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Made available in DSpace on 2017-07-10T17:55:56Z (GMT). No. of bitstreams: 1 Reginaldo_Aparecido_dos_Santos.pdf: 7206313 bytes, checksum: 03848a27df3576c55f9390779ca3d9f4 (MD5) Previous issue date: 2010-08-26 / This paper aims to discuss and analyze some main photographs that were selected and arranged by articulating the history museum city of Toledo, images given as "official" or an "official memory" in order to realize their strengths in the formation of a social imagery and the city. Highlights a set of photographs (photographs expressed in albums, banners and specific projects of the Museum Historical Willy Barth) circulating in the city through various forms and strategies, and you end up impregnating this social imaginary of the "early days", to constitute a "culture of memory". Thus, we reflect on the history of the city of Toledo, disregarding the imagined, the visible, not visible, present in narratives about urban expressed in photographs from the 1950s, and are disseminated mainly from the 1980s, with the creation of the museum and the investment of this "culture of memory" in the city. These photographs, many of them insistently repeated, demonstrate the strength and role of this institution in the reproduction of social imaginary of the city, establishing strategies that target the residents look for a particular month. This results in social representations of the city, established primarily for the use and propagation of selected photos arranged and this time, trying to legitimize a specific reality of that period, highlighting some elements of excellence, where the reference and urban transformation, emphasizing the modernization in which would be passing the municipality. The selected photographs, specifically in its arrangement, establish a sense of past that is desired and that tries to be remembered, in the establishment of an urban imagination. If before it was aimed a look to the future in the 1950s, the 1980s, there is a systematic return to a past that sought to be recovered / Este trabalho tem como objetivo principal problematizar e analisar algumas fotografias que foram selecionadas e arranjadas pelos articuladores do museu histórico municipal de Toledo, dadas como imagens oficiais ou de memória oficial , no sentido de perceber a força delas na constituição de um imaginário social na cidade. Destaca-se um conjunto de fotografias (fotografias expressas em álbuns, projetos específicos e banners de domínio do Museu Histórico Willy Barth) que circulam na cidade através de diferentes formas e estratégias, acabam impregnando este imaginário social dos primeiros tempos , objetivando constituir uma cultura de memória . Sendo assim, procuramos refletir sobre a história da cidade de Toledo, abstraindo o imaginado, o visível, o não-visível, presente em narrativas sobre o urbano expressas em fotografias dos anos 1950, e que são divulgadas, sobretudo a partir da década de 1980, com a criação do museu e os investimentos desta cultura de memória no município. Estas fotografias, muitas delas insistentemente repetidas, demonstram a força e o papel daquela instituição na reprodução de imaginários sociais sobre a cidade, estabelecendo estratégias que direcionam o olhar dos moradores para um determinado passado. Surgem assim, representações sociais da cidade, estabelecidas fundamentalmente pelo uso e veiculação de fotografias selecionadas e arranjadas deste período, tentando legitimar uma realidade específica daquele período, valorizando alguns elementos por excelência, no caso o referencial urbano e em transformação, destacando a modernização pela qual estaria passando o município. As fotografias selecionadas, especificamente no seu arranjo, estabelecem sentidos de um passado que é desejado e que tenta ser lembrado, na constituição de um imaginário urbano. Se antes se objetivava um olhar para o futuro na década de 1950, na década de 1980, há um retorno sistemático a um passado que buscava ser valorizado

付記する学位プログラム名: デザイン学大学院連携プログラム / 京都大学 / 0048 / 新制・課程博士 / 博士(教育学) / 甲第22712号 / 教博第254号 / 新制||教||197(附属図書館) / 京都大学大学院教育学研究科教育科学専攻 / (主査)教授 齊藤 智, 教授 Emmanuel MANALO, 准教授 野村 理朗, 教授 田中 利幸 / 学位規則第4条第1項該当 / Doctor of Philosophy (Education) / Kyoto University / DGAM

As a result of the development of visual media and the related tendency in social sciences described as "pictorial turn", many disciplines have incorporated in the field of their research also the study of phenomena that used to stay out of their attention. In sociology, this tendency resulted in the emergence of a new sub-discipline, referred to as sociology of the image or visual sociology. The subject of this dissertation falls within this sub-field: the attention is focused on movies, which today stand as a powerful media of cultural memory. The main goal of this project is to describe the specific practices of cultural remembering following from the nature of the film medium, and to explore the significance of the film as a source of sociological cognition. In the first part, film is recognized as a cultural/social phenomenon, which shouldn't be understood only as a product of individual authors, as there are many institutions and other subjects (which together form a cinematographic field) who also contribute to the making of a film by defining its possibilities and thus influence the way how particular events are represented. The second part of the work presents different theoretical approaches that map the nature of relation between film representation and reality - they describe the...

