Made available in DSpace on 2016-04-25T20:23:10Z (GMT). No. of bitstreams: 1 Vera Lucia Cardim de Cerqueira.pdf: 1394476 bytes, checksum: 2b8280bfc334932711c7b5c1ca70fb2b (MD5) Previous issue date: 2010-06-25 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This study intends to analyze the contributions of Samuel Harman Lowrie and Dina Lévi-Strauss to the Department of Culture of São Paulo during the period of administration of Mário de Andrade, between the years 1935 and 1938. Both were directly or indirectly representative of the theoretical thoughts and trends which provided a synthesis of the influences for Brazilian Social Sciences along the years: the North-American and the European lineages. The North-American sociologist Samuel Harman Lowrie was hired by the Escola Livre de Sociologia e Política and by the São Paulo City Administration, and developed a study in the area of Sociology and its practical applications, whereas the French ethnologist Dina Lévi-Strauss, with the support and trust from Mário de Andrade, conduced actions in the area of Ethnography, aiming at the possibility of obtaining reconnaissance in her professional life. During a short period, these two scholars allowed the simultaneity of theoretical reflections and practical actions in the universe of public policies, since they believed that Brazil was a favorable place for the development of scientific research / Este trabalho analisa as contribuições de Samuel Harman Lowrie e Dina Lévi-Strauss ao Departamento de Cultura de São Paulo na gestão de Mário de Andrade, entre 1935 e 1938. Foram representantes na época, direta ou indiretamente, do pensamento e das linhas teóricas, que ao longo do tempo conferiram o retrato síntese das influências das Ciências Sociais no Brasil: a norte-americana e a européia. Ele, norte-americano contratado pela Escola Livre de Sociologia e Política e pelo município de São Paulo, desenvolve trabalho voltado para a Sociologia e sua aplicação prática. Ela, etnóloga francesa conduz, sob o estímulo e confiança de Mário de Andrade, ações no campo da Etnografia, tendo em vista a possibilidade de obter reconhecimento em sua trajetória profissional. Durante um curto período, estes dois intelectuais tornaram viável a simultaneidade entre a reflexão teórica e a execução prática no universo das políticas públicas, por acreditarem ser o Brasil campo fértil para o desenvolvimento de estudos científicos

Made available in DSpace on 2016-04-26T14:58:08Z (GMT). No. of bitstreams: 1 Vera Lucia Cardim de Cerqueira.pdf: 1394476 bytes, checksum: 2b8280bfc334932711c7b5c1ca70fb2b (MD5) Previous issue date: 2010-06-25 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This study intends to analyze the contributions of Samuel Harman Lowrie and Dina Lévi-Strauss to the Department of Culture of São Paulo during the period of administration of Mário de Andrade, between the years 1935 and 1938. Both were directly or indirectly representative of the theoretical thoughts and trends which provided a synthesis of the influences for Brazilian Social Sciences along the years: the North-American and the European lineages. The North-American sociologist Samuel Harman Lowrie was hired by the Escola Livre de Sociologia e Política and by the São Paulo City Administration, and developed a study in the area of Sociology and its practical applications, whereas the French ethnologist Dina Lévi-Strauss, with the support and trust from Mário de Andrade, conduced actions in the area of Ethnography, aiming at the possibility of obtaining reconnaissance in her professional life. During a short period, these two scholars allowed the simultaneity of theoretical reflections and practical actions in the universe of public policies, since they believed that Brazil was a favorable place for the development of scientific research / Este trabalho analisa as contribuições de Samuel Harman Lowrie e Dina Lévi-Strauss ao Departamento de Cultura de São Paulo na gestão de Mário de Andrade, entre 1935 e 1938. Foram representantes na época, direta ou indiretamente, do pensamento e das linhas teóricas, que ao longo do tempo conferiram o retrato síntese das influências das Ciências Sociais no Brasil: a norte-americana e a européia. Ele, norte-americano contratado pela Escola Livre de Sociologia e Política e pelo município de São Paulo, desenvolve trabalho voltado para a Sociologia e sua aplicação prática. Ela, etnóloga francesa conduz, sob o estímulo e confiança de Mário de Andrade, ações no campo da Etnografia, tendo em vista a possibilidade de obter reconhecimento em sua trajetória profissional. Durante um curto período, estes dois intelectuais tornaram viável a simultaneidade entre a reflexão teórica e a execução prática no universo das políticas públicas, por acreditarem ser o Brasil campo fértil para o desenvolvimento de estudos científicos

