This dissertation ethnographically explores the social concerns related to the global, agro-industrial system's impact on many communities' potential for livelihood and health. At the core of this study is the desire to understand the complex and dynamic ways that communities strive to develop, and make sense of, networks that address these wicked problems and to understand how these strategies might aggregate to promote community resiliency. An investigation of alternative food networks (AFNs) was contextualized in one province in Western Turkey. The AFNs were articulated by an ethnographic design that utilized tools from different fields of study. Integrating actor-network theory, new social movements theory, and the nourishing networks framework allowed for robust triangulation of data. I conclude that AFNs in this province are nascent and remain fragmented. At present, AFNs have not been leveraged for community resiliency efforts. However, they hold the seeds of what may become a food sovereignty social movement. This ethnography reveals that the province has assets, including numerous affinity groups, and a durable connection to heritage with strong reverberations of a nature-culture. I illuminate the broad spectrum of submerged and visible actants and actors that prime the AFNs' development. The wide variance creates diffuse and contradictory cultural implications. Actors report they constantly negotiate cultural aspects related to AFNs. They conceptualize this work as a polymorphous phenomenon of fragmented communities and a culture of dependency; but they show fortitude by negotiating multi-phasic actions and multi-vocal resistance messaging. By way of this study I illustrate that their cultural politics take place where economy and identity interface. Actors seek legitimization. They speak of infusing heritage-based ideals into projects. They are firm that agricultural modernization must come from Turkish values. And, they are formulating and strengthening ideological-based discourses. I further clarify their development strategies by showing how AFNs are experimenting with new governance strategies and focusing on social embedding. Promotion of niche markets has begun. However, public and private resources are limited, which hinders the momentum of AFNs. Additional research is needed to better understand the processes for high functioning AFNs in Turkey. / Ph. D.

This dissertation gives a comprehensive picture of the press organs of the Communist Party of Czechoslovakia in the district of Pardubice during the so-called normalization. The first chapter describes the historical contexts of this era, particularly changes in policy after the onset of Gustáv Husák at the head of the Communist Party in April 1969. With this change is related to another topic: extensive purges in the Communist Party, which took place in 1970. The second chapter focuses on changes in the media at the beginning of normalization, in particular the abolition of some periodicals and restoring censorship, and changes in the cultural field, especially strengthening the focus on the Soviet Union, the emergence of new artists' unions and various legal regulation in order to strengthen ideological supervision of the this sphere . The third and fourth sections are devoted East Bohemian press: daily newspaper Pochodeň, published in Hradec Králové, and Pardubice district newspaper Zář. It briefly describes the history of these newspapers and their effect during the Prague Spring and subsequent developments in normalization. Attention is then focussed mainly on their cultural sections and their scope, content and authors of articles. Analysis of the articles from the cultural sections provides...

TITLE: History of the State Film Theatre AUTHOR: Bc. Markéta Pechačová DEPARTMENT: Katedra dějin a didaktiky dějepisu SUPERVISOR: doc. PhDr. Alena Míšková, PhD. ABSTRACT: This thesis endeavours to comprehensively describe history of the State Film Theatre since its foundation (as the Film Studio Theatre) in 1948 until it was definitively closed down in 1951. The opening chapter gives insight into cultural policy objectives and institutional structure of Czechoslovak theatres at the turn of 1940s and 1950s. The remaining three chapters, covering the time scope of particular theatre seasons, monitor organisational, dramaturgic, ideological and artistic transformations of the State Film Theatre; these changes were related particularly to social and cultural-political development in Czechoslovakia. The content of the thesis draws chiefly from primary sources: theatre programmes, scripts, theatre reviews, period articles, official records and other archival materials; thanks to these sources it was possible to authentically document both forms of particular productions and the position of the State Film Theatre within a broader cultural and social context. KEYWORDS: The State Film Theatre, The Film Studio Theatre, history of theatre, cultural politics, Czechoslovakia 1948-1951

