A presente dissertação aborda a música popular instrumental brasileira (MPIB) e sua atividade na cidade de São Paulo. A pesquisa visa identificar o conteúdo da MPIB como mediação da sociedade, bem como elucidar questões semânticas e de conteúdo em relação ao termo. Em outras palavras, o trabalho procura levar o leitor a uma das muitas paisagens sonoras da sociedade – paulistana e brasileira – através da “audição” da música instrumental. Abordamos a MPIB a partir de dois pontos de vistas: de um lado sua produção, apresentando algumas das circunstâncias de produção (fonográfica e ao vivo) e de outro, pela observação das lógicas internas às obras a partir de aspectos musicais como escalas, motivos, padrões rítmicos e de acordes, improvisos, formas, etc. Esta dupla abordagem é justificada porque a MPIB desarruma contextos semânticos ao colocar os elementos musicais em relações surpreendentes. Este é o empreendimento que produz a questão central deste trabalho. O intuito desta etnografia é investigar por um lado como as questões relativas à construção da identidade nacional se articulam na MPIB através dos elementos diferenciados que são arranjados dando expressão às tensões e contradições da sociedade brasileira, e por outro identificar alguns elementos na constituição das experiências que surgem no fazer musical. Para dar conta dessa problemática dividimos a dissertação em duas partes: a primeira contendo os dados empíricos advindos da pesquisa de campo, entrevistas e coleta de materiais da mídia, e a segunda parte contendo as discussões teórico-metodológicas sobre a etnografia do fazer musical e a problemática da experiência musical e seus significados no mundo contemporâneo. / This work approaches the Brazilian instrumental popular music (BIPM) and its activity in Sao Paulo city. The research intents to identify the BIPM content as a society mediation, as well as clarify semantic and content questions with respect to the term. In other words, the work tries to bring the reader to one among the several society soundscape – from Sao Paulo and Brazil – through the listening of the instrumental music. We approach the instrumental music from two points of view: firstly its production, presenting some of the production circumstances (phonographic and alive), and on the other hand, by the observation of the work’s internal logic from music aspects such as scales, motifs, rhythms and chords patterns, improvisations, forms, etc. This double approach can be justified because the BIPM disarranges semantic contexts by putting the musical elements in amazing relationships. This effort is the central point of this work. The goal of this ethnography is to investigate, by one hand, how the questions relative to the construction of the national identity articulate themselves on the BIPM through different elements arranged to give expression to the tensions and contradictions of the Brazilian society. On the other hand, to identify some elements on the constitution of the experiences which appear on the music-making. To take account of this problematic we divide this dissertation in two parts: the first one containing empirical data from field research, interviews and collected material from the media, and the second one containing the theoretical and methodological discussions about the ethnography of the music-making, and the problematic of the musical experience and its meanings on the contemporary world.

O objetivo desta dissertação é analisar como a capoeira baiana passou a ser imaginada como símbolo de identidade brasileira por intelectuais e capoeiristas entre as décadas de 1930 e 1960, buscando responder a duas questões principais: quais foram os aspectos que levaram alguns intelectuais do período a se debruçarem sobre a capoeira baiana, selecionando para isso, certos traços, especialmente sua característica musical, na busca de interpretá-la como um símbolo de identidade regional e nacional? Como alguns dos principais capoeiristas baianos exploraram as relações e interpretações destes intelectuais e representantes do poder, confirmando ou contrariando suas idéias? A abordagem segue, principalmente, o método bibliográfico e explora um amplo conjunto de fontes produzidas pelas pessoas que são o foco da análise. Destacam-se, deste repertório, obras literárias e de cunho científico, entrevistas, reportagens, memórias, depoimentos, epístolas, filmes, documentários e discos. Parte dos documentos analisados, como os registros das canções da capoeira, periódicos, as trajetórias de alguns dos intelectuais e capoeiristas foram organizados em séries cronológicas. A abordagem teórica inspirou-se em trabalhos que enfatizaram a compreensão da ação social e criativa dos sujeitos diante das coerções e limites impostos por disposições de poder. Estudos que se detiveram sobre a construção simbólica da pureza africana, identificando