A discussão proposta neste trabalho considera a criação de casas de culto aos Orixás, dentro do modelo nagô brasileiro e suas transformações históricas ao longo do processo de dispersão para todo o território brasileiro. O caminho teórico assumido estabelece a hipótese que essas formas religiosas foram construídas em atmosferas sociais, nas quais a infra-estrutura do sistema econômico capitalista é confrontada com os desenvolvimentos culturais e a resistência dos hábitos do sistema de crença. As pesquisas históricas foram fixadas em um período que começa com a formação da casa de culto mais antiga ainda em funcionamento, na década de 1840 na cidade de Salvador, na Bahia e termina no ano de 2007, com as entrevistas realizadas na cidade Campo Grande, em Mato Grosso do Sul. / The discussion proposed in this work considers the creation of the house of cult to the Orixás, inside of the Brazilian nagô model and its historical transformations, along the process of dispersion for the whole Brazilian territory. The theoretical way took on establishes the hypothesis that these religious forms were built in social atmospheres in which the infrastructure of the capitalist economical system is confronted with the cultural developments and the resistance of the habits of the system of belief. The historical researches were set in a period that begins with the formation of the oldest house of cult on the nagô model still in operation, at the decade of 1840 in the city of Salvador, Bahia and ended in the year of 2007, with the interviews accomplished in the city of Campo Grande, Mato Grosso do Sul.

Made available in DSpace on 2016-04-27T19:32:21Z (GMT). No. of bitstreams: 1 Jurema Mascarenhas Paes.pdf: 7221063 bytes, checksum: 8c55aa2324dc379e208f2acea94cd514 (MD5) Previous issue date: 2009-05-22 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / In this thesis, the experiences and cultural translations of the northeastern migrants are analyzed in their processes of miscegenation by means of music, dance and the sociability spaces, in the second half of the 20th century (decades of 1950 to 1990), in the city of São Paulo. The successful trajectory of the artist Luiz Gonzaga is observed, by means of the creation of the baião music and music genre, the instrumental formation of the northeastern trio and all his vocal and scenic speech, representative of the Northeastern region, which occurred in the in-between field-city. The emersion of Luiz Gonzaga is articulated with the migratory flow of the 1950s, with highlights for the city of São Paulo and its work and growth speech. In sequence, the 1960s are focused, with the emersion of the Pedro Sertanejo forró house, one of the first in the city of São Paulo, and of the recording studio Cantagalo , unfolding the whole social network of knowledge and power, observing that the cultural manifestations, in their day-to-day social processes, worked as fighting strategies for territories inside the city. This is a thesis prepared under the perspective of Cultural History, permeating the experiences and strategies, ways of life, of expressing and of living, the miscegenation processes, diverse organization manners, watching for shared and confronted social experiences, analyzing symbols, images, mentalities, cultural practices, as experiences of power, domination, resistance, fight, negotiation, aesthetic and social conflicts. For such, it is sought to work in the intersection of the happenings and in the articulation of the differences between migration, field and city, popular culture and cultural industry, History and music, Oral History, photography and memory, day-to-day and culture, all of this to better understand the imbrications of the half-breed amalgams of the northeastern culture in the city of São Paulo while processes of negotiations and social conflicts / Nesta tese analisam-se as experiências e traduções culturais dos migrantes nordestinos em seus processos de mestiçagens mediante a música, a dança e os espaços de sociabilidade, na segunda metade do século XX (décadas de 1950 a 1990), na cidade de São Paulo. Verifica-se a trajetória de sucesso do artista Luiz Gonzaga por meio da criação da música e do gênero musical baião, da formação instrumental do trio nordestino e de todo o seu discurso vocal e cênico, representativo da região Nordeste, que se fez no entre-lugar campo-cidade. Articula-se a emersão de Luiz Gonzaga com o fluxo migratório da década de 1950, destacando-se a cidade de São Paulo e seu discurso de trabalho e crescimento. Na seqüência, focaliza-se a década de 1960, a emersão da casa de forró de Pedro Sertanejo, uma das primeiras da cidade de São Paulo, e da gravadora Cantagalo , desdobrando toda a rede social de saberes e poderes, constatando-se que as manifestações culturais, em seus processos sociais cotidianos, funcionaram como estratégias de luta por territórios dentro da cidade. Trata-se de uma tese elaborada sob a perspectiva da História Cultural, permeando as experiências e estratégias, modos de ser, de expressar e de viver, os processos de mestiçagens, diversas maneiras de organização, atentando para experiências sociais compartilhadas e confrontadas, analisando-se símbolos, imagens, mentalidades, práticas culturais como experiências de poder, dominação, resistência, luta, negociação, conflitos estéticos e sociais. Para tanto, busca-se trabalhar na intersecção dos acontecimentos e na articulação das diferenças entre migração, campo e cidade, cultura popular e indústria cultural, História e música, História Oral, fotografia e memória, cotidiano e cultura, tudo isso para melhor compreender as imbricações dos amálgamas mestiços da cultura nordestina na cidade de São Paulo enquanto processos de negociações e conflitos sociais

