Submitted by Jadson Francisco de Jesus SILVA (jadson@uefs.br) on 2018-02-21T22:38:38Z No. of bitstreams: 1 NEIVASuriaSeixas_ DESENHOS_DE_COURO.pdf: 272955981 bytes, checksum: b4858840e27db87b17f281c3e9fda9f2 (MD5) / Made available in DSpace on 2018-02-21T22:38:38Z (GMT). No. of bitstreams: 1 NEIVASuriaSeixas_ DESENHOS_DE_COURO.pdf: 272955981 bytes, checksum: b4858840e27db87b17f281c3e9fda9f2 (MD5) Previous issue date: 2017-02-17 / Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior - CAPES / This dissertation presents the designs made from leather used by the brazilian northeast?s country cowboys: a type of surface design which can become a working gear but also a fashionable apparel. This tooled and carved leather has been made by generations in the sert?o and it is named here after ?desenho de couro?. The purpose of this work is to approach the manifestations of such ornamental leather technics considering their regional and historical presented aspects, or preexistences of its present form. The aesthetic and technical connections among the different expressions of the leather designs are understood through the survival dialetics of the images in the collective memory. This comes to be the art history methodology proposed by Warburg. Considering that is still possible to contact living masters of leather in activity, and to collect information regarding the technique transmission, this resource was used in order to understand the aesthetics and uses of that leather culture, which has its ancestral in the iberic-mudeyyan leatherwork. Both the documents of leather trade in the century XVIII, as well as of the history of the livestock in the Brazilian countryside corroborates with the hypotheses regarding the influence of the Iberian leather culture and its productive main points, today, in the Bahia countryside around Feira de Santana and Ipir?, as in Cariri from Pernambuco. The study of this leather design, more than a record of a Brazilian visual production, it is an living document of the national leather traditions and an outstanding element in the construction of the cowboy's identity as well as of an economic production and material culture of Brazil. / Esta disserta??o apresenta o desenho do encouramento dos vaqueiros sertanejos do nordeste: um desenho de superf?cie, de natureza indument?ria, ora laboral, ora social, que ? produzido h? gera??es nos sert?es, denominado aqui como desenho de couro. O objetivo deste trabalho ? abordar as manifesta??es desse desenho ornamental em superf?cie de couro por seus aspectos regionais, presentes, e hist?ricos, ou preexistentes. As conex?es est?ticas e t?cnicas, entre as diferentes express?es dos desenhos de couro, consideraram a dial?tica da sobreviv?ncia das imagens na mem?ria coletiva ? isto ?, a metodologia de hist?ria da arte proposta por Warburg. Foi lan?ado m?o do recurso, ainda poss?vel, de contatar mestres do couro em atividade e coletar informa??es a respeito da transmiss?o das t?cnicas, est?ticas e usos dessa cultura coureira, que tem seus ancestrais na corioplastia ?bero-mudej?r. O respaldo documental de tr?nsitos comerciais de couro no s?culo XVIII bem como da hist?ria da pecu?ria no sert?o brasileiro, corrobora com as hip?teses aventadas a respeito da influ?ncia da corioplastia ib?rica e da sua concentra??o produtiva, hoje, no sert?o baiano dos arredores de Feira de Santana e Ipir?, como no Cariri pernambucano. O estudo do desenho de couro, para al?m do registro de uma produ??o visual brasileira, ? um documento vivo da corioplastia nacional e um elemento marcante na constru??o n?o apenas da identidade do vaqueiro como da produ??o da economia e da cultura material do Brasil.

As the population of the earth expands the natural world shrinks in order to give space to our growing population. This is a problem since humans have a big part in the destruction of natural habitats. In Gretel Ehrlich’s The Solace of Open Spaces we find a close interaction between human culture and nature. The Solace of Open Spaces can be categorized as creative non fiction, and with this is mind I intend to employ a theoretical approach called ecocriticism when analyzing The Solace of Open Spaces. The following essay will examine how the narrator of The Solace of Open Spaces has depicted the relation between nature and culture. The study will be conducted by a close reading of The Solace of Open Spaces. Other than the close reading a series of important articles and websites have been consulted for further information regarding certain keywords and concepts. Important keywords which are found throughout the essay are: anthropocentrism, cowboy, culture, dualism, nature and sheepherder. My initial theory is that even though it might not be intended, a nature and culture dualism is present in The Solace of Open Spaces. I base the assumption on my belief that all humans objectify nature and see nature as a possession. The aim of the essay is to establish whether there is a nature and culture dualism present in The Solace of Open Spaces.