seus usos e abusos foram importantes guias, assim como reflexões em torno das disputas pela hegemonia cultural ou sobre as relações entre elites e membros das classes populares. Ao mesmo tempo, a reconstrução das trajetórias de alguns personagens centrais contribuiu para estabelecer importantes vínculos entre as dimensões cultural e política das escolhas individuais. A par da diacronia, procuramos explorar também aspectos sincrônicos das relações entre os sujeitos envolvidos, analisando, por exemplo, a ampla penetração do tema da capoeira em múltiplas formas de expressão cultural. Os resultados da análise apontam para uma descrição pormenorizada de como intelectuais e representantes do Estado passaram a imaginar e se apropriar das manifestações populares como símbolos de identidade regional e nacional. Identificamos que entre estes dois grupos sociais indicados as ações não eram tão homogêneas, como poderiam parecer, o que também era verdade no caso dos capoeiristas, para os quais as estratégias se revelaram muito diferenciadas e criativas. A conclusão deste trabalho demonstra que a capoeira baiana, popularizada num período de apropriação massiva das manifestações populares por parte do Estado, também foi passível de se constituir em estratégia cultural, capaz de fazer a diferença para as pessoas que a produziam, deslocando assim disposições de poder. Nas inúmeras batalhas em que estiveram envolvidos, capoeiristas, intelectuais e outros atores procuraram garantir ou deslocar posições, sem deixar de tentar conciliar a imaginação que tinham da capoeira, com as outras expectativas envolvidas na disputa. Lutas e artes de encontro e desencontro. / The aim of this thesis is to analyze how Bahias capoeira started to be imagined as a symbol of Brazilians identity by intellectuals and capoeira players between the decades of 1930s and 1960s trying to answer two main questions: which were the aspects that motivated some intellectuals from this period to study Bahias capoeira, thereby selecting some features, especially the music aspect, in the search to interpret capoeira as a symbol of regional and national identity? How some of the most influential Bahias capoeira players explored the relations and interpretations of these intellectuals and power authorities, confirming or refuting their ideas? The study follows mainly the bibliographic method and explores a wide range of source material and resources produced by the people who are the focus of this thesis. From these resources we can outline literary and scientific works, interviews, newspaper reports, memories, testimonies, epistles, correspondence, movies, documentaries and music records. Parts of the documents analyzed, such as capoeira songs and magazines, and the trajectory of some of the intellectuals and capoeira players, were organized in a chronological series. The theoretical approach was inspired by works that put their emphasis on the comprehension of the social activism and the creativity of the actors in front of coercion and limits imposed by power mechanisms. Works that looked at the symbolical construction of African purity, identifying its uses and abuses were important guides as well as reflections about disputes for cultural hegemony or about the relationships between the elite and members of popular classes. At the same time the reconstruction of the trajectory of some of the main characters contributed to establishing an important link between the cultural and the political dimension chosen by some individuals. Using the diachrony, the authors also searched to explore some synchronic aspects of the relations between the individuals involved, analyzing, for example, the wide penetration of the capoeira theme in various forms of cultural expressions. The results of this analyses point to a detailed description of how the intellectuals and States representatives began to imagine and to appropriate the popular manifestations as symbols of regional and national identity. We have identified that between these two social groups the actions were not as homogenous as it may have looked, as it were also true in the case of the capoeira players to whom the strategies revealed to be more creative and diversified. The conclusion which this work demonstrates is that the Bahias capoeira, popularized in a period of massive appropriation of the popular manifestations by the State, was also able to constitute itself as a cultural strategy, able to make the difference to people who were producing it, shifting in this manner power dispositions. In the innumerable battles that capoeira players, intellectuals and other actors were involved, they tried to maintain or shift status, always trying to harmonize the imagination they had about capoeira with the perspectives of others involved in the dispute. Fight and art of encounter and separation.

