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[pt] Uma das temáticas mais fascinantes e recorrentes nas Ciências Sociais e, mais especificamente na Antropologia, é a problemática da ordem. Essa dissertação foca a sua análise em como os homens empreendem a imprescindível tarefa de dar significado às suas vidas, às suas instituições, às suas sociedades. Ordenar, nesse contexto, nada mais é do que dar uma justificação, um fundamento à todas as coisas que compõem a vida humana. Assim, parto da ideia de que a maneira mais eficaz de dar ordem e significado (seja a vida individual ou a sociedade e suas instituições) se encontra na religião. Admito, porém, que as estruturas de significado presentes nas diferentes culturas não possuem a firmeza necessária para se impor a todos com a mesma intensidade e da mesma forma. Portanto, para evitar que o mundo social perca a sua eficácia, é necessário nomizar ou ordenar a sociedade de uma forma estável e duradoura. A religião, admitida aqui como a forma mais eficaz de dar ordem ao meio social, aparecerá no contexto do que o filósofo Eric Voegelin chamou de sociedades cosmológicas, ou nas chamadas sociedades frias como denominou o antropólogo Claude Lévi-Strauss. A ordem e a construção dos significados nas diferentes sociedades serão analisadas através das obras desses dois autores. / [en] One of the most fascinating and recurring themes in Social Sciences and, more specifically, in Anthropology, is the problem of order. This dissertation focuses its analysis on how men undertake the essential task of giving meaning to their lives, their institutions and societies. To order, in this context, is nothing more than to give a justification, a ground for all things that make up human life. Thus, I take off from the idea that the most effective way of ordaining and establishing meaning (whether to individual life or society and its institutions) lies in religion. I admit, however, that the structures of meaning present in different cultures do not have the necessary firmness to enforce all with the same intensity and in the same manner. Therefore, to prevent the social world from losing its effectiveness, it is necessary to normalize or order society in a stable and lasting way. Religion, admitted as the most effective way to provide order to social life, appears in the context of what the philosopher Eric Voegelin called cosmological societies., or cold societies as Claude Lévi-Strauss called in his works. The order and the construction of meanings in the different societies will be analysed through the works of this two authors.

Much socialist realism art from Soviet-era Russia has been misunderstood by scholars. It has been considered "synthetic art," which ordinary citizens were forced to admire under the Soviet regime. It also has been interpreted as peasant kitsch art because of its seemingly unacademic and unchallenging theoretical language utilized in order to meet the expectations of Soviet communism. This ideology conditioned artists to make art accessible and nationalistic to serve the perceived needs of the Russian proletariat. Nikolai Rakov (1908-1990), a Soviet-era composer, is also all too often received as a second-class socialist realistic composer. There are, however, other approaches to understanding art created in Soviet Union. Within music scholarship, alternative perspectives on Soviet art remain largely unexplored. It is in that spirit that I turn to Rakov, whose works carry his artistic idea of irresistible beauty, elegance, irony and charm. They evoke colorful images and feelings that draw the audience into Rakov's own compositional world despite his reputation of technical simplicity and uninventive language at a glance. In this dissertation, I therefore turn my attention to the aesthetic side of Rakov's music in order to reevaluate his works. In order to achieve this, I develop and utilize a hermeneutical approach grounded in Claude Lévi-Strauss's The Savage Mind to examine and gauge Rakov's musical aesthetics. I closely evaluate two characteristics of Rakov's music through Lévi-Strauss' ideology of bricolage: 1) miniature structure and 2) contingent chords. This dissertation examines three of Rakov's piano works: Variations in B minor, Concert Etudes, and Four Preludes.