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<p>The present study has a twofold purpose: Firstly, it is an analysis of the Karbalā´ Drama—i.e. the death of Ḥusayn b. `Alī in the hands of an army which had been sent out by the Umayyad authorities, at Karbalā´ in 60/680—as it is retold by the Muslim jurist and historiographer Abū Ja`far Muḥammad b. Jarīr al-Ṭabarī (d. 310/923). Despite its importance, especially to Shī`ite Islam, this text as such has received relatively little attention among scholars of Islam. In this study, the Karbalā´ Drama is regarded as a myth and the method used to analyze it is inspired by the structuralism of Claude Lévi-Strauss. Lévi-Straussian structuralism has probably never before been applied to early Arabic material to the extent that it is used here. The second purpose of the study, then, is to investigate to what extent and in what mode such a method is applicable to this material.</p><p>A portion of the text, called the “Text of Reference,” has been selected and thoroughly analyzed. In that analysis, a number of structural features such as codes, oppositions, mediations, and transformations have been identified and made the basis for a more cursory study of the rest of the story. An important structural feature that is detected in this way is the way the argument of the story is forwarded. By the transformation of metaphors into metonyms, the story attempts to make arbitrary relationships look natural and intrinsic. Such a relationship is that between water and blood—two liquids which are at times shed, at times withheld in the story. Husayn takes a mediating position in that he <i>gives</i> his water and his blood. He acts as mediator both in a negative sense (he establishes the basic Islamic opposition of good and evil), and in a positive sense (as religious guide he acts as a bridge between them).</p>

The present study has a twofold purpose: Firstly, it is an analysis of the Karbalā´ Drama—i.e. the death of Ḥusayn b. `Alī in the hands of an army which had been sent out by the Umayyad authorities, at Karbalā´ in 60/680—as it is retold by the Muslim jurist and historiographer Abū Ja`far Muḥammad b. Jarīr al-Ṭabarī (d. 310/923). Despite its importance, especially to Shī`ite Islam, this text as such has received relatively little attention among scholars of Islam. In this study, the Karbalā´ Drama is regarded as a myth and the method used to analyze it is inspired by the structuralism of Claude Lévi-Strauss. Lévi-Straussian structuralism has probably never before been applied to early Arabic material to the extent that it is used here. The second purpose of the study, then, is to investigate to what extent and in what mode such a method is applicable to this material. A portion of the text, called the “Text of Reference,” has been selected and thoroughly analyzed. In that analysis, a number of structural features such as codes, oppositions, mediations, and transformations have been identified and made the basis for a more cursory study of the rest of the story. An important structural feature that is detected in this way is the way the argument of the story is forwarded. By the transformation of metaphors into metonyms, the story attempts to make arbitrary relationships look natural and intrinsic. Such a relationship is that between water and blood—two liquids which are at times shed, at times withheld in the story. Husayn takes a mediating position in that he gives his water and his blood. He acts as mediator both in a negative sense (he establishes the basic Islamic opposition of good and evil), and in a positive sense (as religious guide he acts as a bridge between them).

Lévi-Strauss percebe na arte das sociedades modernas três diferenças fundamentais em relação à arte das chamadas sociedades primitivas, o academicismo, o representacionismo e o individualismo. De acordo com o autor, o impressionismo e o cubismo teriam, respectivamente, se voltado contra as duas primeiras características, podendo ser entendidos como movimentos revolucionários. Uma questão que se coloca nesta dissertação é em que medida a terceira característica, o individualismo, foi enfrentada por movimentos contemporâneos da arte, como arte conceitual, e como a estética de Lévi-Strauss poderia ser utilizada na compreensão de movimentos como a arte pop e a arte conceitual. / Levi-Straussart theory shows that modern and contemporary art have three differences which sets them apart from the so-called primitive arts. Those are: individualism, academicism, and representationism. According to the author, impressionism and cubism had each tried to overcome the two latter, because of that bei ng revolutionary movements One questions that remains and which is investigated in this work is in which measure the third difference, individualism, was faced and confronted by contemporary art movements such as conceptual art, and how Levi-Straussart theory could be usefull in an attempt to understand such movements.