The general purpose of this qualitative study is to investigate the implications in regard to power, structure and control connected to the project Curators of Sweden. The study looks at nation branding through the use of social media. The idea with the project Curators of Sweden is to invite citizens to participate at the official Twitter platform to project a multi-faceted image of Sweden. Through granting citizens access to an official channel some power and control is relinquished.The empirical data is collected through ten semi-structured interviews with curators and stakeholders. In addition a netnography is conducted based on historic secondary data in the form of tweets from the @sweden Twitter account. The data is analyzed through qualitative content analysis with coding inspired by grounded theory. The thematic codes from the analysis of the Stakeholders and Curators are then compared in regard to concepts that could be related.The themes that emerge from the analysis of data generated from the interviews of stakeholders and curators include: invisible hand, asymmetry in relations, national identity, tied hands and crisis as defining moment, self-censorship, bias, empowerment, social control and self-establishing format.The findings suggest that in the context of building national identity through social media incidents prove both challenging and rewarding. The incidents test the project, attract a lot of attention and confirm the Swedish core values of progressivity. When inviting citizens to participate in creating the content a blurring of accountability is evident since ownership over channel and content is separated. The account becomes self-establishing when locus of control is unclear and no one has full ownership.

Thisthesis examines how different collective memory and national identity of theRepublic of Korea and Japan affect their bilateral relationship. This is also dealwith the role of collective memory and national identity in the bilateralrelationship between the Republic of Korea and Japan. Of diverse conflictingissue between two countries, I studied territorial issue over Dokdo/Takeshimaissue because Dokdo/Takeshima issue is not only territorial matter but alsohistorical matter. So, there are frequent clashes over Dokdo/Takeshma betweentwo countries. To study this topic, in a theoretical framework, I utilizeconstructivism, collective memory and national identity to analyze differentideas of two countries. Furthermore, as I study coverage of media in twocountries, theory of news frame is also utilized. Analyzing media and statementsof two countries about Dokdo/Takeshima, I compared them and produced anintegrated analysis.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This work is about how the media build the identity of football players. We observed how the TV show Esporte Espetacular in the series videos Brasileirinhos depicts elements of the Brazilian national identity. The main goal is to analyze how this identity is present in the representation of football players in the series Brasileirinhos. The specific goals of this research are: i) to analyze how the TV media, mainly the show Esporte Espetacular, broadcasted in TV Globo, represents the Brazilian football players in the series Brasileirinhos; ii) to recognize the national identity elements depicted by the program; and iii) to identify the existing works on this topic. The theoretical contribution comes from the concepts on identity explained by authors as Hall (1999) and Castells (2000), Woodward (1999) and Anderson (1989), and the Brazilian authors DaMatta (1994), Holanda (1978) and Freyre (2001). Approaches on media representations on sports are also presented in this work. They have been systematized in four categories: the Myth, the Hero, the Idol, and the Celebrity, mainly according to Helal (2003) and Giglio (2007). The text analysis methodology of Casetti and Chio (1999) was applied for corpus analysis of the two videos selected. As a conclusion of this research, we realize that some national identity elements that were built along the time continue to be reinforced by the media. We can also relate the way the itinerary is followed with the representational condition of Myth for Dedé and Idol, Hero and Celebrity for Neymar. Likewise, we can also confirm that some relations and behaviors of the Brazilian society, addressed by the authors, still exist and can be seen in the video, as the sponsorship. Other relations are built by the program, as the patriarchal system and the football-art relation. / Este trabalho trata sobre a construção midiática da identidade de jogadores de futebol. Indagamos como o programa televisivo Esporte Espetacular na série de vídeos Brasileirinhos representa elementos de identidade nacional brasileira. Tendo como objetivo principal analisar de que maneira esta identidade está presente na representação dos jogadores de futebol na série Brasileirinhos. São objetivos específicos da pesquisa: analisar como a mídia televisiva, especialmente o programa Esporte Espetacular, da TV Globo, retrata os jogadores de futebol na série Brasileirinhos; identificar os elementos de identidade nacional representados pelo programa; e, realizar levantamento dos trabalhos existentes acerca desta temática. O aporte teórico provém dos conceitos de identidade, a partir de autores como Hall (1999) e Castells (2000), Woodward (1999) e Anderson (1989) e os brasileiros DaMatta (1994), Holanda (1978) e Freyre (2001). Apresentam-se também as abordagens sobre representações midiáticas no esporte, sistematizadas em quatro categorias: o Mito, o Herói, o Ídolo e a Celebridade, principalmente a partir de Helal (2003) e de Giglio (2007). Utiliza-se a metodologia da Análise Textual de Casetti e Chio (1999) para análise do corpus de dois vídeos selecionados. Como resultados, pode-se perceber que alguns elementos de identidade nacional que foram construídos ao longo do tempo seguem sendo reforçados pela mídia. É possível relacionar a maneira como o roteiro é seguido a partir da condição representacional de Mito para Dedé e de Ídolo, Herói e Celebridade para Neymar. Em um primeiro momento é possível confirmar que algumas relações e comportamentos da sociedade brasileira, abordadas pelos autores, ainda estão presentes e podem ser observadas no vídeo, como o apadrinhamento. Outras, como o sistema patriarcal ou a manutenção do futebol-arte, são construídas pelo programa.

