This dissertation investigates the development of W.B. Yeats’s aesthetic philosophy during his earlier career (1883 to 1907), particularly as it is presented in his prose writing and certain dramatic works of the period. Yeats is exposed to the folkloric tradition of Western Ireland from a young age while at the same time receiving a thorough education in the aesthetic philosophies of the Romantics, Pre-Raphaelites and French Symbolists. He finds the ideas regarding the ability of symbols to enlarge the imagination of the artist and his audience which these philosophies expound to be present in the folkloric tradition of Ireland. Yeats becomes involved with the nationalist cause of Ireland as a young man, and finds himself attracted to the prospect of contributing to Ireland’s struggle for independence on a cultural front. He chooses to apply his Romantic principles to art which draws on the shared folkloric tradition of Ireland in an effort to inspire cultural, rather than purely political, rejuvenation amongst his Irish audience. Yeats holds that art which only aims to serve political or moral ends often compromises its aesthetic integrity and he chooses to distance himself from such art, instead promoting an aesthetic ideal which values art for its inherent ability to communicate with an audience through the traditional symbols it encompasses. The artist is placed in the role of the bard and functions as the mediator who exposes the ancient truths that have been embedded in symbols through their traditional use. The poet must be able to create freely and without the pressure of serving a practical cause if he is to be successful in his cultural duty, and this too demands art to be valued autonomously as a force that has the potential to culturally invigorate a disenfranchised colonial Ireland. These ideas are honed during time spent in nationalist, occult, literary and theatre societies where different ideas and principles are unified with his early Romantic ideals to form an aesthetic which has the communicative and enlarging capabilities of art at its centre. The theatre in particular becomes a platform through which Yeats explores and expresses his own aesthetic ideals. This dissertation takes a historical and literary philosophical approach to establish Yeats’s aesthetic development from a traditional Romantic aesthetic to one that is thoroughly progressive and concerned with the autonomous value of Irish art. / MA (English), North-West University, Potchefstroom Campus, 2015

This dissertation investigates the development of W.B. Yeats’s aesthetic philosophy during his earlier career (1883 to 1907), particularly as it is presented in his prose writing and certain dramatic works of the period. Yeats is exposed to the folkloric tradition of Western Ireland from a young age while at the same time receiving a thorough education in the aesthetic philosophies of the Romantics, Pre-Raphaelites and French Symbolists. He finds the ideas regarding the ability of symbols to enlarge the imagination of the artist and his audience which these philosophies expound to be present in the folkloric tradition of Ireland. Yeats becomes involved with the nationalist cause of Ireland as a young man, and finds himself attracted to the prospect of contributing to Ireland’s struggle for independence on a cultural front. He chooses to apply his Romantic principles to art which draws on the shared folkloric tradition of Ireland in an effort to inspire cultural, rather than purely political, rejuvenation amongst his Irish audience. Yeats holds that art which only aims to serve political or moral ends often compromises its aesthetic integrity and he chooses to distance himself from such art, instead promoting an aesthetic ideal which values art for its inherent ability to communicate with an audience through the traditional symbols it encompasses. The artist is placed in the role of the bard and functions as the mediator who exposes the ancient truths that have been embedded in symbols through their traditional use. The poet must be able to create freely and without the pressure of serving a practical cause if he is to be successful in his cultural duty, and this too demands art to be valued autonomously as a force that has the potential to culturally invigorate a disenfranchised colonial Ireland. These ideas are honed during time spent in nationalist, occult, literary and theatre societies where different ideas and principles are unified with his early Romantic ideals to form an aesthetic which has the communicative and enlarging capabilities of art at its centre. The theatre in particular becomes a platform through which Yeats explores and expresses his own aesthetic ideals. This dissertation takes a historical and literary philosophical approach to establish Yeats’s aesthetic development from a traditional Romantic aesthetic to one that is thoroughly progressive and concerned with the autonomous value of Irish art. / MA (English), North-West University, Potchefstroom Campus, 2015