Le débat sur le libre arbitre continue depuis des siècles, réfractaire à toute tentative de solution positive. Cette thèse présente une contribution visant à dissoudre le problème plutôt qu’à le résoudre. L’approche négative et « thérapeutique » du travail est d’inspiration largement wittgensteinienne : son noyau réside dans la thèse selon laquelle les problèmes philosophiques – y compris le problème du libre arbitre – ont pour origine une confusion dans l’usage des mots. Dans les deux premiers chapitres, j’examine le débat analytique sur le libre arbitre et l’approche récente de la philosophie expérimentale. Je montre que la difficulté d’arriver à un niveau d’accord même minimal sur les questions principales du débat rend déraisonnable de vouloir le poursuivre. Dans le troisième chapitre, je présente l’approche négative des problèmes philosophiques défendue par Paul Horwich dans son travail sur Wittgenstein et dans ses échanges avec Timothy Williamson et Richard Rorty. Dans le quatrième chapitre, j’applique la thèse wittgensteinienne de la confusion linguistique à la question du libre arbitre. Au centre du cinquième chapitre se trouve la position défendue par Peter Strawson dans son article « Freedom and Resentment » (1962), dont je présente une lecture pragmatique. Selon cette interprétation inspirée par Rorty, Strawson montre que le scepticisme à l’égard de la responsabilité morale représente une forme de politique culturelle vouée à l’échec. / Philosophical attempts to solve the free will conundrum have proven unsuccessful across the centuries. In this work I aim at dissolving rather than solving the problem. The negative and “therapeutic” approach I adopt is inspired by Wittgenstein, its core being the thesis that such philosophical problems as free will stem from linguistic confusion. In the first and second chapter I examine the contributions on free will provided within analytic philosophy and within the so called experimental philosophy. I argue that it is not reasonable to pursue this debate, insofar as it is by now clear that its main questions admit of no shared solutions. In the third chapter I present the negative approach to philosophical problems defended by Paul Horwich in his work on Wittgenstein and in his exchanges with Timothy Williamson and Richard Rorty. In the fourth chapter I apply to the free will issue an approach focused on Wittgenstein’s thesis concerning linguistic confusion. In the fifth chapter I provide a pragmatic reading of the position defended by Peter Strawson in his « Freedom and Resentment » (1962). According to this interpretation inspired by Rorty, Strawson shows that scepticism about moral responsibility comprises an unfruitful form of cultural politics.

O objetivo geral da pesquisa é estudar os critérios utilizados pelas empresas para a escolha dos projetos de artes cênicas patrocinados via isenção fiscal da Lei Rouanet. O objetivo específico é mostrar como os parâmetros de visibilidade midiática, relação custo-benefício, endomarketing, marketing de relacionamento e de negócios e oportunidades de comunicação com públicos de interesse (funcionários, clientes, consumidores, comunidade de entorno) valorizam atores e diretores consagrados pela mídia em detrimento de autores e diretores e atores desconhecidos da mídia, o que dificulta o acesso das produções teatrais experimentais e de pesquisa aos recursos de renúncia fiscal da Lei Rouanet. A Lei Rouanet foi instituída em um contexto neoliberal do Brasil no qual o Estado transferiu à iniciativa privada a viabilização da produção artística que passa a ser avaliada segundo sua potencialidade de se transformar em mercadoria e conquistar novos consumidores com o objetivo de gerar lucro para as empresas. Entrevistamos representantes de empresas privadas e públicas, diretores de projetos patrocinados e inviabilizados por meio da Lei Rouanet e fizemos um levantamento das peças de teatro patrocinadas no ano de 2011 por meio da renúncia fiscal e concluímos que existe uma concentração de recursos de isenção fiscal em produções da Broadway e em atores e diretores consagrados pela mídia em detrimento de autores e diretores e atores desconhecidos da imprensa. Dessa forma, as grandes empresas beneficiam espetáculos que dão retorno financeiro e de marketing institucional, a cultura do entretenimento que busca divertir e agradar ao \"grande público\". Pesquisa do Ministério da Cultura afirmou que existe uma concentração de 50% dos recursos em apenas 3% dos proponentes. Dessa forma, identificamos o conceito de censura de mercado que age em duas vertentes processuais de censura: na primeira, a restrição à produção artística com assuntos polêmicos impede que significados, valores e sentimentos divergentes da convenção social sejam levados ao público, na segunda, exclui as produções teatrais experimentais e de pesquisa do acesso aos recursos públicos da Lei Rouanet, pois essas expressões artísticas possuem imprevisibilidade de bilheteria, de crítica, público e rendimento. / The overall objective of the research is to study the criteria used by companies to the choice of performing arts projects sponsored via tax exemption of Rouanet Law. The specific objective is to show how the media visibility of parameters, cost-effective, internal marketing, relationship marketing and business opportunities and communication with stakeholders (employees, customers, consumers, surrounding community) value embodied by actors and directors media at the expense of authors and directors and media unknowns, which hinders the access of experimental theater productions and research to fiscal waiver resources Rouanet Law. The Rouanet Law was instituted in a neoliberal context of Brazil in which the State transferred to the private sector the viability of artistic production which happens to be evaluated according to their potential to transform into merchandise and win new customers in order to generate profit for companies. We interviewed representatives of private and public companies, sponsored project managers and made impossible through the Rouanet Law and made a survey of theater plays sponsored in 2011 through tax breaks and concluded that there is a concentration of tax exemption resources in production Broadway actors and directors and consecrated by the media to the detriment of authors and directors and unknown actors of the press. Thus, large companies benefit performances that give financial and institutional marketing return, the entertainment culture that seeks to entertain and please the \"general public\". Research the Ministry of Culture affirmed that there is a concentration of 50% of the resources in only 3% of the proposers. Thus, we identified the concept of market censorship acting on two procedural aspects of censorship: first, the restriction of artistic production with controversial issues prevents meanings, values and divergent feelings of social convention are brought to the public. In the second excludes experimental theater productions and research theater access to public resources of the Rouanet Law, for these artistic expressions have unpredictable box office, critical, audience and revenue.