Diploma thesis examines how the artist and his work can become a device of power relations illustrated by the example of one artist - Anton Jaszusch. The context of his work has changed several times over time, changing the interpretation of his work. Changes of the context were indirectly influenced by the political - social situation, which affected also the inclusion of his work in the canon of modern art in Slovakia. The thesis closely reviews the literature on the history of art from the period of the first Czechoslovak Republic until now. This review inquires the emergence and development of the phenomenon of Košice modernism and adoption of Anton Jaszusch as its leading artist. The work also analyzes available documents (periodicals, catalogs, articles and publications) in detail to refer to the aforementioned changes in the context of Jaszusch's work and its position as an device of power relations. The thesis examines the documents from three periods related to shifts in the context of Jaszusch's work. It begins in mid-twenties when an exhibition of Jaszusch's post- war series of paintings in Bratislava sparked controversy about "Slovakness" of his work. Then it continues in the Second World War period, when Košice belonged to the Kingdom of Hungary and Jaszusch was presented as...

Over eight hundred years ago anonymous poets set the orally transmitted Nibelungen myth to parchment. This action started a trend of adapting the myth for contemporary audiences, a trend that has lasted since the High Middle Ages. Since then, the Nibelungen myth has become a sustaining element of the self-mythologization of German national identity. The problem, however, with adapting the Nibelungen myth for the purpose of creating a German identity, be it in the medieval epic, the Nibelungenlied, or Fritz Lang's 1924 film, Die Nibelungen, is that this model of identification is flawed – flawed because it consists of systematic binary divisions positing self-other dichotomies. What becomes evident is that in the adaptations of Nibelungen myth, the representations of alterity are contradictory and ambiguous, provoking the question: why is the Nibelungen myth an effective source from which one can project a national identity? / Graduate

[pt] Esta tese trata do discurso persuasivo nos produtos de Design. Os produtos com identidade brasileira, que, anteriormente, eram destinados à exportação e ao consumo de turistas, passaram a ser objetos de consumo interno, bens desejáveis da cultura de massa. Foi norteador para esta pesquisa investigar o que é a identidade nacional, a brasilidade e como o design nacional está absorvendo esta identidade. Existe uma retórica inerente ao design de produtos que propõem a brasilidade como fator de persuasão, tornando-os objetos de desejo de um público. A presença de ícones de nossa identidade nacional ou de nossa cidade como representação de brasilidade vem atuando como elemento persuasivo que induz ao consumo de produtos de Design. Os aportes teóricos da pesquisa se fundamentaram na Nova Retórica de Chaim Perelman e Lucie Olbrechts-Tyteca, com aporte na Teoria Geral dos Signos de Charles Sanders Peirce e princípios da Gestalt abordados por João Gomes Filho como suporte transdisciplinar na análise dos objetos. O objeto de estudo adotado foi a obra de Gilson Martins, que utiliza elementos identitários nacionais e cariocas como argumento de venda de seus produtos. Com o objetivo de refletir sobre os efeitos retóricos no design de produtos e configurar seus pressupostos balizadores na obra de Gilson Martins, foi realizada uma análise visual dos objetos que mostram ícones cariocas, as cores da identidade nacional e, em alguns casos, adotam o símbolo da bandeira como forma de persuasão do público consumidor. Foi possível revelar que o design contemporâneo de Gilson Martins tornou os objetos com imagens de brasilidade produtos com valor agregado. Existe uma adesão aos produtos do artista por uma faixa social que valoriza objetos de design e se dispõe a pagar mais por produtos de qualidade e identidade. / [en] This thesis comes to persuasive speech on Design products. Products with Brazilian identity, which formerly were destined for export and consumption of tourists, have become objects of domestic consumption, desirable goods of mass culture. It was important to guide this study to investigate what is national identity, and how the design is absorbing this national identity. There is an inherent rhetoric in the design of products that show the brazilian identity as persuasion factor, making them objects of desire. The presence of icons of our national identity and our city as a representation of brazilian identity has been acting as a persuasive element that induces consumption of Design. The theoretical framework of the research were based on the New Rhetoric of Chaim Perelman and Lucie Olbrechts-Tyteca, the General Theory of Signs by Charles Sanders Peirce and Gestalt principles treated by João Gomes Filho as transdisciplinary support to analyze the objects. The object of study adopted was the work of Gilson Martins, which uses national identity elements as argument to sell their products. Aiming to reflect on the rhetorical effects in product design and configure the benchmarks assumptions in the work of Gilson Martins, a visual analysis of objects that show Rio de Janeiro icons, the colors of the national identity and, in some cases, adopt the national flag to persuade the public consumer. It was possible to prove that the contemporary design of Gilson Martins brought to the objects with images of national identity added value. The artist products are valued by a social group that values design objects and are willing to pay more for quality products and identity.