O objetivo deste trabalho é analisar os elementos contraditórios - ou seja, tanto as características aristocráticas quanto as modernizantes - próprios do período de transição em que a sociedade francesa se encontrava na virada do século XVIII para o XIX, presentes nos escritos de Dominique-Vivant Denon (1747-1825), Directeur Général des Musées durante o Consulado e o Império. Buscaremos compreender como uma figura oriunda da nobreza provinciana francesa conseguiu se equilibrar no jogo de forças políticas que se desenrolou na França com o advento da Revolução e como se tornou uma personagem fundamental na constituição de um dos grandes projetos políticos e culturais do período: a reformulação do Museu do Louvre. Em uma perspectiva mais ampla, pretenderemos investigar, através da produção de Vivant Denon, o fenômeno de reapropriação e ressignificação de uma tradição cultural associada ao Antigo Regime na construção do Império Napoleônico. / The object of this research is to study the contradictory elements - both aristocratic features as the modernizing ones - in the transition period from the eighteenth century to the nineteenth, present in the writings of Dominique-Vivant Denon (1747-1825), Directeur Général des Musées during the Consulate and the Empire. We seek to understand how a figure derived from the French provincial nobility managed to balance the game of political forces that unfolded in France with the Revolution and how he became a fundamental character in the consolidation of a major cultural and political projects of the period: the reformulation of Louvre Museum. In a broader perspective, the present study seeks to understand and investigate, through the writings of Vivant Denon, the phenomenon of reinterpretation of a cultural tradition associated with the Old Regime in the construction of the Napoleonic Empire.

This thesis used theories of historical memory studies to examine the ways in which the American writer/director/showrunner Joss Whedon uses American memories, particularly those associated with American experiences in the Civil War and World War II, in his works of fictional, genre television and film. Emphasis was placed on the manner in which Whedon engages in the construction of popular memory, how his work challenges and/or reinforces existing memory narratives, and how Whedon uses historical memories to comment on and influence political, social, and cultural issues in the present. This investigation shows how at least certain productions of American popular culture are increasingly dominant forces in the construction of public memory. The major theoretical underpinnings of this examination are provided by the works of John Bodnar, Richard Slotkin, and Jeanine Basinger.

In this thesis, I am examining how East Tennessee State Normal School in East Tennessee and Appalachian State Normal School in Western North Carolina interpreted progressive education differently in their states. This difference is that East Tennessee State began as a state funded school to educate future teachers therefore their school and their curriculum was more rounded and set to a structured schedule. Appalachian State Normal School was initially founded to educate the uneducated in the “lost provinces” therefore, curriculum was even more progressive than East Tennessee State’s – based strongly on the practices of farming, woodworking, and other practical skills. I will also be looking at what these different interpretations tell about the states, what it says about the Appalachia region, and how both schools applied these progressive ideas in their schools. Lastly, I will be answering how Progressive education, and normal schools affected the communities in East Tennessee and Western North Carolina.

