (1640). A Exposição brasileira foi orientada e executada sob a direção de Gustavo Barroso, enviado a Portugal como um dos delegados do Brasil à Exposição do Mundo Português e como Diretor do Museu Histórico Nacional. Ao propor a Exposição Histórica do Brasil como tema, pretendeu-se compreendê-la como expressão de uma forma específica de reconstituir o passado do Brasil, tentando inseri-la no contexto cultural e político do período, contribuindo para o entendimento do modo pelo qual se configurou, na época, uma escrita da História do Brasil, simultaneamente, incrustada no Museu Histórico Nacional e no espaço dos eventos ocorridos em Portugal. / The focus of this essay is the Historical Exposition of Brazil organized inside the Exhibition of the Portuguese World, in Lisbon, in 1940, when Oliveira Salazar decided to celebrate the centenary of Portugal foundation (1139) and of the Restoration (1640). The Brazilian Exposition was guided and carried out by the lead of Gustavo Barroso, who was sent to Portugal as one of the Brazilian representatives in the Exhibition of the Portuguese World and as the Curator of the National Historical Museum. In proposing the Historical Exposition of Brazil as a theme, the intention was to understand it as an expression of a specific way of reconstituting the past of Brazil, trying to insert it in the political and cultural context of the time, contributing to the understanding of how it configured, at the time, a writing of the History of Brazil, simultaneously, incrusted in the National Historical Museum and in the area where the events took place in Portugal.

A pesquisa aqui apresentada é um estudo da Folia de Reis do bairro rural de Ribeirão Grande, em Ourinhos/SP e das cidades vizinhas. Trata-se também das mesmas festas retratadas nas pinturas do acervo do Museu de Arte Primitiva de Assis José Nazareno Mimessi, como produto das culturas populares subalternas. Analisa suas características estéticas e simbólicas e como seus elementos fundantes permanecem, suas possíveis descaracterizações e os processos de assimilação e acomodação das diferentes culturas que nelas transitam, com vistas a ampliar as conceituações sobre as manifestações das culturas populares do país e colaborar para ampliar a compreensão da realidade na qual estamos inseridos. Por outro lado, este trabalho pretende, ainda, examinar a festa popular estudada como significativo instrumento de comunicação que ultrapassou os limites do passado, compreender como acontecem no presente e projetar perspectivas para a edificação da identidade cultural das culturas subalternas, no futuro. Também pretende apresentar as representações imagéticas das culturas populares subalternas como elementos de sustentação das tradições mantidas pela oralidade, assim como registros e documentos para compreender como se dá a acomodação e reestruturação das novas informações e influências trazidas pelos processos comunicacionais da contemporaneidade. / This research is a study of the Epiphany Celebrations performed in the rural district Ribeirão Grande, in Ourinhos/SP, and neighboring cities. The same celebrations portrayed in the paintings of the Museu de Arte de Assis José Nazareno Mimessi collection are studied as well, as a product of subaltern cultures. It analyzes their esthetic and symbolic characteristics and how their founding elements remain: their likely decharacterization and also the assimilation and accommodation processes of the cultures which transit in them. Aiming to broaden the concept spectrum on the country´s popular cultural manifestations as well as to contribute to widen the understanding of the reality in which we are inserted. On the other, this work expects, also, to examine this celebration as a significant communication tool which has surpassed the boundaries of the past, to understand how they occur in the present and to draw perspectives on the edification of the cultural identity of subaltern cultures, in the future. It also intends to present subaltern cultures imagetic representations as sustaining elements of traditions which are held on through orality as well as records and documents, in order to understand how the accommodation and restructuring of new information and influences brought on by contemporary communicational processes take place.