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Submitted by SBI Biblioteca Digital (sbi.bibliotecadigital@puc-campinas.edu.br) on 2017-03-23T15:26:36Z No. of bitstreams: 1 ALESSANDRA RIBEIRO MARTINS.pdf: 11818861 bytes, checksum: a926a00cd5b218bd9d4ce062d658569a (MD5) / Made available in DSpace on 2017-03-23T15:26:36Z (GMT). No. of bitstreams: 1 ALESSANDRA RIBEIRO MARTINS.pdf: 11818861 bytes, checksum: a926a00cd5b218bd9d4ce062d658569a (MD5) Previous issue date: 2017-02-06 / Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior - CAPES / African matrix refers to every ancestral cultural heritage, territorial, monumental, linguistic and organizational, both in documents and urban vestiges as in orality, transmitted by black Africans enslaved and preserved in the territory by memory through manifestations, reinventions and reterritorialisations in Campinas in the form of groups, Marches, processions, cultural manifestations, peoples and traditional communities. All manifestations have as a fundamental representation for their existence and practice the commitment to the transmission of knowledge, safeguard and preservation of this African ancestry, including the permanent struggle against racism, discrimination and diverse intolerances. This thesis developed a new look at the spaces and territories of the Campinas' African matrix, focusing on the contributions of groups, points of culture, movements and cultural manifestations, traditional ?terreiro? communities (Umbanda, Candombl? etc) and the contemporary formation and reterritorialisations of these places. For this, it investigated the historical construction, post-abolition of slavery and the apparent "invisibility" of the African matrix in the city; The strategies of official erasure of this memory and cultural vestiges; And analyzed the process of reconstitution of records and spatial and cultural vestiges, with the 1998 Constitution as the basis for the elaboration of public policies related to this matrix.It said that African cultural heritage in its knowledge, values and practices increases its visibility through the struggle of the black movement, cultural groups and traditional peoples and communities. Valuing the wealth of this contribution implied in the obligation and the contradiction of recognizing the place of subalternization and stereotypy conferred on black people in Brazilian society and the commitment to the territorial transformation of this reality.It was important to realize that spatial inequality is incorporated into social inequality by merging, in urban space, the interests of capital, state action and the struggle of broad segments of the population as a form of resistance against segregation and the right to the city. This thesis recovered several actions of people and groups linked to the African matrix that contributed, and still do, to the construction of Campinas, even when in its daily life this city seems to move away from them; Campinas, when planned, organized and constructed, faced the choices of its leaders and the actions of the movements so that the population in its totality was inserted.It was when this work was inserted reworking the understanding of this identity of African matrix, from the perception of the possibilities of self representation in the urban space by the local cultures. / Matriz africana ? toda heran?a ancestral cultural, territorial, monumental, lin-gu?stica e organizacional, tanto em documentos e vest?gios urbanos quanto na orali-dade, transmitidos pelos negros africanos escravizados e preservados no territ?rio pela mem?ria atrav?s de manifesta??es, reinven??es e reterritorializa??es em Campinas em forma de grupos, marchas, cortejos, manifesta??es culturais, povos e comunidades tradicionais. Todas as manifesta??es t?m como representa??o fundamental para sua exist?ncia e pr?tica o compromisso com a transmiss?o de saberes, salvaguarda e preserva??o dessa ancestralidade africana, incluindo a luta permanente contra o racismo, discrimina??o e intoler?ncias diversas. Essa tese desenvolveu um novo olhar sobre os espa?os e territ?rios de matriz africana de Campinas, focando nas contribui??es dos grupos, pontos de cultura, movimentos e manifesta??es culturais, comunidades tradicionais de terreiro (Umbanda, Candombl? etc) e na forma??o e reterritorializa??o contempor?nea desses lugares. Para tanto, investigou a constru??o hist?rica, p?s-aboli??o da escravid?o e a aparente ?invisibilidade? da matriz africana na cidade; as estrat?gias de apagamento oficial dessa mem?ria e dos vest?gios culturais; e analisou o processo de reconstitui??o dos registros e vest?gios espaciais e culturais, tendo a Constitui??o de 1998 como base para a elabora??o de pol?ticas p?blicas referentes a essa matriz. Avaliou que a heran?a cultural de matriz africana em seus saberes, valores e pr?ticas amplia sua visibilidade por meio da luta do movimento negro, dos grupos culturais e dos povos e comunidades tradicionais. Valorizar a riqueza desta contribui??o implicou na obriga??o e na contradi??o de reconhecer o lugar de subalterniza??o e estereotipia conferidos aos negros e negras na sociedade brasileira e o compromisso com a transforma??o territorial desta realidade. Foi relevante perceber que a desigualdade espacial se incorpora ? desigualdade social ao se fundirem, no espa?o urbano, os interesses do capital, a a??o do Estado e a luta de amplos segmentos da popula??o como forma de resist?ncia contra a segrega??o e pelo direito ? cidade. A tese recuperou v?rias a??es de pessoas e coletivos ligados ? matriz africana que contribu?ram, e ainda contribuem, para a constru??o de Campinas, mesmo quando em seu cotidiano essa cidade parece rumar para longe delas; Campinas, ao ser planejada, organizada e constru?da, enfrentou as escolhas de seus dirigentes e a atua??o dos movimentos para que a popula??o em sua totalidade fosse inserida. Foi a? que este trabalho se inseriu ao reelaborar a compreens?o dessa identidade de matriz africana a partir da percep??o das possibilidades de auto representa??o no espa?o urbano pelas culturas locais.