À mi-chemin entre un café, un jardin d’agrément, un bal et une scène théâtrale, les cafés-concerts et les music-halls représentent les divertissements les plus importants du XIXe siècle. Espaces spectaculaires qui accueillent des sociabilités hétérogènes et qui combinent une double fonction artistique et festive, l’identité socioculturelle de ces nouveaux loisirs s’est d’abord élaborée par opposition au statut du lieu d’art. Le postulat de la rareté des répertoires et des artistes issus des cafés-concerts et des music-halls dans l’historiographie des arts scéniques, et dans la transmission des savoirs en danse, nous a conduits à enquêter sur les raisons et les enjeux de cette mise à l’écart. « Lieux dangereux et vulgaires », « spectacles immoraux », « artistes insipides », sont les expressions symptomatiques d’une perception négative fondée sur un ensemble idéologique qui concourt à dessiner les contours d’une illégitimité culturelle. Une première étape de la recherche vise à analyser les principes de distinction sociale et de hiérarchisation artistique en œuvre dans le processus de délégitimation des cafés-concerts et des music-halls, en puisant dans les sources produites par les institutions en charge du contrôle des spectacles au XIXe siècle. Catégorisés en tant qu’objets populaires, les arguments déployés par les instances administratives et la police des théâtres révèlent en premier lieu le fondement d’une idéologie de classe, focalisée sur les origines prétendues populaires de ces divertissements. Entre le Second Empire et la Troisième République, l’histoire des cafés-concerts et des music-halls est traversée par un phénomène de féminisation qui bouleverse les pratiques et les représentations associées à ces espaces et participe à resémantiser leurs premières attributions sociales et symboliques. La seconde phase de ce travail s’intéresse aux effets d’un processus qui interagit sur les plans socioculturel, professionnel et symbolique par une présence féminine érotisée et qui tend à bâtir la catégorie du divertissement comme appartenant au genre féminin. Afin d’interroger les échanges entre altérités féminines et corporéités populaires sur les scènes des cafés-concerts et des music-halls durant la seconde moitié du XIXe siècle, la thèse mobilise deux catégories d’artistes féminines — les effeuilleuses et les danseuses de chahut-cancan — réunies autour d’un geste scénique et érotique commun : le déshabillage. L’étude de ce geste ouvre un troisième champ de questionnements sur les rapports entre l’érotique et l’illégitime dans les pratiques professionnelles de femmes qui exercent un métier artistique au sein d’un lieu spectaculaire à la fois déconsidéré et hautement érotisé. À travers les différentes étapes qui jalonnent cette recherche, la réflexion cherche à rendre compte de l’impact du déshabillage érotique sur la sensibilité d’une époque, sur le statut social des femmes, mais également sur les mouvements internes de professionnalisation des artistes de café-concert et de music-hall au XIXe siècle, et plus globalement, sur l’héritage historiographique de ces divertissements. / Halfway between a café, a pleasure garden, a ball and a theatrical stage, café-concert and music hall are the main entertainment places in the 19th century. Spectacular spaces that welcome heterogeneous sociability and combine a dual artistic and festive function, the socio-cultural identity of these new leisure activities was first developed as opposed to the status of the art place. The postulate of the rarity of repertoires and artists from café-concert and music hall in the historiography of performing arts, and in the transmission of knowledge in dance, has led us to investigate the reasons of this exclusion and the issues at stake. "Dangerous and vulgar places", "immoral performances", "insipid artists", are symptomatic expressions of a negative perception based on an ideological set that contributes to drawing the contours of cultural illegitimacy. The first stage of the research consists in analysing the principles of social distinction and artistic hierarchy in the process of delegitimization of café-concert and music hall, based on the sources from the institutions responsible for controlling 19th century performances. Categorized as popular objects, the arguments put forward by the administrative authorities and the theatre police reveal first and foremost the basis of a class ideology, focused on the supposedly popular origins of these entertainments. Between the Second Empire and the Third Republic, the history of café-concert and music hall was marked by a phenomenon of feminization that disrupted the practices and representations associated with these places and helped to redefine their first social and symbolic attributions. The second stage of this work focuses on the effects of a process that interacts socioculturally, professionally and symbolically through an eroticized female presence, and that tends to build the entertainment category as belonging to the female gender. In order to question the exchanges between female otherness and popular corporealities on the stages of café-concert and music hall during the second half of the 19th century, the thesis focuses on two categories of female artists — the effeuilleuse (strippers) and the chahut-cancan dancers — gathered around a common scenic and erotic gesture: undressing.