O foco dessa dissertação é a Exposição Histórica do Brasil organizada no interior da Exposição do Mundo Português, em Lisboa, no ano de 1940, quando Oliveira Salazar decidiu comemorar os centenários da fundação de Portugal (1139) e o da Restauração (1640). A Exposição brasileira foi orientada e executada sob a direção de Gustavo Barroso, enviado a Portugal como um dos delegados do Brasil à Exposição do Mundo Português e como Diretor do Museu Histórico Nacional. Ao propor a Exposição Histórica do Brasil como tema, pretendeu-se compreendê-la como expressão de uma forma específica de reconstituir o passado do Brasil, tentando inseri-la no contexto cultural e político do período, contribuindo para o entendimento do modo pelo qual se configurou, na época, uma escrita da História do Brasil, simultaneamente, incrustada no Museu Histórico Nacional e no espaço dos eventos ocorridos em Portugal. / The focus of this essay is the Historical Exposition of Brazil organized inside the Exhibition of the Portuguese World, in Lisbon, in 1940, when Oliveira Salazar decided to celebrate the centenary of Portugal foundation (1139) and of the Restoration (1640). The Brazilian Exposition was guided and carried out by the lead of Gustavo Barroso, who was sent to Portugal as one of the Brazilian representatives in the Exhibition of the Portuguese World and as the Curator of the National Historical Museum. In proposing the Historical Exposition of Brazil as a theme, the intention was to understand it as an expression of a specific way of reconstituting the past of Brazil, trying to insert it in the political and cultural context of the time, contributing to the understanding of how it configured, at the time, a writing of the History of Brazil, simultaneously, incrusted in the National Historical Museum and in the area where the events took place in Portugal.

Através das representações da violência presentes nas obras ficcionais escritas por Ivan Ângelo A Festa (1976) e A casa de vidro (1979), durante a Ditadura do Pós-64, é possível relacionar o discurso literário às dimensões sociais. Pelo crivo da história e conceitos originários da Crítica Literária e da Literatura Comparada aplicados ao campo da Sociologia da Literatura, é possível compreender com sensibilidade e rigor alguns episódios e elementos da vida social brasileira, tais como: o papel do escritor em tempos de repressão à liberdade de expressão. Esse exercício reflexivo, arriscado e recente na sociologia materializa tanto os estudos literários quanto os sociológicos, de modo que o imaginário adquire status de objeto social, o que introduz, na análise sociológica dos textos (verbais e imagéticos) e suas circunstâncias de produção, a afirmação de uma das características mais sociais e humanas: a narratividade. A escrita criativa é uma fonte de acesso a posicionamentos tanto estéticos quanto políticos, e através dessas interfaces mesclam-se a memória, o esquecimento e a construção da ideia do passado. Por isso, a prática da leitura sob essa via ressignifica o sentido do presente e avança um passo a mais em direção à literatura como um fato social inegável e como ato ao mesmo tempo individual e coletivo que persiste através dos tempos e da cultura nacional. / It is possible to establish relations with literary discourse and social dimensions by means of the representations of violence existent in the fictional works The celebration (1976) and The tower of glass (1979) written by Ivan Ângelo during the Post-64 dictatorship. It is conceivable to comprehend sensibly and rigorously some episodes and elements of Brazilian social life, such as the role of the writer in times of freedom of expression repression by sifting through history and concepts from Literary Criticism and Comparative Literature applied to the field of Sociology of Literature. This risky and recent in sociology reflexive exercise enriches the study of literature and sociology in a way that fictional thought receives status of social object which introduces the statement of one of the most social and human features, the storytelling, in the sociological analysis of verbal and imagery texts and their production circumstances. Creative writing is a source of entry to both aesthetic and political positioning and, through these interfaces, memory, oblivion and the construction of the past are all mixed. Therefore, the practice of reading under this comprehension reframes the meaning of the present and advances another step towards literature as an undeniable and social fact and also as a fact that is at the same time individual and collective and that persists through time and through national culture.