<p>As the population of the earth expands the natural world shrinks in order to give space to our growing population. This is a problem since humans have a big part in the destruction of natural habitats. In Gretel Ehrlich’s The Solace of Open Spaces we find a close interaction between human culture and nature. The Solace of Open Spaces can be categorized as creative non fiction, and with this is mind I intend to employ a theoretical approach called ecocriticism when analyzing The Solace of Open Spaces. The following essay will examine how the narrator of The Solace of Open Spaces has depicted the relation between nature and culture. The study will be conducted by a close reading of The Solace of Open Spaces. Other than the close reading a series of important articles and websites have been consulted for further information regarding certain keywords and concepts. Important keywords which are found throughout the essay are: anthropocentrism, cowboy, culture, dualism, nature and sheepherder. My initial theory is that even though it might not be intended, a nature and culture dualism is present in The Solace of Open Spaces. I base the assumption on my belief that all humans objectify nature and see nature as a possession. The aim of the essay is to establish whether there is a nature and culture dualism present in The Solace of Open Spaces.</p>

American composer David Guion (1892-1981) created and expressed in much of his music a unique and unmistakably American voice. Though he is remembered today mostly for piano pieces, especially Turkey in the Straw and Arkansas Traveler, he was famous for championing cowboy songs, African-American spirituals and folk songs as the truly authentic representations of the American experience. He also wrote many original works, including a substantial number of songs in Black dialect. In 1930 Guion starred in a cowboy show at the Roxy Theatre in New York, drawing upon his western-themed music. The next year he had a weekly radio show, broadcast around the country and featuring his music exclusively, with the title Hearing America with Guion. He played a substantial role in transforming Home on the Range into the best-known of all cowboy songs. His magnum opus, the ballet Shingandi, was highly regarded but has yet to be recorded. This dissertation examines those genres among Guion’s compositions that reveal his vision for a musical Americana. Much of his music is based on songs that circulated first in oral tradition before he adapted them for the concert stage. This dissertation surveys the breadth of the oral tradition of these songs, identifies his direct sources, and examines his treatment of melody, rhythm and harmony as he infused his music with such characteristic national flavor that his audiences were, in effect, “Hearing America.” A complete list of Guion compositions is attempted, and to the extent possible, probable dates of composition are established from recital programs and publication agreements. The scripts of his radio shows are reconstructed from papers in his archives and presented here. / text

Submitted by Morgana Silva (morgana_linhares@yahoo.com.br) on 2016-07-25T16:07:54Z No. of bitstreams: 1 arquivototal.pdf: 3917406 bytes, checksum: 84cf3bac7d4ce0c03e7c2bb543ec310e (MD5) / Made available in DSpace on 2016-07-25T16:07:54Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 3917406 bytes, checksum: 84cf3bac7d4ce0c03e7c2bb543ec310e (MD5) Previous issue date: 2015-03-25 / This work results from a research about Aboio’s (cow herding) singing in the Paraiba’s high sertão (backwoods) region, especially in these cities: Sousa, Cajazeiras, Marizópolis, São João do Rio do Peixe among surrounding municipalities. The focus is on the adaptive processes that this kind of chanting undergoes in order to survive as a manifestation of the Vaqueiros’ (Cowboy) voice and culture. Interviews and ethnographic research has been done with Aboio’s singers of this region seeking for an understanding of musical and sociological changes that have occurred to cowboy culture and how they influence and construct reality for contemporary cowboy. It follows that the aboio, actually, is very different from that described by Mário de Andrade since he organized the folkloric research missions in 1938. The aboio has adapted to new contexts and to the changes brought by modernity and late modernity in order to ensure its survival in northeast backcountry culture. / Este trabalho é resultado de uma pesquisa sobre o canto de aboio na região do alto sertão paraibano, em especial, os municípios de Sousa, Cajazeiras, Marizópolis, São João do Rio do Peixe e municípios circunvizinhos. Foca-se nos processos adaptativos que o aboio passa para sobreviver enquanto manifestação da voz e da cultura do vaqueiro. Foram feitas entrevistas e pesquisa etnográfica com os cantadores de Aboio da região buscando uma compreensão das transformações musicais e sociológicas por que passa a cultura do vaqueiro e como as mesmas influenciam e constroem a realidade do vaqueiro contemporâneo. Concluiu-se que o aboio está muito diferente da prática descrita por Mário de Andrade desde que organizou as missões de pesquisas folclóricas em 1938, pois o aboio se adaptou aos novos contextos e às mudanças trazidas pela modernidade e modernidade tardia a fim de assegurar sua sobrevivência na cultura do sertanejo nordestino.