Language, Literacy, and Conscientização in American Public Schools synthesizes poststructural language theory to critique literacy teaching and assessment norms in American public schools in order to theorize a pedagogy of racial and economic justice that embraces globalization and immigration. Chapter I creates a theoretical framework for language that rests firmly on both Lev Vygotsky’s and Jacques Lacan’s sociohistorical approach to language acquisition and language use. Mikhail Bakhtin’s work demonstrates the heteroglossic nature of discourse, while Antonio Gramsci politicizes this framework through an understanding of hegemony. Chapter II sketches ethnographic research on teaching practices of various American communities, focusing on ideology perpetuating through discourse. A cultural critique of public school economics and epistemologies determines that shortfalls in public education derive from discourse practices among economically and racially stratified lines, as well as the capitalistic intrigue for reform movements like charter schools. Chapter III turns to Paulo Freire, and his praxis of critical awareness through literacy, or, more simply: conscientização.

The What If Collection is a visual narrative that confronts white supremacy, the social, economic, and political ideology used to subjugate black civilization via colonial rule and enslavement in history and via structural racism today. Many white people have been socialized into a racial illiteracy that fosters white supremacy. This racial illiteracy fails to realize and understand the destructive effects of Western dominance on the rest of the world, particularly on past and present Africa and her diaspora. In response, utilizing discursive design, the collection constructs a counter-story that depicts a shift in the power structure in which the white oppressor is placed in the historical experience of the black oppressed. Moving forward from the past, a contemporary society is visualized where black people are the dominant force.

This thesis contributes to the burgeoning field of the history of sexuality in New Zealand and seeks to distill the more theorised and reflexive understanding of the subjectively understood queer male identity since 1948. Emerging from the disciplines of History and English, this project draws from a range of narratological materials: parliamentary debates contained in Hansard, and novels and short stories written by men with publicly avowed queer identities. This thesis explores how both 'normative' identity and the category of 'the homosexual' were constructed and mobilised in the public domain, in this case, the House of Representatives. It shows that members of the House have engaged with an extensive tradition of defining and excluding; a process by which state and public discourses have constructed largely unified, negative and othering narratives of 'the homosexual'. This constitutes an overarching narrative of queer experience which, until the mid-1990s, excluded queer subjects from its construction. At the same time, fictional narratives offer an adjacent body of knowledge and thought for queer men and women. This thesis posits literature's position as an important and productive space for queer resistance and critique. Such texts typically engage with and subvert 'dominant' or 'normative' understandings of sexuality and disturb efforts to apprehend precise or linear histories of 'gay liberation' and 'gay consciousness'. Drawing from the works of Frank Sargeson, James Courage, Bill Pearson, Noel Virtue, Stevan Eldred-Grigg, and Peter Wells, this thesis argues for a revaluing of fictional narratives as active texts from which historians can construct a matrix of cultural experience, while allowing for, and explaining, the determining role such narratives play in the discursively constructed understandings of gender and sexuality in New Zealand.

My goal in this thesis is to frame, through design, an existing environment in a manner that fosters the witness and embrace of the reality and beauty of decay—which acts as a marker of the passage of time. My intent is to engage in a careful renewal of a neglected, and largely forgotten, urban landscape, which does not ignore its temporal context. My hope is to explore the full potential of the life cycle of buildings and discover the lesson of mortality in modern American ruins.Things fall apart. This is a simple truth about the physical world that humanity inhabits, which surrounds, invades and defines the human condition. Because [or in spite] of this we live in a culture that values progress, newness, and speed, that proselytizes through marketing the belief that comfort can be found in surrounding oneself with new things, pushing reminders of death away. The current world of architecture and design nurtures this mentality, selling projects through the production of sleek renderings of pristine and clean objects, a state that will only last for a short time. I argue that, in spite of this mind-set, the realization of entropic inevitability is necessary to provide a healthy temporal context through which to view daily life. Its acceptance is crucial to an appropriate perspective on life and the human condition, allowing positive forward movement in the midst of the change and deterioration that define life. I hope to show how architecture can foster this acceptance through adaptive re-use which values and interacts with the marks of time and traces of past use. The question that I am positing ultimately is this: How can new architecture breathe life into neglected spaces while also preserving the found beauty of the state of its breakdown, what one might call its ‘character’? Can architecture take cues from and be molded and enlivened by the people, events and nature that it interacts with and is transformed by? Can architecture enact a resurrection that deftly navigates between outright neglect and sterile renovation? And what is the appropriate way to do this?