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Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2016-10-28T08:56:33Z No. of bitstreams: 1 Mirian Santos Chagas.pdf: 2091097 bytes, checksum: a41f7dbb0e8313256d7b733263b950d2 (MD5) / Made available in DSpace on 2016-10-28T08:56:33Z (GMT). No. of bitstreams: 1 Mirian Santos Chagas.pdf: 2091097 bytes, checksum: a41f7dbb0e8313256d7b733263b950d2 (MD5) Previous issue date: 2016-08-29 / This dissertation aims to map, describe and interpretate how Bumba-meu-boi, a manifestation of popular culture, is configured in Children and Young Adult Literature. Concerning to mapping, the research found in Brazilian editorial market fifteen Children and Young Adult Literature books about Bumba-meu-boi as main theme. When describing the group of books, it was clearly perceived that it could be divided in two subgroups: one subgroup formed by books intended to preserve the traditional auto and one subgroup formed by books that choose to update the auto, both aiming the maintenance and the dissemination of Bumba-meu-boi. In the third throughput of the research, the aesthetic and literary interpretations of the books have been made, aiming to observe the way literature for children and young adult configures literarily this party from popular tradition. For this purpose, Stela Barbieri’s Bumba-meu-boi (2014) has been analyzed at great lenght as an exemple of the group of conservation of tradition; and Carmen Lúcia Campos’ A festa do boi (2007) has been analysed at great lenght as representantive of the dimension of the updating. The selection of these books takes into account that both of them have the Bumba-meu-boi matraca’s ox from State of Maranhão as a reference, also known as accent of the lowlands and of the island. The issues that encircle the confluence between Children and Young Adult Literature and popular tradition dialogue with the studies conducted by Peter Burke, Teresa Colomer, Peter Hunt, and Regina Zilberman. The thinking about Bumba-meu-boi is due, mostly, to the work of Luís da Câmara Cascudo, Mário de Andrade, Maria Laura Cavalcanti, Américo Azevedo, José Ribamar Sousa dos Reis, Luciana Gonçalves de Carvalho, amongst others. The corpus analysis, taking into account the aesthetic assembly formed by illustration and text, has been based on researches conducted by Walter Benjamin, Paul Zumthor, Néstor Garcia Canclini, Maria José Gordo Palo, Maria Rosa Duarte de Oliveira, and Sophie Van Der Linder . The main result of this research is the awareness of that both throughputs (auto’s conservation and updating) that pervade the representation of Bumba-meu-boi in Children and Young Adult Literature are complementary and brought together to preserve and disseminate tradition, mantaining the link between new generation and ancestry through Children and Young Adult Literature / Esta dissertação tem como objetivo mapear, descrever e interpretar o modo como o Bumba-meu-boi, manifestação da cultura popular, está configurado na Literatura Infantil e Juvenil. No que diz respeito ao mapeamento, a pesquisa levantou, no mercado editorial brasileiro, quinze títulos de Literatura Infantil e Juvenil tendo o Bumba-meu-boi como tema central. Ao efetuar a descrição, percebeu-se que o conjunto poderia ser dividido em dois grupos: um reunindo os livros dedicados à preservação do auto tradicional e outro formado por obras que elegem a atualização do auto, ambos buscando a preservação e a divulgação do Bumba-meu-boi. No terceiro movimento da pesquisa, fez-se a interpretação literária e estética das obras, objetivando observar o modo como a literatura voltada para crianças e jovens configura literariamente essa festa da tradição popular. Para tanto, realizamos a análise em profundidade dos livros Bumba-meu-boi (2014), de Stela Barbieri, como exemplar do grupo da conservação da tradição; e A festa do Boi (2007), de Carmen Lucia Campos, como representante da vertente da atualização. A seleção dessas obras leva em consideração que ambas têm como referência o Bumba-meu-boi boi de matraca do Estado do Maranhão, também conhecido como sotaque da baixada e da ilha. As questões que circundam o encontro entre a Literatura Infantil e Juvenil e a tradição popular dialogam com os estudos de Peter Burke, Teresa Colomer, Peter Hunt e Regina Zilberman. As reflexões sobre o Bumba-meu-boi são devedoras, principalmente, da obra de Luís da Câmara Cascudo, Mário de Andrade, Maria Laura Cavalcanti, Américo Azevedo, José Ribamar Sousa dos Reis, Luciana Gonçalves de Carvalho, entre outros. A análise do corpus, levando em consideração o conjunto estético formado por texto e imagem, seguiu as pesquisas de Walter Benjamin, Paul Zumthor, Néstor Garcia Canclini, Maria José Gordo Palo, Maria Rosa Duarte de Oliveira e, Sophie Van Der Linder. O principal resultado da pesquisa é a percepção de que os dois movimentos (conservação e atualização do auto) que permeiam a representação do Bumba-meu-boi na Literatura Infantil e Juvenil são complementares e convergem para as ações de preservar e divulgar a tradição, mantendo o elo entre as novas gerações e a ancestralidade por meio da Literatura Infantil e Juvenil

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.

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.

The dissertation titled Symbols of exclusion from society in folk tradition concentrates on the interaction of symbols and folk tradition. It explores the way the phenomenon of love and death is traditionally viewed in the Czech country, namely during the Middle Ages and modern times. The main focus of this dissertation is on the social roles of women, although it also shows proof of social exclusion of a man as an executioner. To demonstrate the reasons behind excluding individuals on the outskirts of society, the author also gives short characteristics of the views on the issue of chastity, traditional expectations of fulfilling the female social roles - as virgins, wives and mothers. The author then gives examples of behavior which, in folk tradition, were looked upon as impure/virtueless.

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Thesis (M.A.)--Indiana University, 2010. / Title from screen (viewed on July 19, 2010). Department of English, Indiana University-Purdue University Indianapolis (IUPUI). Advisor(s): Karen Kovacik, Peggy Zeglin Brand, Ronda C. Henry. Includes vitae. Includes bibliographical references (leaves 79-83).

Indiana University-Purdue University Indianapolis (IUPUI) / My thesis examines the ways in which female performance poets deliver their messages and how those messages inspire, affirm, and encourage their audiences. From the traditions of outsider art—Beat poetry, feminist poetry, jazz, folk, punk, and rap—feminist performance poets choose the public sphere as a platform to witness to social injustices. In naming inequality, these poets challenge patriarchal foundations of gender roles, question academia’s criteria as to what constitutes “good” poetry, and expose social injustices. In this thesis, I examine the work of feminist performance poets Ani Difranco, Alix Olson, Andrea Gibson, Ursula Rucker, and Jessica Care Moore as examples of a new way of reading. Their work is significant in that they continue the tradition of feminist poetry by challenging the patriarchal status quo through a re-socializing and accessible style. Their work allows audiences to commune together in shared experience and promotes social change by demystifying cultural norms and gender codes in order to expose the exclusivity in patriarchal ideologies. These poets draw on a woman-centered spirituality, subvert misogynistic feminine archetypes, pay homage to ancestors and foremothers, and address issues of the body—naming oppression yet making room for pleasure.