Kingdom center Sweden is a small-town Pentecostal community located in the Swedish province of Scania. What, on a surface level, distinguishes this community from other Christian communities in Sweden is that the congregation operates a cowboy-themed wilderness center. Religious communities that operate businesses is not in itself a novel occurrence; instead, it is the cowboy theme in particular that potentially alludes to a phenomenon, novel to a Swedish context, that is, cowboy Christianity. Thus, this essay centers on examining if and how the congregation can be understood as a representation of cowboy Christianity in Sweden. In addition to this, a theological reading is performed in order to further examine the roots of the congregation. The results of the examination suggest that Kingdom Center Sweden, outwardly, shares characteristics with other movements within the cowboy Christian milieu; this, based on images in the congregation’s e-book and on their YouTube accounts in which members of the congregation both dress in cowboy-themed clothes when appearing as a congregation, and to some extent has appropriated practices such as baptism in a horse through and wedding services on horseback – all of which has been previously connected to the cowboy Christian phenomena. Moreover, the information on their YouTube account and e-book brings out how the congregation promotes itself as existing within a cowboy Christian milieu, which consists of cowboy churches, rodeo ministries and profiles within the Christian cowboy community. However, the analysis of the theological material suggests that this, seemingly isolated case of Cowboy Christianity in Sweden, is not merely the result of cowboy Christianity mushrooming from the Great Plains to rural Scania. Instead, the examined material suggests that, theologically, the movement kept it ties with the prosperity theology associated with faith movements and the Swedish Word of Life. Thus, suggesting that after the congregation was excluded from the Swedish faith community, they appropriated the material culture and traits of the cowboy Christian phenomena. Hence, rooting the congregation in another contemporary offshoot of Christianity.

No description available.

This dissertation investigates the figure of “the Texan” during the 1970s across local, regional, and national contexts to unpack how the “national” discourse of Texanness by turns furthered and foreclosed visions of a more inclusive American polity in the late twentieth century. The project began in oral history work surrounding the cultural politics of Austin’s progressive country music scene in the decade, but quickly expanded to encompass the larger transformations roiling the state and the nation in the 1970s. As civil rights and feminist movements redefined hegemonic notions of the representative Texan, icons of Anglo-Texan masculinity—the cowboy, the oilman, the wheeler-dealer—came in for a dizzying round of celebration and critique, satire and ritual performance. Such Seventies performances of “the Texan” as took place in Austin’s “cosmic cowboy” subculture provided an imaginative space to refigure Anglo-Texan identity in ways that responded to and internalized the decade’s identity politics. From the death of Lyndon Johnson to Willie Nelson’s picnics, from the United Farm Workers’ marches on Austin to the spectacle of Texas Chic on the streets of New York City, Texas mattered in these years not simply as a place, but as a repository of longstanding American myths and symbols at a historical moment in which that mythology was being deeply contested. This dissertation maps the messy ground of the 1970s in Texas along several paths. It begins some years prior with the Centennial Exposition of 1936 and the regionalism of J. Frank Dobie, Walter Prescott Webb, and Roy Bedichek before proceeding to the challenges to their vision of “the Texan” on the part of the African American civil rights, Chicano, and women’s movements. The dissertation’s central chapters then address the melding of countercultural forms and the state’s traditional Anglo-Texan iconography and music in spaces like Austin’s Armadillo World Headquarters. Popular music, art, film, journalism, and literature evoke this attempted revisioning of Anglo-Texan masculinity in dialogue with the decade’s identity politics. / text