O presente estudo, de natureza qualitativa, registra, analisa e compara processos criativos, técnicas e linguagens utilizadas na produção artesanal de quatro agremiações tradicionais que se dedicam à manifestação cultural do Bumba-meu-boi no estado do Maranhão, os grupos \"Bumba-meu-boi de Morros\", \"Bumba-meu-boi da Floresta\", \"Bumba-meu-boi da Maioba\" e \"Bumba-meu-boi da Liberdade\". Buscou-se compreender a configuração de suas identidades culturais, sobretudo em relação às características visuais dos figurinos de seus participantes. Esta escolha foi motivada pela diversidade de atributos artístico-expressivos, além de sociais e culturais, entre os grupos selecionados. A pesquisa se justifica pela importância da manifestação cultural no cenário estadual e nacional, pela escassez de estudos que focalizem o fenômeno visual do Bumba-meu-boi e que evidenciem, em especial, a atuação dos artesãos na produção dos vestuários dos grupos maranhenses. Configura-se ainda como um registro de técnicas tradicionais que podem se perder ou se modificar significativamente com o passar dos anos. Inicialmente, uma pesquisa bibliográfica foi realizada para compreender a natureza do fenômeno. Após reconhecimento das especificidades destes festejos populares, foi conduzida extensa pesquisa de campo, levantando dados junto a líderes e artesãos dos grupos pré-selecionados, por meio de entrevistas semiestruturadas, registros fotográficos, observações e anotações. Entre os resultados desta pesquisa, destaca-se a constatação da existência de técnicas artesanais que passam de geração a geração, motivando artesãos de diferentes idades e gêneros a dar continuidade a este ofício e manter seu vínculo com os grupos. Evidencia-se também as discussões que revelam as diferentes escolhas que baseiam o processo de produção das indumentárias em cada um dos grupos observados, que buscam reforçar identidade cultural. Ressaltase, ainda, a compreensão de aspectos sociológicos que influenciam as reconfigurações e ressignificações relacionadas à manifestação cultural do Bumba-meu-boi, sobretudo seus desdobramentos no artesanato produzido pelas comunidades que seguem representando a identidade maranhense e perpetuam esta relevante parte da cultura popular brasileira. / This qualitative research documents, analyses and compares different creative processes, craft techniques and visual attributes present in the handmade production of each year\'s costumes for four traditional groups of performers of the well-known June-to-July cultural celebration of Bumba-meu-boi in the northern Brazilian state of Maranhão. The Bumba-meu-boi folk tradition involves music, dance, dramatic narrative, as well as visually rich costumes. The four groups of players investigated in this research are \"Bumba-meu-boi de Morros\", \"Bumba-meu-boi da Floresta\", \"Bumba-meu-boi da Maioba\" and \"Bumba-meu-boi da Liberdade\". These four groups were selected based on their diverse expressive and artistic qualities, in addition to their social and cultural exuberance. The Bumba-meu-boi artistic phenomenon has great significance in the state of Maranhão, and also in Brazil as a whole. In contrast, there is little scientific research documenting Bumba-meu-boi\'s visual language and the way the costumes are conceived and crafted by such varied groups of folk dancers in the state of Maranhão. In this regard, this research also sought to record the craft techniques in danger of being forgotten or significantly altered in the coming years. A preliminary review of the related literature was done to provide an initial, general understanding of the Bumba-meu-boi phenomenon. Once this first survey of the various specific aspects of this folk tradition was concluded, extensive fieldwork was also carried out to collect data from leaders of the four selected groups of players and their craftspeople. This was accomplished by means of semi-structured, recorded interviews, as well as photographs, direct observation and note taking. Among the results of this study is the identification of craft techniques which are passed from one generation to the next, engaging craftspeople of all ages, thus keeping their craft alive as they strive to preserve cultural ties within each particular group of players which they identify with. The process of discussing different creative and manufacturing alternatives amongst the creators and producers of each year\'s new costumes, so that such visual components can reinforce the thematic and cultural identity of each group of players of Bumba-meu-boi, is documented and analyzed as well. The study also features some key sociological aspects that determine the reconfiguration and resignification of the cultural activity of Bumba-meu-boi, in particular its costumes, each year handcrafted anew by these communities which keep on representing the cultural identity of people of the state of Maranhão and perpetuating this relevant component of Brazilian popular culture.

Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal

The three centennial celebrations sponsored by the W.A.C. Bennett Social Credit government in 1958, 1966/67 and 1971 were part of a process of self-definition and province building. Post-war state development in British Columbia certainly included expanding and nationalizing transportation, building ambitious mega projects, and encouraging resource extraction in the hinterlands. The previously unstudied centennials were no less important to defining post-war British Columbia by creating the infrastructure on which cultural and hegemonic province building could take place. Using the methodologies and theories of Cultural Studies this study attends to both the discursive and material elements of these occasions. It uses the voluminous records of the three Centennial Committees, newspaper articles, government reports, and documents from community archives to reveal that that these elaborate and costly centenaries served the government’s desire to build an industry-oriented consensus in BC’s populace. The government - and its Centennial Committees - sought to overcome regional disparities and invite mass participation by making the celebrations truly provincial in nature. Each community, no matter its size, had a local centennial committee, was funded for local commemorative projects, was encouraged to write its history, and enjoyed traveling centenary entertainments. All communities benefited from cultural amenities, the province’s capital assets grew, the province started to undertake heritage conservation and residents gained a new appreciation for their history. Invented traditions - limited and constructed historical re-creations and motifs – helped overcome regional differences. British Columbians were presented with images and narratives of explorers, gold-seekers, and pioneer-entrepreneurs who opened up the interior with ingenuity and bravery, as well as a mythic, popular “old west” narrative that all citizens, no matter region, could rally around. A trade fair and tourism promotion reinforced the tradition of industry especially for manufacturers and small business. By and large, British Columbians in 1958 – particularly white males who found an anti-modern release in centennial events – accepted and legitimized this industry-oriented consensus. In the two later centennials new counter-hegemonies challenged this consensus. First Nations had opposed the colonial narrative in 1958, but by 1966/67 and 1971 they were more vocal and politically active. Other British Columbians opposed the development agenda of the centenaries; youth, environmentalists and labour argued that the celebrations were a waste of time, money, and energy when more pressing issues of environmental degradation and unemployment were present. The government’s static Centennial Committee was ill equipped to address these challenges. It offered superficial amends, such as creating Indian Participation and Youth Subcommittees, but ultimately could not repudiate the hegemony on which it, and Social Credit, was based.