Esta dissertação aborda o desenvolvimento do projeto Arte/Cidade na cidade de São Paulo entre os anos de 1994 e 2002, a partir de um questionamento sobre as relações entre cidade, política e estética e sobre os potenciais e problemas atuais que a arte urbana teria para se configurar como instância crítica. Arte/Cidade foi e é uma iniciativa cultural de grandes eventos de intervenção artística em espaços urbanos, que realizou quatro exposições em São Paulo, e exibiu várias mudanças em seu desenrolar: surgido em uma instituição pública como empreendimento artístico, passou a ser organizado por uma associação não-governamental e a se envolver também em debates urbanísticos, arquitetônicos e políticos sobre a metrópole contemporânea. Por outro lado, o projeto também ocorreu em meio a um momento de crescente vinculação entre empreendimentos culturais e marketing urbano, no bojo de uma progressiva espetacularização, privatização e mercadorização da cidade e da cultura. Propõe-se aqui identificar e analisar as principais mudanças nos discursos, estratégias e práticas de Arte/Cidade, com o objetivo de refletir sobre sua inserção nesse panorama e sobre as implicações e potenciais políticos de um mega-evento artístico em espaço urbano na São Paulo da década de noventa. / This dissertation discourses about the development of Arte/Cidade project in the city of São Paulo between 1994 and 2002, based on concerns about the relations between city, politics and aesthetics and about the present potentials and problems that urban art would have to configure itself as critical instance. Arte/Cidade was and is a cultural initiative of great events comprehending artistic interventions in urban spaces, which accomplished four expositions in São Paulo and showed many changes in its development: initiated in a public institution as an artistic enterprise, it was later organized by of a non-governmental association and also involved itself in urbanistic, architectonical and political debates about the contemporary metropolis. On the other hand, the project happened in a moment of increasing binding between cultural enterprises and urban marketing, in a context of progressive spectacularization, privatization and merchandising of the city and of the culture. This work intends to identify and to analyze the main changes in Arte/Cidade speeches, strategies and practices, with the objective of reflecting on its insertion in that scope and on the political implications and potentials of an artistic mega-event in the urban space of São Paulo in the ninety’s.

This dissertation thesis addresses the history of public relations of the Communist Party in Czechoslovakia in Pardubice district. It is focussed at the period of so-called normalization. Firstly, it discusses the historical context of the time for understanding the crisis of the system in 70s and 80s. The first chapters describe so-called Prague spring and military invasion in August 1968. Next chapters stress changes in politics and media after the election of Gustáv Husák to become First Secretary of the Communist Party in April, 1969. The second part of text is case study about Pardubice district. The main topic of dissertation thesis are newspaper of Pardubice district - Zář. But there are also chapters about radio, factory newspaper, regional Union of Czech Journalists or College in Pardubice and editors of student magazine. In the second part of case study attention is focussed on cultural section of newspaper Zář and its main topics - for example political anniversaries and the role of culture. In cultural section I analyze which information and how they were, or were not presented to public. Supervision and control over the media content was one of the main regime's tools to take over the culture area and its presentation.