L’objectif général de ce mémoire est de comprendre l‘impact du genre sur l’identité de travail des cowboys, dans leur milieu de travail et de vie dans un ranch du Canada. Cette étude vise à contribuer aux études sur le genre en utilisant des théories existantes pour les appliquer à un nouveau champ. Sur la base d’une approche théorique fondée dans le féminisme et les études sur la masculinité, en utilisant aussi l’histoire des cowboys de l’Ouest, cette étude se penche sur la question de l’importance du genre dans la division du travail dans le ranch, celle de l’identité de travail des cowboys et sur la façon dont le genre affecte cette identité. La collecte des données s’est faite par l’observation participante et des entrevues semi-structurées. En utilisant une analyse thématique des données, l’étude conclut que le genre est un principe important dans la division du travail dans le ranch et que l’identité de travail est d’une extrême importance pour les cowboys. En outre, l’étude démontre que le genre jour de différentes façons dans l’identité de travail, l’hétéronormativité et les idéaux du cowboy allant dans le même sens, alors que la féminité s’oppose à cet idéal. Les traditions sont encore importantes pour les cowboys contemporains, mais en même temps, ceux-ci mentionnent la réalité du travail éreintant et sans fin comme contrepoids à l’image romantique de la vie des cowboys. Enfin, il y a des similitudes entre les cowboys de cette étude et les adolescentes suédoises étudies par Ambjörnsonn (2004) dans la façon dont le groupe se crée une identité sur la base du genre. / English abstract: The overall aim of this thesis is to understand the implications of gender in the work identity of cowboys within the framework of working and living on a contemporary Canadian cattle ranch. The study seeks to contribute to gender studies by applying established theories to a new field. A theoretical framework drawing from, on the one hand, gender theory originating from feminism and masculinity studies, and on the other hand, the history of the cowboy of the west is applied to the study. This research investigates the importance of gender in the division of labour at the Ranch and the significance of work identity for cowboys, while looking at how gender plays a part in this work identity. To collect data, fieldwork including participant observation and semi-structured interviews has been conducted. Using a thematic analysis of the information gathered, the study found that gender was a guiding principle in the division of labour at the Ranch, and that the work identity had an enormous importance for research participants. Furthermore, it revealed that gender played an important part in their work identity in different ways because ideals revolving around a heteronormative masculinity and those related to being a cowboy went hand in hand, whereas the idea of the feminine gender was presented as being in conflict with the idea of the cowboy. Interestingly, old traditions of the cowboy trade are still important to contemporary cowboys, who seek to balance the romantic picture of the cowboy life painted in fiction with the reality of hard, never-ending work. Moreover, similarities are found between cowboys who participated in this study and Swedish teenage girls studied by Ambjörnsson (2004), in terms of how they create a group identity based on the construction of gender.

This research will examine the rise in popularity of the hillbilly music genre as it relates to the early part of the twentieth century as well as its decline with the arrival of the western hero, the cowboy. Chapter 1 examines the origins of traditional music and how instrumental the fiddle and banjo were in that development. Chapter 2 looks closely into the careers of recording artists who recorded what would later be called hillbilly music. Chapter 3 examines the string band and the naming of the hillbilly genre. Chapters 4 and 5 look at the aspect of radio programming and stereotypes. Chapter 6 discusses the homogenization of the hillbilly genre and the replacement of the hillbilly with the cowboy. This research will clarify the appeal of the hillbilly and highlight the negative stereotypes that started the genre and ultimately ended it leading into the Second World War.