Finnish-Russian relations after the end of Cold war are considered to be a unique form of cooperation between countries of different ideological backgrounds. This thesis focuses on the analysis of mutual historical relations of Finland and Russia, which overlap to the time after the end of the Cold war; these are deep rooted in Finland's primary endeavor to keep its status of neutrality. The main aim of this thesis is the evaluation of Finnish postneutrality as an effective tool of foreign policy against Russia with respect to the historical reflection of both countries with most regard to the social and cultural differences in the society. The base theory for determinating mutual sociocultural distinction is social constructivism from which the national identities are defined. These are essential for the enemy image provision and above all for the evaluation of the Finnish foreign policy and Finnish political behavior towards Russia. The changes and transformation of the concept of postneutrality follows in regard to the integration process in Europe with the emphasis on the security keeping possibilities related to the potential accession to NATO.

In the mid-1990s, Japanese artists Mariko Mori (b. 1962) and Takashi Murakami (b. 1967) began creating works that referenced Japanese popular culture tropes such as sexuality, technology and the idea of kawaii, or cute. These tropes were associated with emerging youth cultures instigating a “soft rebellion” against social conventions. While emancipated female youths, or shōjo, were criticized for lifestyles based on the consumption of kawaii goods, their male contemporaries, the otaku were demonized for a fetishization of kawaii girls and technology through anime and manga, or animation and comic books. Destabilizing the nation’s patriarchal theory of cultural uniqueness, or nihonjinron, the youth triggered fears of a growing infantilized, feminized automaton ‘alien’ society during Japan’s economically tumultuous 1990s. In response to these trends, Mori and Murakami create works and personae that celebrate Japan’s emerging heterogeneity and reveal that Japan’s fear of the ‘alien within’ is a result of a tenuous post-war Japanese-American relationship. But in denoting America’s position in Japan’s psyche, Mori’s and Murakami’s illustration of Japan as both victim and threat encourages Orientalist and Techno-Orientalist readings. The artists’ ambivalence towards Western stereotypes in their works and personae, as well as their distortion of boundaries between commercial and fine art, intimate a collusion between commercialization, art and cultural identity. Such acts suggest that in the global economy of art production, Japanese cultural identity has become as much as a brand, as art a commodity. In this ambivalent perspective, the artists isolate the relatively recent difficulty of enunciating Japanese cultural identity in the international framework. With the downfall of its cultural homogeneity theory, Japan faced a crisis of representation. Self-Orientalization emerged as a cultural imperative for stabilizing a coherent national identity, transposing blame for Japan’s social and economic disrepair onto America. But by relocating Japanese self-Orientalization within the global art market, Mori and Murakami suggest that as non-Western artists, economic viability is based upon their ability to cultivate desirability, not necessarily authenticity. In the international realm, national identity has become a brand based upon the economies of desire, predicated by external consumption, rather than an internalized production of meaning. / Arts, Faculty of / Art History, Visual Art and Theory, Department of / Graduate