Made available in DSpace on 2016-04-27T19:30:58Z (GMT). No. of bitstreams: 1 Leandro Candido de Souza.pdf: 2021277 bytes, checksum: 884691aa72337b2db4e076ac82fb9583 (MD5) Previous issue date: 2014-05-14 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / This work analyzes the concretist proposal presented by the activities of the Noigandres group formed by poets Augusto de Campos (1931-), Haroldo de Campos (1929-2003) and Decio Pignatari (1927-2012). Our thesis consists in the integration of the three poets through their different practices into a modeling artistic-cultural project whose strategy worked well tuned to the postmodern doxa of the commodification of modernism, the formalization of avantgarde and the utilitarian refunctionalisation of art. The abandonment of style and adoption of the text, the relationship established with the art institution, the theoretical-historical revisionism, the epistemological debate and the jump into the mass media confirm that a large distance has established between the concretists of Sao Paulo and the so-called high modernism at the turn of the century and its criticism by the historical avant-garde movements. Finally, we attempted to re-establish the analytical intersection from different sources - which consisted this doctrine - to draw from them notes on what was the role played by the three poet-makers in cultural disputes experienced in the course of the modernization process of Brazilian capitalism / Este trabalho analisa a proposta concretista apresentada pelas atividades do grupo Noigandres: Augusto de Campos (1931-), Haroldo de Campos (1929-2003) e Décio Pignatari (1927- 2012). Sua tese é a de que os três poetas integraram, por meio de suas diferentes práticas, um projeto artístico-cultural modelar cuja estratégia andava bem afinada à doxa pós-moderna de mercantilização do modernismo, oficialização das vanguardas e de refuncionalização utilitária da arte. O abandono do estilo e a adoção do texto, a relação estabelecida com a instituição arte, o revisionismo histórico-teórico, o debate epistemológico e o salto para dentro dos meios de comunicação de massas, confirmam que uma grande distância se estabeleceu entre os concretistas de São Paulo e o dito alto modernismo da virada do século e sua crítica pelos movimentos históricos de vanguarda. Por fim, tentou-se restabelecer, pelo cruzamento analítico de diferentes fontes, o que consistiu essa doutrina, para daí extrair apontamentos sobre qual foi o papel desempenhado pelos três poetas-formuladores nas disputas culturais vividas no curso do processo de modernização do capitalismo brasileiro

Essa pesquisa teve por objetivo compreender a criação e atuação do Núcleo de Arte Contemporânea da Universidade Federal da Paraíba (NAC/UFPB) no período de 1978 a 1985. Seu surgimento está inserido num momento em que o Brasil vivia o complexo processo de abertura política e quando o sistema da arte, marcado por uma produção de caráter experimental, passava por reconfigurações tanto nas funções de suas instituições culturais quanto nos conceitos, ideias e práticas artísticas. A hipótese aqui defendida é que apesar de sua criação está diretamente relacionada com as diretrizes da Política Nacional de Cultura (PNC) e do Ministério da Educação e Cultura (MEC) para as universidades brasileiras, as presenças do crítico Paulo Sérgio Duarte e do artista Antonio Dias, responsáveis tanto pela concepção de sua proposta como por sua divulgação na cena artística nacional, possibilitou que o Núcleo colocasse em prática um modelo inovador no âmbito institucional nordestino, com o enfoque na produção e difusão da arte experimental brasileira. Também verificou-se até que ponto o objetivo do NAC/UFPB de atuar como um centro formador, difusor e fomentador da arte contemporânea na Paraíba se efetivou; e refletiu-se ainda sobre possíveis razões para a diminuição de suas atividades e transformação de sua proposta a partir de 1981. / This research\'s purpose is to analyze the creation of the Contemporary Art Center of the Federal University of Paraíba (Núcleo de Arte Contemporânea da Universidade Federal da Paraíba -NAC/UFPB) as well as its roles throughout 1978 and1985. This institution emerges when Brazil was going through a complex process of political openness. Meanwhile, the art system, marked by the presence of experimental artistic practices, was going through a series of reconfigurations concerning the cultural institution\'s functions and its concepts, ideals and artistic practices.The research\'s hypothesis is that despite the fact that NAC\'s creation was directly related to the National Cultural Politics (Política Nacional de Cultura - PNC) and Culture and Education Ministry (Ministério da Educação e Cultural - MEC) directives regarding Brazilian universities, it was the presence of Paulo Sérgio Duarte (critic) and of the artist Antonio Dias, both responsible for the conception of the institution\'s motions and for inserting it into the national artistic scene, that made it possible to enact an innovative model considering the northeastern institutional context. This is to be considered focusing on the production and dissemination of Brazilian experimental art. One of the central issues of this research was to identify through what extend had NAC fulfilled its objective of becoming an educational center that also disseminates and foments contemporary art in the state of Paraíba. In addition to that, one of the highpoints of the research relies on analyzing what had caused a decrease in NAC\'s activities, as well as a noticeable transformation of its main purposes and objectives in 1981.