Lévi-Strauss percebe na arte das sociedades modernas três diferenças fundamentais em relação à arte das chamadas sociedades primitivas, o academicismo, o representacionismo e o individualismo. De acordo com o autor, o impressionismo e o cubismo teriam, respectivamente, se voltado contra as duas primeiras características, podendo ser entendidos como movimentos revolucionários. Uma questão que se coloca nesta dissertação é em que medida a terceira característica, o individualismo, foi enfrentada por movimentos contemporâneos da arte, como arte conceitual, e como a estética de Lévi-Strauss poderia ser utilizada na compreensão de movimentos como a arte pop e a arte conceitual. / Levi-Straussart theory shows that modern and contemporary art have three differences which sets them apart from the so-called primitive arts. Those are: individualism, academicism, and representationism. According to the author, impressionism and cubism had each tried to overcome the two latter, because of that bei ng revolutionary movements One questions that remains and which is investigated in this work is in which measure the third difference, individualism, was faced and confronted by contemporary art movements such as conceptual art, and how Levi-Straussart theory could be usefull in an attempt to understand such movements.

[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.

Made available in DSpace on 2016-04-28T19:59:21Z (GMT). No. of bitstreams: 1 Sandra Maria Luvizutto Goncalves.pdf: 2384106 bytes, checksum: 775541195573dedce8167614b7ef287a (MD5) Previous issue date: 2010-03-17 / The objective of this paper is to develop a comparison study between cultural and artistic experiences narrated by the poet Mário Raul de Moraes Andrade in O turista aprendiz (2002) and Tristes trópicos (1996) by the French anthropologist and writer Claude Lévi-Strauss. The impressions captured by them while visiting the Amazon region are our study and demonstration objects, sustained by the concepts of alterity, based on the exotic eye and the encounter with the Other . The central objective is in the reading and analysis of the travel reports, which confirmed the experience lived by the writers, showing that both of them trespassed the physical geography of visited places and, literarily, reconfigured it by means of artistic and poetic subjectivity in order to be able to unveil the new mythical matrixes of the Brazilian Amazon. The themes are distributed as follows: chapter 1 presents the exotic and the complexity in the distinction between reality and fiction in the travel reports, in light of practical alterity. Chapter 2 approaches the differences and contrasts between two foreigners and the Other , facing the reality observed. Chapter 3 reveals the encounter with the Other , the unknown, which resulted in a fictional transgeography . The theoretical parameters of support were based on the work by: Antonio Candido (1976), François Dosse (1993), Txyetan Todorov (1993), Julia Kristeva (1994), Telê Ancona Lopez (1996), Mikhail Bakhtin (2003), Emmanuel Lévinas (2005), among other authors. We prioritized the comparatist method of direct observation of the object on a fictional travel report, thus opening an equity relation in receiving the Other in its anonymity and, consequently, creating a rupture with the absolute thinking of science. / A presente dissertação tem o objetivo geral de desenvolver um estudo comparatista entre as experiências culturais e artísticas narradas nas obras O turista aprendiz (2002), do escritor e poeta Mário Raul de Moraes Andrade, e Tristes trópicos (1996), do antropólogo e escritor francês Claude Lévi-Strauss. As impressões registradas por eles, na visita à região amazônica, são nossos objetos de demonstração e estudo, sustentados pelos conceitos de alteridade, a partir do olhar exótico e do encontro com o Outro. O objetivo central localiza-se na leitura e análise dos relatos de viagem, confirmadores das experiências vividas pelos escritores, para mostrar que ambos transgrediram a geografia física dos lugares visitados e, literariamente, reconfiguraram-na por meio da subjetividade artística e poética, de modo a poder revelar as novas matrizes míticas da Amazônia brasileira. A temática está assim distribuída: o capítulo I apresenta a questão do exótico e da complexidade na distinção entre realidade e ficção nos relatos de viagem, à luz da prática da alteridade. O capítulo II trata das diferenças e contrastes entre o olhar dos dois estrangeiros e o do Outro, diante da realidade observada. O capítulo III revela-nos o encontro com o Outro, com o desconhecido, o que resultou numa transgeografia ficcional . Os parâmetros teóricos de suporte foram: Antonio Candido (1976), François Dosse (1993), Tzvetan Todorov (1993), Julia Kristeva (1994), Telê Ancona Lopez (1996), Mikhail Bakhtin (2003), Emmanuel Lévinas (2005), dentre outros. Priorizamos o método comparatista da observação direta do objeto em relato ficcional de viagem, abrindo, assim, uma relação de equidade ao receber o Outro no seu anonimato e, consequentemente, rompendo com o pensamento absoluto da ciência.