Através das representações da violência presentes nas obras ficcionais escritas por Ivan Ângelo A Festa (1976) e A casa de vidro (1979), durante a Ditadura do Pós-64, é possível relacionar o discurso literário às dimensões sociais. Pelo crivo da história e conceitos originários da Crítica Literária e da Literatura Comparada aplicados ao campo da Sociologia da Literatura, é possível compreender com sensibilidade e rigor alguns episódios e elementos da vida social brasileira, tais como: o papel do escritor em tempos de repressão à liberdade de expressão. Esse exercício reflexivo, arriscado e recente na sociologia materializa tanto os estudos literários quanto os sociológicos, de modo que o imaginário adquire status de objeto social, o que introduz, na análise sociológica dos textos (verbais e imagéticos) e suas circunstâncias de produção, a afirmação de uma das características mais sociais e humanas: a narratividade. A escrita criativa é uma fonte de acesso a posicionamentos tanto estéticos quanto políticos, e através dessas interfaces mesclam-se a memória, o esquecimento e a construção da ideia do passado. Por isso, a prática da leitura sob essa via ressignifica o sentido do presente e avança um passo a mais em direção à literatura como um fato social inegável e como ato ao mesmo tempo individual e coletivo que persiste através dos tempos e da cultura nacional. / It is possible to establish relations with literary discourse and social dimensions by means of the representations of violence existent in the fictional works The celebration (1976) and The tower of glass (1979) written by Ivan Ângelo during the Post-64 dictatorship. It is conceivable to comprehend sensibly and rigorously some episodes and elements of Brazilian social life, such as the role of the writer in times of freedom of expression repression by sifting through history and concepts from Literary Criticism and Comparative Literature applied to the field of Sociology of Literature. This risky and recent in sociology reflexive exercise enriches the study of literature and sociology in a way that fictional thought receives status of social object which introduces the statement of one of the most social and human features, the storytelling, in the sociological analysis of verbal and imagery texts and their production circumstances. Creative writing is a source of entry to both aesthetic and political positioning and, through these interfaces, memory, oblivion and the construction of the past are all mixed. Therefore, the practice of reading under this comprehension reframes the meaning of the present and advances another step towards literature as an undeniable and social fact and also as a fact that is at the same time individual and collective and that persists through time and through national culture.

The presented diploma thesis deals with the election and coronation of archduke Joseph to become the king of Rome that took place in January 1690 in Augsburg. It focuses on a reconstruction of the individual ritual steps of coronation ceremonies that had fixed ceremonial rules. It aims to interpret the rich symbolic message of all performance parts that the author describes chronologically as they followed one another. They included the ceremonial entrance of the imperial family into Augsburg, the arrival of the individual electors of the Roman-German Empire into the city, the pre-election negotiations, the election of the new king of Rome as such and the coronation of the elected archduke Joseph that followed. Attention was also paid to the sumptuous celebrations and the spectacular coronation feast that took place after the young Habsburg was enthroned. Presenting precious gifts to the emperor, his wife and son was also part of the performances. Members of the reigning dynasty accepted priceless objects from the representatives of the municipality of Augsburg and of the Estates of the Roman-German Empire, the allegoric decoration of which bore rich symbolism. The thesis therefore attempts to uncover the individual symbolic elements of the decoration constituted mostly by motives from ancient mythology and scenes from Christian catechism. They celebrated the recipients of the gifts and mirrored ideal virtues that a ruler from the House of Habsburg should possess.