Made available in DSpace on 2016-04-26T18:17:01Z (GMT). No. of bitstreams: 1 MarilaVellozo.pdf: 6141697 bytes, checksum: 734ceef84a2dc8edab930ff01bad6441 (MD5) Previous issue date: 2005-05-12 / nenhum / This dissertation has the object to discuss the role of cultural journalism in the construction of Guaíra Theater s image as being the exclusive representative of all dance production in Paraná State. For that, it has reunited as corpus of its investigation the published material of local news paper s and for some of national circulation between 1956 and 2004. With that, intending to attest that was this printed media action, in municipal, state and national levels, that constructed and consolidated a type of entail that goes back to the creation of Guaíra Theater Ballet Course, in 1956. And that was done on account of coevolutive current agreements in that environment. The hypothesis that has guided the investigation of the nature of this entail has its fundaments in a semiotics approach of the Evolutive Theories. The investigation was based on the understanding that were certain memes that propagated in linked processes to contamination and influence that, even today set Curitiba s dance environment. The dissertation maps the context in which the entail was established, identifying the prioritary aspects in the formation of this lasting association. This dissertation also discourses about the forms of using the government budget to the dance in Paraná and the aim is to contribute to a necessary public debate about the relation between the communication channels and public politics. Based on the Coevolution concept, this dissertation concludes that some survival strategies still remain in the city s environment, showing its replicators strength and the importance of evaluating these theories, searching direction for future choices to the formulation of public politics to the dance in the city. / Esta dissertação tem como objeto discutir o papel do jornalismo cultural na construção da imagem do Teatro Guaíra como sendo o representante exclusivo de toda a produção de dança do Estado do Paraná. Para tal, reuniu como corpus de investigação o material publicado pelos jornais locais e por alguns de circulação nacional entre 1956 e 2004. Com ele, pretende atestar que foi a ação desta mídia impressa, em nível municipal, estadual e nacional, que construiu e consolidou um tipo de vínculo que remonta à criação, em 1956, do Curso de Ballet do Teatro Guaíra. A hipótese que guiou a investigação da natureza desse vínculo se fundamenta em uma abordagem semiótica das Teorias Evolutivas. A investigação pautou-se pelo entendimento de que foram certos memes que se propagaram em processos atrelados à contaminação e também à influência e que, ainda hoje, montam o ambiente da dança em Curitiba. A dissertação mapeia o contexto em que o vínculo se estabeleceu, identificando quais os aspectos prioritários na formação desta associação tão duradoura. Discorre-se também sobre as formas de uso da verba pública para a dança no Paraná e visa-se contribuir para um debate público sobre a relação entre canais de comunicação e políticas públicas. Baseando-se no conceito de Coevolução, conclui-se que algumas estratégias de sobrevivência permanecem no ambiente, demonstrando a força de seus replicadores, e a importância de se avaliar estes mecanismos à luz de conceitos abarcados por estas Teorias, buscando nortear futuras escolhas para formulação de políticas públicas para a dança na cidade.